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Concert Program Cover

Second Concert of the 40th Season


Sunday, March 4th, 1979
Cordier Auditorium
James Baldwin, Conductor

  Overture to The Barber of Seville Gioacchino Rossini  
  Cantata No. 51
"Jauchzet Gott in allen Landen"
Johann Sebastian Bach  
  Carol McAmis, soprano  
  Cuatro Madrigales Amatorios Joaquin Rodrigo  

¿Con qué la lavaré?
Vos me matásteis
¿De dónde venis, amore?
De los álamos vengo, madre

  Carol McAmis, soprano  
  Four Slavonic Dances Antonin Dvořák  

Op. 46, No. 7 - Allegro assai
Op. 72, No. 2 - Allegretto grazioso
Op. 46, No. 3 - Poco Allegro
Op. 46, No. 1 - Presto


Program Notes

  Overture to The Barber of Seville Gioacchino Rossini

The music well known as the Overture to the Barber of Seville was originally composed for the opera Aureliano in Palmira in 1813. Rossini also used the music for his Elisabetta in 1815. The Barber of Seville was produced in 1816. After one season the music for its original overture was lost, and the present overture was substituted, this time in a permanent home.

The music begins Andante maestoso in E major, with an introduction that combines crashing orchestral tuttis with various gestures of anticipation and a lovely melodic section. This prepares the way for what appears to be the exposition of a traditional sonata form. The principal theme is a humorous Allegro vivace in E minor. After a long modulation section to the relative major (G), the oboe introduces the lovely secondary theme, which is shared by other solo instruments. A long crescendo (a Rossini trademark) leads to the close of the section.

Instead of the expected development section, a short transition leads to a restatement of the main themes, and the listener is aware that this is not sonata form after all. The themes appear in appropriate recapitulation keys, and the modulation section is simply omitted. A short coda, in a slightly faster tempo, brings the overture to a rousing finish in E major.

James Baldwin

  Cantata No. 51
Jauchzet Gott in allen Landen
Johann Sebastian Bach

Bach composed cantatas throughout his career; one hundred and ninte nine of these have been preserved. The majority of the cantatas are for chorus, soloists, and orchestra; but fifty-three are solo cantatas, equal in difficulty to an instrumental concerto. The cantata was an integral part of the Lutheran church service in the Baroque period. It was designed to be a musical commentary on the Gospel text for the day. Each of the different movements of the cantata explores a different facet of the text.

Jauchzet Gott in allen Landen is a joyour cantata written for "the fifteenth Sunday after Trinity or any occasion." It was composed in either 1729 or 1731 during Bach's Leipzig years. Albert Schweitzer described the work as a "brilliant coloratura piece for soprano and trumpet, full of stirring life."

Carol McAmis

  Cuatro Madrigalres Amatorios Joaquin Rodrigo
(b. 1902)

The folksongs of Andalusia known as the Coplas inspired Spanish composer Joaquin Rodrigo to write the Cuatro madrigales Amatorios. The Coplas are a remnant of the Moorish influence in Spain and were especially popular in the sixteenth century. The songs are improvisatory by nature. Those which endured were handed down through the generations and became part of every festival. The specific words are unimportant; the mood is everything. In his Madrigales, Rodrigo combines the simple folksong quality of the vocal line with colorful, sophisticated orchestration which clearly sets the mood for each of the songs.

Carol McAmis

  Four Slavonic Dances Antonin Dvořák

Dvorak wrote this first set of eight Slavonic Dances at the request of the noted German publisher Simrock, who was interested in some pieces like Brahms' Hungarian Dances. The dances of Opus 46 were completed between March and May of 1878 and were originally composed for pianoforte duet. The orchestral version was completed by August of the same year.

Both versions met with immediate success. The popularity of this "light music," as Dvorak called it, caused Simrock to request a second set almost immediately. For the composer, whose thoughts were deeply into more lofty creations, this was no easy matter. In a letter to Simrock in 1886, Dvorak writes, "To do the same thing twice is devilishly difficult. As long as I am not in the right mood for it I can't do anything. It's something that can't be force."

Between June and July of 1886 the task was completed. Eight more dances, Opus 72, were written for pianoforte duet. The orchestrated version was completed between November, 1886, and January of the following year. Though of a much more subdued character, these pieces were equally well-received.

Dvorak uses a varity of national dances as models for these pieces, but he is not slavishly wedded to them. Particular dances appear and disappear throughout the works, making specific classification difficult. Some dances are clearly represented, such as the furiant, or swaggerers' dance, in Op. 46, No. 1. The fast three meter is confused by strong accents which alter the expected pattern of stress, and give the dance its rhythmic character. All of the dances display simple thematic sections in alternation and an appealing, varied orchestration.

James Baldwin


Orchestra Personnel

  Violin I
Venona Detrick, Concertmaster
Carolyn Snyder +
Terri Worman
Sam Martin
Ruth Sereque

Violin II
Marion Etzel *
Marcy Bogert
Ganette Smith
Kathryn Smith

Lisa K. Miller *+ (co-)
Anna Snyder *+ (co-)

Carol Oberhausen *
Loren Waggy +
Dennis Brown

Randy Gratz *
Herbert Ingraham
Cal Bisha

Kay Spangler +

Thomas Owen *
Becki Kinne +

Bruce Neumann *
Laura Swantner +
Lila Van Lue *+
Tim Clark +

David Moore *
Amy J. Smith +

Jonathan Snyder *+
Teresa Rice +
Sharon West +

Alan Severs *
Bill White

Larry Dockter *
Chris Garber
Bill Anders

Ken Jordan

Mary Baldwin +
Julie Hunn +
Cathy Norris +

Julie Hunn +

* Denotes principal
+ Denotes MC student
  The North Manchester Civic Symphony Society is pleased to announce the presentation of a commemorative plaque which acknowledges the orchestra's forty years, and pays special tribute to the first conductors -- W. David Koile and Samuel L. Flueckiger. The plaque has been contributed by past presidents of the Society. We invite you to see this memorial, which has been hung in the lobby of Cordier Auditorium, the new home of our orchestra.  
Carol McAmis has been on the faculty of Manchester College since 1974. She holds a bachelor's degree in piano and a master's degree in voice from the University of Kansas. An active member of the University of Kansas Opera Theatre, she has performed leading roles in Tales of Hoffmann, The Marriage of Figaro, Gianni Schicchi, and The Medium. In the summer of 1976, Miss McAmis played the role of Donna Elvira in Gazzaniga's Don Giovanni with the American Institute for Musical Studies in Graz, Austria. Her special studies include the Phyllis Curtin Seminar for Singers at Tanglewood and the Elizabeth Schwarzkopf Master Classes at the University of Michigan. Miss McAmis teaches voice at Manchester College.