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Concert Program Cover

Third Concert of the 52nd Season

 

Sunday, March 10th, 1991
Cordier Auditorium
Robert G. Jones, Conductor

  The Moldau Bedřich Smetana  
  James R. Adams, video art  
       
  Concert Piece David Long  
 

Slowly
Lento, Fast

   
  Gregory A. Wolff, marimba  
       
  Intermission  
       
  The Four Seasons -- Winter Antonio Vivaldi  
 

Allegro non molto
Largo
Allegro

   
  Linda Kanzawa Hare, violin  
       
  Short Symphony (Symphony No. 1) David Ott  
 

Allegro
Lento
Allegro spirito

 
       

Program Notes by James R. C. Adams

  The Moldau (from Má Vlast) Bedřich Smetana
(1824-1884)
 
 

Bedřich Smetana was born in Bohemia (now Czechoslovakia) at a time when it was under Austrian rule. He was a prodigy, composing at the age of eight and performing publicly at the age of five. Smetana was a nationalist, and did for his native Bohemia what his friend and teacher, Liszt, did for Hungary. He became the first truly Czech composer. Smetana wrote a number of tone poems and several operas of nationalist character, the most popular of which was The Bartered Bride.

Smetana was a great promoter of "program music," which has been out of fashion with critics for some time, though still very popular with audiences. He thought music ought to be related to the world around, not "absolute" or "abstract."

His most popular work is The Moldau, or Vlatava, from the cycle of tone poems called Má Vlast (My Fatherland). It is a very picturesque work, depicting the river Moldau as it flows through Bohemia from its twin sources to its mouth. We first sense the trickle, then the stream, the village fair, the rapids, its passage through Prague, and finally its grandeur as it broadens on its way to the Elbe.

The performance today is accompanied by a video presentation by James Adams. The waters of the Kenapocomoco (Eel River) were the inspiration for this series of images.


 
       
  Concert Piece
(Notes by the composer)
David Long
(b. 1950)
 
 

Concert Piece was originally conceived for marimba and piano and was written for a fellow student's senior recital at Arizona State University. In 1982, the work was completely overhauled, with new material added to the first movement, and the second movement was expanded. In this version, it was reconceived for marimba and orchestra and was first performed by the composer at Mary Washington College in Fredericksburg, Virginia.

The first movement is somewhat contemplative with the introduction of the first motive-based theme. The second theme is designed to showcase the lyrical possibilities of the marimba. The second movement opens with a bravura flare and is followed by a very insistent first theme. This is then mixed with inferences to the opening of the first movement. To complement the repetitive character of the opening material, the second theme is highly angular with wide leaps. The cadenza follows the tradition of investigating prior materials, but is "interrupted" by a string and woodwind interlude which reconsiders the first movement. Following the cadenza, the movement draws to a flourishing close.


 
       
  L'Inverno (Winter) from The Four Seasons Antonio Vivaldi
(1678-1741)
 
 

Vivaldi was a major composer of the Baroque period ... a period which usually brings to mind "absolute" music with such forms as the fugue and the concerto grosso. Actually, "program," or descriptive music has been with us since as far back as we can probe. In 1725, Vivaldi published a series of twelve concerti for violin and string orchestra called Il Cimento dell'Armonia e dell'Invenzione (The Foundation of Harmony and Inventions). Four of these pieces were grouped as Le Quattro Stagioni (The Four Seasons), of which we hear the last: Winter.

Structurally, Vivaldi presents us here with something between the traditional concerto grosso and the true concerto as it was developed by Bach. All four concerti have three movements, fast, slow, fast, and each fits the program: tension, relaxation, tension. In "Winter," we hear first the icy wind, then the soft snowfall, and finally, the ice-skating, complete with the cracking of the ice undefoot.

The second and fourth concerti are in the minor mode, while the first and third are in the major. L'Inverno's movements are Allegro non molto, Largo, and Allegro.


 
       
  Short Symphony David Ott
(b. 1947)
 
 

Short Symphony, composed in 1983, was commissioned by the Indiana Arts Countil and premiered by the Greencastle Chamber Orchestra in January, 1984. It is a sprightly work that for the most part rarely loses its bouyant flavor. The first movement is in classic sonata-allegro form. After a short introduction for the tutti ensemble, two contrasting themes are stated and followed by the development and recapitulation, each nearly equal in length and proportion. A rousing coda completes the movement. The second movement is more introspective in which the cellos prominently carry the mournful melody. From its quiet beginning, the music moves steadily toward the most sustain and pungent climax of the entire symphony. The music recedes as the cellow return with the somber melody. The upbeat character returns in the finale which is structured as a  rondo. The movement abounds with many of the characteristics of American music: tuneful melodies, dance-like rhythms, and major-minor harmonies occasionally colored by pungent dissonances.


 
       
 

Manchester Symphony Orchestra Personnel

 
  Violin
Linda Kanzawa Hare, Concertmaster
Rosemary Manifold *
Dessie Arnold
Stephanie Beery
Amy Grush
William Klickman
Moo Il Rhee
Angela Rogers
Daniel A. Seibert
Vernon Stinebaugh
Michael Wurzburger +^

Viola
Annette Martin *
Joyce Gouwens
Naida Walker MacDermid
Deb Steiner +

Cello
Waverly Berry Conlan *
Jennifer Barnhart +
Betty Bueker
Tim Spahr
Lisa White +

Bass
Randy Gratz *
Ed Golightly
George W. Scheerer

Piccolo
Amy Hodson +

Flute
Amy Hodson *+
Suzy Oaks +
Jennifer Wallace +

Oboe
Lisa Kinsey *+^
Michelle Russell
Clarinet
Robyn Jones *
Jane Grandstaff
LeAnn Compton +

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

Horn
Nancy A. Bremer * (co-)
Bryan L. Gibson * (co-)
Brenda Alt
Jill Frantz +

Trumpet
Steven Hammer * (co-)
Stan Storey

Trombone
Larry Dockter *
Jaime Shoup +
Scott Hippensteel

Tuba
John Beery

Harpsichord
Robin Gratz

Timpani
David Mendenhall

Percussion
Jim Bowyer +
Tana Tinkey

Harp
Elizabeth Motter

* Denotes principal
+ Denotes MC student
^ Denotes MSS Scholarship recipient
       
 
Gregory WolffIndiana native Gregory Wolff joined the Ball State University School of Music faculty as an instructor of music in September, 1990. An accomplished percussionist, his teaching assignment this year includes studio percussion and participation in the Faculty Jazz Combo.

He is a free-lance percussionist in central Indiana and northern Kentucky, has toured with the Eddie Howard Orchestra and played in recording sessions for Jensen and Hal Leonard Publications. Currently he is in the percussion section of the Anderson and Kokomo Symphonies and Marion Philharmonic, where he participated in the premiere of Patterns-Circus-Patterns by Richard Weinhorst. He also is a private instructor at the Drum Center in Indianapolis and Music Today in Anderson. Wolff is a percussion instructor and arranger for New Castle, Scottsburg, Blue River, Anderson, and Noblesville High Schools.

Among his awards have been an Outstanding Student Award as Undergradtuate Solo Competition Winner in the Ball State University School of Music in 1987, and a Music Honors Award in 1983-84. Mr. Wolff is a member of the Indiana State Chapter of the Percussive Arts Society and Phi Mu Alpha Sinfonia.
Linda Kanzawa HareLinda Kanzawa Hare is presently in her second season as concertmaster of the Manchester Symphony Orchestra. She also serves as concertmaster of the Kokomo Symphony Orchestra, a position she has held for the past twelve years. She is a member of the Fort Wayne Philharmonic, Marion Philharmonic, Muncie Symphony Orchestra, and the Elkhart Symphony Orchestra. In Elkhart, she will perform this spring as guest concertmaster under the direction of guest conductor Robert Spano, assistant conductor of the Boston Symphony Orchestra.

Ms. Hare's educational background includes a Bachelor of Music Education and Master of Music in Performance from Ball State University.

Her teaching career began in Peru High School, where she started a string program. Subsequently, she was an Instructor of Music at Ball State University's Burris Lab School and string instructor at Oak Hill High School. She has also served as conductor of the East Central Indiana and Kokomo Youth Orchestras. She is presently adjunct Instructor of Strings at Manchester College.

Ms. Hare is Chicago-born and Hoosier-raised, and lives in Peru, Indiana where she teaches privately.