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Concert Program Cover

Second Concert of the 38th Season

 

Sunday, February 27th, 1977
Manchester College Auditorium
Jack C. Laumer, Conductor
Karl Haas, Guest Conductor

  Suite No. 3, BWV 1068 Johann Sebastian Bach  
 

Ouverture
Air
Gavotte I
Gavotte II
Bourree
Gigue

   
       
  Fantasia in D Minor for Piano, K. 397 Wolfgang Amadeus Mozart  
  Karl Haas, piano  
       
  Egmont Overture Ludwig van Beethoven  
       
  Intermission  
       
  Candide Overture Leonard Bernstein  
       
  Arabesque for Piano, Op. 18 Robert S. Frost  
  Karl Haas, piano  
       
  Toccata Aram Khatchaturian  
  Karl Haas, piano  
       
  Carnival Overture, Op. 92 Antonin Dvořák  
       

Program Notes

  Orchestral Suite No. 3 in D Major, BWV 1068 Johann Sebastian Bach
(1685-1750)
 
 

Orchestral Suite No. 3 in D Major is considered an ideal musical picture of the rococo period. It was labeled an "ouverture" by Bach, since it followed a French style popular at the time. The French "ouverture" opened and closed with grave sections, with an intervening fugal allegro.

Bach's version of this style begins with a long overture, followed by a series of small dance movements.  The Overture and Air are majestic in character. The Air has become world famous through Willhelm's transcription Air for the G String.

The remainder of the Suite is made up of two Gavottes, a Bourree and a Gigue. They are sprightly and light-footed dances, in contrast to the first section. The Gavotte and Bourree are French dances of the 17th century, quite similar to one another. The Gigue developed from the 16th century English or Irish jig, and was adopted by both French and Italians.

The four orchestral suites and the six Brandenburg concertos are the only orchestral works by Bach in existence. The orchestral suites are not as well documented as the concertos, but it is quite certain that Suite No. 3 was written between 1729 and 1736 for the Leipzig Collegium Musicum, where Bach had available sufficient numbers of musicians for the performance of a large scale work.


 
       
  Egmont Overture Ludwig van Beethoven
(1770-1827)
 
 

Beethoven wrote the incidental music for Goethe's drama Egmont in 1808. Goethe's Egmont was an expression of human victory over tyranny. Beethoven shared his friend's compassion and belief in the French Revolution principles of liberty, equality and fraternity. Egmont Overture, as well as his third symphony, the Eroica, were Beethoven's tributes to the spirit of the Napoleonic age.

Count Egmont (1522-1568) was a subject of King Philip of Spain. He led the struggle of Flanders against the Inquisition and was imprisoned and beheaded by the King. His martyrdom inspired revolt and the ultimate freedom of the Netherlands from Spain.

For the drama, Beethoven wrote the Egmont Overture, four orchestral entr'actes, orchestral interlude, two songs, a melodrama, and a Victory Symphony. The Overture summarizes the drama. The opening pictures a desolate land, followed by the evocation of heroic conflict and the lament for Egmont's death. The last section depicts the final revolt and victory.


 
       
  Overture to Candide Leonard Bernstein
(1918-1990)
 
 

Candide opened on Broadway in 1956, a satirical operetta in the vein of Offenbach. Bernstein's witty overture is in sonata form, no less.

The opening fanfare serves as his motto. The fanfare moves into battle scene music followed by a contrasting lyrical section. The fanfare, battle and lyrical sections are repeated, and a brilliant codetta, in which all themes merge, ends the overture.

The story for the operetta was based on a book by Lillian Hellman, who remained faithful to Voltaire's satirical novel on optimism by the same name. Taught by Dr. Pangloss that all is for the best in this best of all possible worlds, Candide leaves Westphalia with his sweetheart Cunegonde and Dr. Pangloss, and goes out into the world seeking honesty and goodness. He travels to Lisbon, Paris and Buenos Aires, where he confronts one disaster after another, misery and crime, malice and greed. Candide is cheated and beaten, and is finally reduced to killing people. He returns to Westphalia sadder but wiser, no longer an idealist, and he marries Cunegonde, even though she is now old and ugly.


 
       
  Carnival Overture, Op. 92 Antonin Dvořák
(1841-1904)
 
 

Contemplating life at the age of 50, Dvořák wrote the Triple Overture, a programmatic work subtitled "Nature, Life and Love." He later renamed the three overtures Nature's Realm, Carnival, and Othello. The second of the three overtures has become the most famous.

Dvořák wrote of Carnival: "the lonely contemplative wanderer reaches the city at nightfall, where a carnival of pleasure reigns supreme. On every side is heard the clangor of instruments mingled with shouts of joy and unrestrained hilarity of people giving vent to their feelings in their songs and dance tunes." The solitary wanderer thus returns to the tumultuous joys of common humanity. However, a pastoral motif from the first movement and the dialogue between English horn and flute allow pause for philosophical reflections. The man withdraws from the wild enjoyment of life, and he recognizes that the origin of it all lies in Nature. Once again, however, the carnival reigns, as Dvořák's opening themes merge into a riotous conclusion.

Dvořák's Slavic nationalism shows itself in the dance rhythm and the motifs of the overture.


 
       
 

Manchester Symphony Orchestra Personnel

 
  Violin I
Vincent Houser, Concertmaster
Eloise Guy
Jeremy Zank
Paulie Ewing
Matt Topper

Violin II
Ernest Zala *
David Hagy
Christine Shenk +
Carolyn Harlan +
Andy Harper
Terry Worman

Viola
Connie Whelan *
Tim Beck +
Denise Lutter
Annette Martin

Cello
Carol Oberhansen *
Lowell Adams
Nancy Owen
Sarah Kurtz +
Linda Phelps
David Kennedy +

Bass
Mark Tomlonson *
Cal Bisha
Randy Gratz
Herb Ingraham

Flute
Paula Coutz *
Becky Kinnie +
Jerilee Kinzie +

Oboe
Stephanie Jones *
Carol Martin +
Clarinet
Lila Van Lue *+
Jane Grandstaff
Robert Jones

Bass Clarinet
Tim Clark +

Bassoon
Thomas Owen *
Lovena Miller +

Horn
John Snyder *
Denise Reed +
Diane Daly +
Keith Valencourt +

Trumpet
Jack Laumer *
Steve Hammer +
Randy Replogle +

Trombone
Larry Dockter *
Bruce Hughes +
John Reed +

Tuba
Jeff Courtright +

Timpani
Diane Laumer

Percussion
Mary Lou Kniss +
Linda Ross +
Kent Williams +
Glenn Hampson +

Harpsichord
Brenda Eberly

Harp
Bridgett Stuckey

* Denotes principal
+ Denotes MC student
       
 
Karl Haas, internationally known musician and guide to great music, studied piano, composition, conducting and hart history at the Conservatory of Mannheim and at the University of Heidelberg. In 1936, he arrived in the United States to join the faculty of the Netzorg School or Piano and pursued his own studies with Artur Schnable and at Wayne State University in Detroit.

As Director of Fine Arts of WJR, Detroit, one of America's leading broadcasting centers, Karl Haas is author, host and pianist of "Adventures in Good Music," a series of daily hour-long broadcasts. The series is syndicated nationally in forty major cities and heard over the American Forces Radio and Television Service, reaching literally millions of listeners in all parts of the globe.

Mr. Haas was founder and president of the Chamber Music Society of Detroit and served as chairman of the State Council for the Arts under four Michigan governors. He has also served as United States delegate to congresses of the international Music Council of UNESCO; as consultant to the Ford Foundation in the departments of international affairs, arts and humanities, and mass communications, and as predicent of the Interlochen Center for the Arts.

Shortly after the Berlin Wall was built, Mr. Haas was appointed by the Ford Foundation to direct a significant year-long cultural program in the City of Berlin which brought some of the great creative minds of the world to that beleaguered city.

Mr. Haas has been granted innumerable honors. He has received the coveted George Foster Peabody Award, the "Emmy" of broadcasting; he was honored by the French government by being appointed "Officier d'Academie" in 1956, and "Chevalier de l'Ordre des Arts et Lettres" in 1968. He received the First Class Order of Merit of the Federal Republic of Germany in 1964, and is the recipient of six honorary doctorates in music, fine arts and humanities.

In June 1974, Karl Haas accepted an appointment as "Distinguished Visiting Professor" at Central Michigan University for a challenging project of presenting music and the interrelationship of the arts to a multitude of students and adults via radio, both on the undergraduate and graduate level. He conducts "Adventures in Good Music" on television in various cities and on numerous university campuses throughout the country.

The current series at Carnegie Recital Hall is now in its second consecutive year.

Mr. Haas is much in demand, both as recitalist and conductor, capacities in which he enhances his popular approach to music. He serves as artistic director of the newly-formed Beethoven Society, thus adding a new dimension to his dissemination of the message of music to aficionados in all parts of the country.

Karl Haas now resides in New York City from where he conducts his daily broadcasts. His many public appearances take him from coast to coast.