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Concert Program Cover

Third Concert of the 35th Season

 

Saturday, April 20th, 1974
Manchester College Auditorium

Sunday, April 21st, 1974
Honeywell Center, Wabash
Jack C. Laumer, Conductor
Dr. Clyde W. Holsinger, Conductor

  An Outdoor Overture Aaron Copland  
       
  A German Requiem Johannes Brahms  
 

I. Chorus
II. Chorus
III. Baritone solo and chorus
IV. Chorus
V. Soprano solo and chorus
VI. Baritone solo and chorus
VII. Chorus

 
  The Choral Society
Dr. Clyde W. Holsinger, conductor
JoElyn McGowan, soprano
Eugene Wiese, baritone
 
       

Program Notes

  An Outdoor Overture Aaron Copland
(b. 1900)
 
 

Aaron Copland is a composer who was educated musically in Europe, but whose best-known works are distinctly American. In Paris under Nadia Boulanger, he studied the neo-classicism of Stravinsky. His early works reflect Stravinsky's music and also the jazz rhythms of popular American music. Copland realized that the modern music of his generation of composers was not reaching the listening public. He turned to the use of folklore elements -- cowboy songs, New England hymns, Latin-American rhythms -- and to the media that communicate with a large public -- the play-opera, film scores and functional music. An Outdoor Overture is a product of Copland's shift in theme and media. It is function music written in 1941 for the orchestra of the High School of Music and art in New York City. Written for an orchestra and audience of the big, restless city, the overture still suggests the imaginary of pastoral quietude and the memory of a simpler way of life. For many listeners, Copland is the representative American composer of the mid-twentieth century.


 
       
  A German Requiem Johannes Brahms
(1833-1897)
 
 

A German Requiem differs from a Roman Catholic requiem such as those by Palestrina, Mozart and Verdi, in that it does not offer a prayer for the dead. Liturgically it differs from a Mass for the dead, also, in that the Bible and the Aprocrypha supply the text. It is believed that A German Requiem was written in memory of Brahms' mother, who died in 1865. However, some suggest that the work came out of the sorrow the composer felt at the tragic death of his close friend, Robert Schumann, for whom death was a release from insanity. These two greatly contrasting characters, Schumann, the genius and master, and Johanna, the simple old mother, were two of the strongest influences in Brahms' life, and they can probably both be found in this music, as suggested by Florence May in her biography of Brahms.

Brahms took the text from the German Bible. The openine movement, "Blessed are they," makes use of Matthew 5:4 and Psalm 126:5-6. The following section, "Behold all flesh," draws upon the Epistles of St. Peter and St. James as well as a verse from Isaiah 35. Two of the movements use material from two books of the Apocrypha, the Wisdom of Solomon and Ecclessiasticus. Brahms conveys in this work not only the gloom of death, but also the consolation of a belief in the mercy of God.

A German Requiem was first performed in its complete form in Leipzig in 1869.


 
       
 

Manchester Symphony Orchestra Personnel

 
  Violin I
Vernon Stinebaugh, Co-principal
Kay E. Miller, Co-principal +
Tim Smith +
Linda Stanley +
Elizabeth Kemp

Violin II
Ernest Zala *
Harold Davidson
Deb Wolf
Annette Dawson +
Rachel Kurtz +
Diane Ramsby +

Viola
Deanna Brown *+
Sherwood Waggy +
Robert Curry +

Cello
Susan Favorite *+
Norman Waggy +
Thomas Kaffan

Bass
Mark Tomlonson *+
Randy Gratz +
Herbert Ingraham

Piccolo
Paula Coutz +

Flute
Bev Moore *
Muriel Snider +

Oboe
Stephanie Jones *
Eric Burkhardt +
Clarinet
Mark Huntington *+
Jamie Van Buskirk +

Bassoon
Thomas Owen *
Arlene Crist +
Lovena Miller +

Contrabassoon
Thomas Owen

Horn
Mark Bechtel *+
Jean Norton +
Lucy Wilson +
Peter White

Trumpet
Tom Molinaro *+
Carla Griebel +
Steve Hammer +

Trombone
Larry Dockter
Kerry Barrett +
Steve Wiser +

Tuba
Joseph Griffith +

Percussion
Diane Laumer

Organ
Lillian Miller +

* Denotes principal
+ Denotes MC student
       
 

Manchester Choral Society Personnel

 
  Sopranos
Cheryl Baumgardner
Jean Butterbaugh
Peggy Coppler
Rosemary Erwin
Nancy Frank
Linda Fulevider
Carol Haupert
Marie Holsinger
Rebecca Hoover
Margaret Howenstine
Susan Jones
Kay Kessler
Nancy Kolb
Louise Leander
Diane Leverenz
Mary Lutz
Teresa Metzger
Wanda Miller
Lora Muhlnickel
Elizabeth Norris
Rachel Norris
Debra Oberleas
Tenley Orendorff
Hazel Pell
Sister Lillian Roberts
Linda Ross
Karen Rowe
Linda Sandrick
Carol Streator
Debra Underwood
Mary Ann Weyant

Tenors
Stephen A. Batzka
Donald Berkey
Roger Bridge
Larry J. Brubaker
Wayne Chowning
Glen R. Daughtry
James Dick
Carl Doran
David Eicher
Damon Fields
Jeffry Freeman
Andrew Gross
Kim Heusel
Bruce Hlodnicki
Timothy Hough
Delmas Keeney
Roger Kenny
Kent Lucas
David McLiver
George Merkle
Carl Pence
Eugene Wiese
Allan White
Altos
Nancy Avey
Jennifer Barwick
Connie Bonnell
Francis Brainard
Susanne Burwell
Rebecca Colby
Andrea Craft
Jean Crull
Dixie Dickson
Hilda Eubank
Barbara Faulkner
Margaret Gruener
Dorotha Harvey
Cynthia Heath
Lana Huff
Onita Johnson
Karen Kennedy
Kimberle Kennedy
Wanda Kline
Jane Mathews
Jean Norton
Janina Planer
Bonnie Rager
Linda Saylor
Karen Seiss
Judy Shultz
Rebecca Swantner
Wyndham Traxler
Rebecca Waas
Cynthia Welch
Jennifer Weygandt
Jane Willmert
Terry Wood

Basses
Mark Albright
Douglas Barber
Brian Benedict
Bradley Bohrer
Mark Bontrager
Gene Buckley
Donal Carbaugh
Michael Carson
David W. Cattin
Roland Fink
Robert Floros
M. Galloway
Paul Helstern
Damon Howell
Robert Jarboe
Terry McRoberts
Thomas Moore
Kenneth Oren
Daniel Petry
Carter Quance
Gary Rosborough
Randall Stallings
Guy Studebaker
Robert Thompson
Orian Toepfer
John Tucker
Walter Weck
David Wiele
       
 
JoElyn McGowan has made numerous appearances as soloist in opera performances and concerts. She sang in the concert version of Der Rosenkavalier by Strauss with the Berkshire Festival Orchestra in 1968, and she has appeared with the Indianapolis Symphony several times in concert scenes from opera works and other works by Granados, de Falla, and Berio. She sang in the Carmina Burana by Orff, performed by the Fort Wayne Philharmonic Orchestra in 1971. She has previously appeared twice with the Manchester Civic Symphony, singing operatic arias in concert and Lieder eines Fahrenden Gesellen by Mahler. JoElyn McGowan has studied voice with Oren Brown. She graduated from Pfeiffer College in North Carolina, received her M.M. degree from Indiana University and has attended summer workshops and seminars at Indiana University, University of Massachusetts, and Aspen Music School.
Eugene Wiese is a singer and actor with a great variety of experience, including actor in community theatre groups, appearances in night clubs and reviews, on television and radio, soloist in oratorios, choir director for several churches and director of community theatre presentations. He has performed in the role of Tevye in the Wabash Community Theatre presentation of Fiddler on the Roof and appeared in many operas and musicals at the Skylight Theatre in Milwaukee, Wisconsin. Mr. Wiese received his A.B. degree from Concordia Seminary in St. Louis, Missouri. He studied voice with George Graham in Chicago, Illinois, and Milwaukee, Wisconsin.