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Concert Program Cover

Third Concert of the 41st Season


Sunday, May 11th, 1980
Cordier Auditorium
Robert Jones, Conductor

  Ancient Airs and Dances, Suite No. 2 Ottorino Respighi  

I. Laura Soave: Balletto con gagliarda, saltarello e canario
II. Danza Rustica
III. Campanae Parisienses - Aria
IV. Bergamasca

  Missa in Angustiis in D Minor (Nelson Mass) Joseph Haydn  

Gloria - Qui tollis - Quoniam
Credo - Et incarnatus - Et resurrexit
Benedictus - Osanna
Agnus Dei - Dona nobis

  The Manchester Choral Society
Floyd Slotterback, conductor
Laura Swanter, soprano
Perri Graham, alto
Barry Coe, tenor
Marlin Brightbill, bass

Program Notes by James R. C. Adams

  Ancient Airs and Dances, Suite No. 2 Ottorino Respighi

Ottorino Respighi is the most significant Italian composer of symphonic music during the first third of the twentieth century. In 1900 he obtained a position as violist with the St. Petersburg Opera Orchestra, and subsequently studied composition and orchestration with the celebrated Russian composer, Rimsky-Korsakov. An orchestral appointment in Berlin led to a period of composition study with Max Bruch.

The influence of the aforementioned teachers is seen in Respighi's use of a relatively traditional music vocabulary with a more "modern" use of brilliant orchestral color and effects. His orchestral music also shows the influence of the French impressionists in that the sensual appeal of sound predominates over an attempt a thematic manipulation or development.

Although Respighi composed in a variety of genres, including opera, songs, piano, and chamber music, his best known and most often performed works are the orchestral compositions. The "Roman Trilogy" consisting of The Pines of Rome, The Fountains of Rome, and Roman Festivals is solidly entrenched in the standard orchestral repertoire. Two less well-known works for orchestra are Church Windows and Birds, both highly descriptive and programmatic.

The Ancient Airs and Dances, Suite No. 2, written in 1924, is one of three orchestral suites based on lute dances composed in the early 1600s. This group of suites is evidence of Respighi's keen interest in the music of the 17th and 18th centuries. He was quite active in encouraging performances of music of the period and urged the publication of modern performing editions.

The first movement uses the music of a ballet, "Nobilita di Dame," composed around 1600 by the Italian Fabrizio Carosio (c. 1527-c. 1605). The movement is clearly sectional with contrast achieved through tempo and meter changes. The opening section is a stately pavanne in duple meter with pizzicato accompaniment to an oboe and bassoon melody. The next section is a galliard, exhibiting the normal characteristics of lively 6/4 meter, prominent hemiola patterns, and vigorous accents occurring frequently on the fifth beat. The tempo of the third section, a saltarello, does not change, however the meter becomes 3/8 and a change of sonority occurs with the strings using bows for the first time. The third section concludes with a canario characterized by the repeated motive . The canario was a French dance and was imitative of the exotic dances of the Canary Island natives. The first movement concludes with a return to the stately pavanne, this time stated by flute and clarinet with harp accompaniment.

(Remainder of notes omitted due to program printing error.)

  Missa in Angustiis in D Minor (Nelson Mass) Franz Joseph Haydn

(Program notes omitted due to program printing error.)


Orchestra Personnel

Marion Etzel, Concertmaster
Carla Slotterback *
Mary Berkebile
Ruth Berkebile
Carolyn Caldwell
Ervin Orbán
Renée Rose +
Kirsten Rupel +
Ganette Smith
Julie Weatherholt
Mary Weatherholt +

Samuel Nicarry *
Gordon Collins
Vanessa Cox +
Denise Lutter

Joellen Placeway *
Robert Allen
Virginia Keller +
Jerry Lessig

Calvin Bisha *
Paul Anderson +
Keith Bridges

Thomas Owen

Thomas Owen *
Linda Boyd +
Donna Gillespie

Beth Miller *
Polly Edwards

English Horn
Stephanie Jones
Jo Bess Jackson *
Jane Grandstaff

Mary Patterson *+
Amy Statler +

Jonathan Snyder *+
Phil Landis +
Michael Wells

Alan Severs *
Teresa Durham +
Allyn Van Patten

Larry Dockter *
Brian Hartman

Bass Trombone
Hugh Callison

Kenneth Jordan

Nancy Morse

Julie Hunn

Donna Guenther
Julie Hunn

* Denotes principal
+ Denotes MC student

Manchester Choral Society

  Floyd Slotterback, director
Julie Hunn, pianist
Christine Beery
Jan Bledsoe
Elizabeth Detrick
Sharon Fisher
Diana Gunnerson
Lisa Hickey
Julie Hunn
Kimberle Jo Keller
Lisa Keller
Janet Lawson
Debbie Lewis
Mary Mannion
Cathy Mishler
Theresa Roper
Kay Rower
Kay Spangler
Carol Streator
Laura Swantner
Janet Walters
Susan Williford
Kimberly Ann Yaussy
Marily Yoder

William Baxter
Kirby Carpenter
Bill Cline
Barry Coe
James B. Davis
Scott Helm
Russell Reahard
Sam Rowe
Dan Stiles
Robin Zeider
Janet Dunno
Deb Fouts
Myrna Frantz
Judy Frederick
Perri Graham
Twyla Gross
Scharna Hayes
Susie Larson
Renee Fancher McFadden
Chere McKinley
Cindy Miller
Cris Moore
Rochelle Moyer
Cathy Norris
Susan Penner
Jennifer Pyle
Brenda Reynolds
Kendy Rutan
Kathy Seiss
Rebecca Shepherd
Jacqueline Smith
Amy Statler
Julie Wagoner

Nathan Borntrager
Marlin S. Brightbill
Carl Caldwell
Stephen A. Gall
Patrick Grubba
Brian Hartman
Patrick D. Hollar
David McKenzie
Dave Norris
William Scott
Kirby Dean Wenger
Michael J. Zumbrun
The Manchester Choral Society is a special chorus gathered during on semester of each academic year. It consists of the combined memberships of the A Cappella Choir, the Manchester Singers, and persons from the college and town. Its purpose is to present the best large-scale choral music. Anyone interested in singing such masterworks is cordially invited to join the Choral Society this fall. There is no audition requirement, although prior singing experience is helpful. The Society's next concert is December 7, 1981, when a festive Christmas program will be presented.