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Concert Program Cover

Third Concert of the 40th Season

 

Sunday, April 22nd, 1979
Cordier Auditorium
James Baldwin, Conductor

  Eine kleine Nachtmusik, K. 525 Wolfgang A. Mozart  
 

I. Allegro

 
       
  Ave Verum Corpus, K. 618 Wolfgang A. Mozart  
       
  Te Deum for the Empress Maria Therese Joseph Haydn  
       
  Intermission  
       
  Three Masterworks from Oratorios    
  "He Watching Over Israel" from Elijah Felix Mendelssohn  
       
  "How Lovely is Thy Dwelling Place" from A German Requiem Johannes Brahms  
       
  "The Heavens Are Telling the Glory of God" from Creation Joseph Haydn  
  Laura Swantner, soprano
William Baxter, tenor
Joel McFadden, baritone
 
       
  Four Dance Episodes from Rodeo Aaron Copland  
 

1. Buckaroo Holiday
2. Corral Nocturne
3. Saturday Night Waltz
4. Hoe-Down

 
       

Program Notes by James Baldwin

  Eine kleine Nachtmusik Wolfgang A. Mozart
(1756-1791)
 
 

This well-known composition is one of the most famous examples of the serenade. In the eighteenth century it was one of several types of instrumental pieces which were intended for light entertainment. As such, it stands somewhere between the suite and the symphony. The serenade is, properly, "night music," deriving from the evening scenes in opera.

Mozart composed Eine kleine Nachtmusic (A little Night Music) in 1787, while he was working on the opera Don Giovanni. It is not known for what particular occasion the music was written. Though intended for a small number of stringed instruments, it is frequently performed with ensembles larger than chamber size. The first movement is a compact sonata form which exhibits Mozart's characteristic fondness for the short melodic invention.


 
       
  Ave Verum Corpus    
 

Mozart composed this sensitive miniature during the last year of his life. It is classified as a motet, or hymn setting, and is unique because of the use of strings for accompaniment. The through-composed setting displays Mozart's ability to create the profound out of the simple.


 
       
  Te Deum for the Empress Maria Therese Joseph Haydn
(1732-1809)
 
 

Haydn composed this setting of the popular text in 1799-1800, and dedicated it to his friend and admirer, the Austrian Empress, Maria Therese. The composition functioned as a dedicatory piece and general hymn of thanksgiving.

The origin of the Te Deum text is not certain, though the attributions to both St. Amrose and Nicetus of Remesiana are supported. It is an early Christian text which serves the Catholic liturgy at Matins. After the seventeenth century the text began to be used for special occasions, and received significant settings by Purcell and Handel. After Haydn, the most notable settings in the nineteenth century were by Berlioz, Dvorak, Bruckner, and Verdi. In each case the music is conceived on a grand scale.

The music is divided clearly into sections which support the organization of the text. The only repetition of music comes with the "Tu Rex gloria, Christe," where the first theme is restated. Haydn articulates the "Te ergo quaesumus" with a slow, sensitive moment. The composition ends gloriously with a fugue which combines the two parts of the last line of text: "In te Domine speravi" is the main theme, and "non confundar in aeternum" is the countermelody. The music illustrates the intent of the text both through a general portrayal of the sentiment, and through the articulation of specific words and phrases.


 
       
  "He Watching over Israel" from Elijah Felix Mendelssohn
(1809-1847)
 
 

Elijah received its first performance in 1846 and represented the culmination of about ten years labor. The original German text by the theologian Julius Schubring received immediate translation into English, under the guidance of both the composer and his associate, William Bartholomew. This chorus is one of the most popular from the work, and is often excerpted. The design is simple: two themes are presented for two separate text sections, and then they are masterfully combined.


 
       
  "How Lovely is Thy Dwelling Place" from A German Requiem Johannes Brahms
(1833-1897)
 
 

Brahms selected his texts from Luther's version of the Old and New Testament. From 1857 to 1868 he worked on this personal, rather than traditional, Requiem setting. The first complete performance was in 1869 in Leipzig. This exceptionally fine chorus is the fourth movement of seven.


 
       
  "The Heavens are Telling" from Creation Joseph Haydn
(1732-1809)
 
 

Haydn composed his Creation between the years 1795-1798. The text was derived from Milton's Paradise Lost and the Book of Genesis. The original language was German, as translated by Baron von Swieten. This popular chorus comes at the end of the first act, after the creation of the lights in the firmament of heaven. The three soloists are the archangels Gabriel, Uriel and Raphael, serving as narrators of the drama.


 
       
  Four Dance Episodes from Rodeo Aaron Copland
(b. 1900)
 
 

The ballet, Rodeo, was commisioned by the Ballet Russe de Monte Carlo for its 1942-43 season. The choreographer, Agnes dell Mille, describes the idea for the drama:

"Throughout the American Southwest, the Saturday afternoon rodeo is a tradition. On the remote ranches, as well as in the trading centers and the towns, the 'hands' get together to show off their skill in roping, riding, branding and throwing. Often, on the more isolated ranches, the rodeo is done for an audience that consists only of a handful of fellow-workers, women-folk, and those nearest neighbors who can make the eight or so mile run-over.

The afternoon's exhibition is usually followed by a Saturday night dance at the Ranch House.

The theme of the ballet is basic. It deals with the problem that has confronted all American women, from earliest pioneer times, and which has never ceased to occupy them throughout the history of the building of our country: how to get a suitable man."

Copland wrote the score for the ballet in June, 1942, and completed the orchestration in September. The orcheestral suite is extracted from the complete ballet, and is intended for concert performance. The composer's fresh, personal style is characterized by complex rhythmic structure, clear tonality, and melodic content which is conspicuously American. Copland uses several genuine folk songs throughout, and a square dance tune named "Bonyparte" for the Hoe-Down.


 
       
 

Orchestra Personnel

 
  Violin I
Venona Detrick, Concertmaster
Carolyn Snyder +
Terri Worman
Ruth Sereque
Edwin Papiez

Violin II
Marion Etzel *
Marcy Bogert
Ganette Smith
Margot Parlette

Viola
Lisa K. Miller *+ (co-)
Anna Snyder *+ (co-)
Denise Lutter
Melissa Trier

Cello
Carol Oberhausen *
Loren Waggy +
Betty Bueker

Bass
Randy Gratz *
Cal Bisha

Piccolo
Kay Spangler +
Becki Kinne +

Flute
Thomas Owen *
Becki Kinne +
Kay Spangler +

Oboe
Bruce Neumann *
Laura Swantner +
Curt Metzgar

English Horn
Curt Metzgar
Clarinet
Lila Van Lue *+
Tim Clark +

Bassoon
David Moore *
Amy J. Smith +

Bass Clarinet
Robert Jones

Horn
Jonathan Snyder *+
Teresa Rice +
Sharon West +
Frank Bueker

Trumpet
Alan Severs *
Bill White
Allyn Van Patten
Michael Thurlow

Trombone
Larry Dockter *
Chris Garber
Bill Anders

Tuba
Michael Thurlow

Timpani

Ken Jordan

Percussion
Mary Baldwin +
Larry Ford
Julie Hunn +
Cathy Norris +

Piano
Carol McAmis

Harp
Bridgett Stuckey

* Denotes principal
+ Denotes MC student
  The North Manchester Civic Symphony Societ today welcomes a number of Wabash County public and parochial school students. These special guests are present following an orientation program in each of their schools led by Manchester College Music Department faculty. This activity was funded by a generous grant from the Honeywell Foundation of Wabash County.  
       
 

Manchester College Chorale

 
  Al Weldy, president
Dorothy Ritchey, vice president / secretary
Julie Hunn, accompanist
 
  Sopranos
Chris Abernathy
Sue Haney
Julie Hunn
Kim Keller
Janet Lawson
Jayne Liffick
Shaunn Lybarger
Cathy Mishler
Dorothy Ritchey
Ginger Rogers
Kay Rowe
Janice Sherrick
Kay Spangler
Laura Swantner
Becky Thrush
Annamarie Wagoner

Tenors
Bill Baxter
Bill Cline
Barry Coe
Dan Deeter
Dave Martin
Greg Shanabarger
Steve Viehweg
Al Weldy
Altos
Toby Bonar
Janet Dunno
Terri Gotz
Perri Graham
Harriet Hamer
Krista Hamer
Carolyn Harlan
Vera Himes
Jenny Hollenberg
Becki Kinne
Sarah Kurtz
Susan Larson
Chere McKinley
Sandra Miller
Cathy Norris
Susan Penner
Jeannet Renz
Teresa Rice
Kathy Seiss
Julie Wagoner
Cathy Warner

Basses
Nathan Borntrager
Jerry Durnbaugh
Shelton Hinson
Joel McFadden
John Morris
Dave Norris
Loren Waggy
Tom Wagner
Bill White
       
 
The Manchester College Chorale is an oratorio chorus consisting of members of the A Cappella Choir, other Manchester College students chosen by audition, and community singers. Since its organization in 1975, the Chorale has appeared with the Civic-College Symphony in a performance of Car Orff's Carmina Burana, and has been featured in choral performances with the Fort Wayne Philharmonic Orchestra, singing the Orff masterpiece and Beethoven's Ninth Symphony. In addition to its spring concert schedule, the Chorale presents a concert of Christmas choral music each December.