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Concert Program Cover

First Concert of the 51st Season

 

Sunday, November 5th, 1989
Cordier Auditorium
Robert Jones, Conductor

  Academic Festival Overture, Op. 80 Johannes Brahms  
       
  This Green Morning R. Gary Deavel  
 

I. This Green Morning
II. Against the Constellation
III. Laboratory
IV. In the Classroom of Domestic Science
V. The Campus Cat's Address
VI. April 30
VII. Chime

 
  A cantata in honor of the Centennial of Manchester College

Manchester College A Cappella Choir
Patricia J. Cahalan, soprano
William B. White, baritone
 
       
  Intermission  
       
  Symphony No. 94 in G ("Surprise") Franz Joseph Haydn  
 

I. Adagio - Vivace assai
II. Andante
III. Menuet - Allegro molto
IV. Allegro di molto

 
       

Program Notes by James R. C. Adams

  Academic Festival Overture, Op. 80 Johannes Brahms
(1833-1897)
 
 

The three works we are to hear today share a touch of humor. The title Academic Festival Overture seems serious enough, unless you realize that several of the themes are derived from student drinking songs. "Overture" means several things, depending on the period. This overture is not a preface to an opera or a play. It is strictly a concert piece, after the fashion established by Mendelssohn.

Brahms, in a Romantic age, was something of a Classicist, treating the 19th century theater overture symphonically. He wrote two theater overtures one after the other, the Academic Festival and the Tragic. They had opposite characters, but similar structures.

Some listeners will think the Academic Festival sounds dignified all the way through. Others think the tone is mocking almost until the very end, with a pompous quality given to tunes of ribald humor. There is the suggestion of students clowning around in cap and gown until that moment when they march onto the stage to receive their degrees, and decide that this may be the first occasion in their lives worthy of dignity. The Academic Festival Overture was written in 1880 at the request of Bernhard Stolz, conductor of the orchestra at Breslau University where the degree of Doctor had been conferred on Brahms the year before. The work ends with a dramatic statement of that noble tune known to academics the world over, Gaudeamus igitur.

The Academic Festival Overture was written in 1880 at the request of Bernhard Stolz, conductor of the orchestra at Breslau University where the degree of Doctor had been conferred on Brahms the year before.


 
       
  This Green Morning R. Gary Deavel  
 

"In the summer of 1987 I asked Christine if she would write a series of poems that I might use as text for a cantata I wanted to write in honor of the centennial of Manchester College. The nature of the poems I left to her. I suggested only two things: that she feel no obligation to write a centennial panegyric and that she draw on her experience, both as a child growing up around the campus and later as a Manchester student. I had in mind that she would, in Lytton Strachey's words, "row out over that vast ocean of material and lower down, here and there, a little bucket, bringing up to the light of day some characteristic specimen." I received the first of the poems, "Laboratory" in October of 1987 and the last, "Chime," in July of 1988. They were exactly what I had hoped for. I began work on the score in December of 1988 and completed it in July of this year. The primary motive of the music is heard in the opening phrase of the chorus. It reappears in the third movement and at the conclusion of the work when it is heard in the orchestra against the hymn tune "The Lord is in His Holy Temple" played by the chime and a counter-motive sung by the chorus. This centennial is an important milestone for Manchester, but, hopefully, it is just the morning of its history."

-- R. Gary Deavel

"I intend these poems to be celebratory. What they celebrate is not solely Manchester College's centennial but also education and those who risk it. Opening ourselves to learning (whether in a classroom, on the street, or at the kitchen table) is a courageous act because we are opening ourselves to change. To invite change, to invite loss and the unknown, is, I believe, an expression of faith and of reverence. The endurance of such a faith is worthy of joyous celebration."

-- Christine Deavel


 
       
  Symphony No. 94 in G Major ("Surprise") Franz Joseph Haydn
(1732-1809)
 
 

The Symphony No. 94 is one of twelve symphonies Haydn wrote for the violinist and impresario Salomon during his first visit to London. These twelve symphonies are known as the "Salomon" or "London" symphonies, and are considered to be his best.

It is subtitled "Surprise" for debatable reasons. Tradition has it that it's the sudden fortissimo in the second movement (Andante) that gives it the nickname. However, there is nothing very surprising about that, since Haydn had frequently used that device. In fact, there are many more surprising things about this symphony than that fortissimo.

It is in four movements, something common to Haydn, but not often found in the symphonies of his predecessors. It has an introduction which wanders about with scant regard to key relationships, and even the opening of the first movement after the introduction surprises us with its key shift. The manner in which he uses themes, some derivative of one another, some original, confound thematic analysis, and surprise us at every turn.

The second movement, with the famous fortissimo, is described by some as "weak," having a theme so simple that the variations seem pretentious, unless you consuder Haydn to have had a sense of humor. Other critics think the theme is great enough to make the listener think it has been heard many times before, where it has or not. (Haydn obviously liked it enough to use it again in his oratorio The Seasons.)

The third movement, a Minuet, is imbued with folk-tunes, a device frequently used by Hardn. There is a comic irony here, in that the Ländler peasant informality might be contrasted with the formal dignity of the original minuet as a dance.

The final movement is basically in the conventional rondo form, and brings the symphony to a rousing end.


 
       
 

Manchester Symphony Orchestra Personnel

 
  Violin
Linda Kanzawa Hare, Concertmaster
Rosemary Manifold *
Dessie Arnold
Stephanie Beery
Jodi Goble
Amy Grush
Bill Klickman
Moo Il Rhee
Angela Rogers
Daniel A. Seibert
Patrick Weybright +
Ginny Womack
Tom Wood
Michael Wurzburger +^

Viola
Annette Martin *
Julia Anne Lindower +
Naida Walker MacDermid
Deb Steiner +

Cello
Waverly Berry Conlan *
Betty Bueker
Tim Spahr
Rebecca B. Waas
Lisa White +

Bass
Ed Golightly *
Randy Gratz
George W. Scheerer

Piccolo
Amy Hodson +^

Flute
Maryanne C. Beery *+^
Suzy Oaks +
Jennifer Wallace +

Oboe
Lisa Kinsey *+^ (co-)
Susan Turnquist * (co-)
Clarinet
Lila D. Hammer *
Robyn Jones

Bassoon
Takashi Yamano * (co-)
Donna Russell * (co-)

Contrabassoon
Ric Lynn

Horn
Nancy A. Bremer *
Bryan L. Gibson
Eric Jones
Lois Geible

Trumpet
Mike Clark * (co-)
Steven Hammer * (co-)
Stan Beery

Trombone
Larry Dockter *
Joe Phelps
Steve Rhodes

Tuba
Mike Harkness +

Timpani
David Mendenhall

Percussion
Darrell Jones
Dale E. Reynolds +
Tana Tinkey

* Denotes principal
+ Denotes MC student
^ Denotes MSS Scholarship recipient
       
 

Manchester College A Cappella Choir

 
  Dr. Patricia J. Cahalan, conductor  
  Soprano I
Suzanne Beard
Maryanne Beery
Carissa Fralin Weaver
Shawn Holmes
Jana Ralston
kelly Yaussy

Soprano II
Beth Hartley
Kimberly Koczan
Kathleen Macklin
Shannon Pearson
Alice Perkins
Christine Young

Alto I
Wendy Good
Crissy Groff
Cassy Johnson
Julia Lindower
Kim Murray
Deanna Beth Myers
Tanya Roop

Alto II
Julie Baker
Kathy Keener
Wray Nye
Jennifer Schmidt
Heather Waye
Brenda Willoughby
Tenor I
Jim Bowyer
Jeffrey Jones
Jim Osborn
Todd Tijerina
Dale Reynolds

Tenor II
David Feld
Butch Weaver
Phil Weaver
Tim Wenger

Baritone
Corey Alexander
Jon Hartman
Travis Hostler
Shawn Kirchner
Pat Morgan
Matt Smucker
Eric Snyder

Bass II
Matthew Doudt
Dean Pontius
Kenneth Rieman
Mark Snyder
       
 

Today's Concert

The Manchester Symphony Society and Manchester Symphony Orchestra pay tribute to the Manchester College Centennial Celebration. The success of the Manchester Symphony Orchestra is the result of a long and fruitful joint venture between Manchester College and the community of North Manchester. The Orchestra and Symphony Society look forward to the continuation of this cooperative spirit as Manchester College enters its second century.
R. Gary Deavel has been a member of the Manchester College music faculty since 1956. He holds a Ph.D. degree in Music Theory from the Eastman School of Music of the University of Rochester, a Master of Music degree from the Sherwood Music School of Chicago, and a Bachelor of Science in Music Education from Manchester College. He has composed numerous works which have been performed in the Manchester community, among them Manchester Variations for orchestra, Requiem for chorus, organ and vibraphone, Sonatina for band, Triptych for chorus and organ, and two sets of organ preludes.
Christine Deavel resides in Seattle, Washington, where, with her husband, John Marshall, she owns and operates Open Books, a small general bookstore. She is a co-editor of Fine Madness, a literary magazine published in Seattle. She received a Master of Fine Arts in creative writing from the University of Iowa in 1982 and a Bachelor of Arts in English from Indiana University in 1980.
The Manchester College A Cappella Choir was organized in 1946 by Dr. Clyde Holsinger and has sung with distinction before such professional organizations as the Music Educators National Conference, the Indiana Music Education Association, and the Indiana Choral Directors Association, and on annual tours throughout the midwest. Last summer, on a tour undertaken jointly with the University of Indianapolis Concert Choir, the choir performed in the European countries of Belgium, France, Germany and the Netherlands.

The choir's repertoire consists primarily of serious choral literature from the Renaissance to the present, with particular emphasis on a cappella works. Membership is drawn from across the student body at large and singers are selected through competitive auditions each fall.
Dr. Patricia Cahalan, Director of Choral Activities, conducts all of the college choral ensembles, including the A Cappella Choir, the Manchester Singers, the Entertainers, and the Choral Society, which will perform Bernstein's Chichester Psalms and Handel's Utrecht Jubilate on December 3. She also teaches voice and courses in conducting and music education. She holds the Doctor of Musical Arts degree in choral conducting from the University of Iowa, the Master of Music from Indiana University, and the Bachelor of Music degree in music education from Saint Mary's College.

Dr. Cahalan was a student of John Van Cura at Iowa and has performed as soloist with the Lafayette Bach Chorale and the University of Iowa Kantorei.
William White, a native of Syracuse, New York, now resides in North Manchester, Indiana. He received the B.S. degree with majors in applied music and music education at Manchester College. He has studied voice under Carol McAmis (Ithaca College), Ken Smith (University of Kansas), and Gary Race (Pittsburgh Opera). Mr. White has appeared frequently as soloist in oratorio, opera and musical theater. Some of his more recent appearances have included Tonio and Silvio in Pagliacci, Nick Shadow in A Rake's Progress, Tommy Albright in Brigadoon, Tevye in Fiddler on the Roof, and Fred Grahm in Kiss Me Kate. In addition to his solo appearances, Mr. White is the Ecclesia Choir Director at the Manchester Church of the Brethren.