Sunday, April 22nd, 1979
Cordier Auditorium
James Baldwin, Conductor
Eine kleine Nachtmusik, K. 525 | Wolfgang A. Mozart | |||
I. Allegro |
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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 |
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Four Dance Episodes from Rodeo | Aaron Copland | |||
1. Buckaroo Holiday |
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Program Notes by James Baldwin |
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Eine kleine Nachtmusik |
Wolfgang A. Mozart (1756-1791) |
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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. |
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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. |
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Te Deum for the Empress Maria Therese | Joseph Haydn (1732-1809) |
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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. |
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"He Watching over Israel" from Elijah | Felix Mendelssohn (1809-1847) |
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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. |
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"How Lovely is Thy Dwelling Place" from A German Requiem | Johannes Brahms (1833-1897) |
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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. |
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"The Heavens are Telling" from Creation | Joseph Haydn (1732-1809) |
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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. |
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Four Dance Episodes from Rodeo | Aaron Copland (b. 1900) |
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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. |
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Orchestra Personnel |
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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 |
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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 |
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Al Weldy, president Dorothy Ritchey, vice president / secretary Julie Hunn, accompanist |
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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 |
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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. |