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Concert Program Cover

Third Concert of the 73rd Season

Pure Americana

Sunday, April 1st, 2012
Honeywell Center, Wabash
Scott Humphries, Conductor

  Wisdom Fanfare Sherry Martin Woods  
  Lewis and Clark: A Symphonic Poem Leigh Baxter  

Jefferson's Vision
The Corps of Discovery
The Missouri
Lewis Walked on Shore
Cruzatte's Fiddle
Down to the Pacific

  David M. Moan, narrator
Sponsored by Josh Lee for April Cochran
  The Stars and Stripes Forever John Philip Sousa
arr. Brion/Schissel
  Beverly Eikenberry, guest conductor  
  Rhapsody in Blue George Gershwin
orch. Ferde Grofé
  Jiyoung Jeoung, piano
Sponsored by Judy Glasgow
  "Pops" Hoe-Down Richard Hayman  

Program Notes by James R. C. Adams

  Wisdom Fanfare Sherry Martin Woods
(b. 1951)

Sherry Woods is a well-known American composer and performer from South Carolina. Though specializing in stringed instruments, mainly viola and violin, she has won awards for compositions in other formats, such as Sapphic Songs (a choral work), a saxophone quartet, and a string quartet, among others. She has been very active in organizations promoting women composers. Her works have been performed all over the United States, as well as in Italy, Thailand, and China.

Wisdom Fanfare is a short work, commissioned by the Board of Directors of the South Carolina Philharmonic, and first performed by that orchestra in 1999.

Ms. Woods has been attracted to the music of the twelfth century mystic and composer, Hildegard of Bingen, and there are hints of her antiphon 'O gloriosissimi' in this fanfare. There is also a brief reference to the Gregorian chant, the Dies Irae.

The work begins very softly, with a drum-roll and chimes, and rises in a very slow crescendo before the fanfare proper begins.

  Lewis and Clark: A Symphonic Poem Leigh Baxter
(b. 1957)

Leigh Baxter teaches Music History and Theory at John Tyler Community College in Richmond, Virginia. He is president of the Virginia Chapter of the National Association of Composers, U.S.A. His music is melodic and easy to follow.

This work was written on the occasion of the Bicentennial Celebration of the Lewis and Clark Expedition through the northwest between 1804 and 1806. This trek, properly known as the "Corps of Discovery Expedition," was commissioned by President Thomas Jefferson as the first such official expedition to the Pacific Coast by the United States. It was first performed by the Richmond Symphony Orchestra in 2003.

For inspiration, Baxter studied the journals of Lewis and Clark, and has divided his work into sections corresponding to observations in those journals. The divisions are:

Jefferson's Vision
The Corps of Discovery
The Missouri
Lewis Walked on Shore
Cruzatte's Fiddle
Down to the Pacific

There are no gaps between movements; they just flow into one another. The piece begins softly, with a tinkling sound, then something suggesting hoof-beats, and finally turns majestic as the music suggests Jefferson's vision for the country.

The second part is more martial as the organization of the corps is suggested.

In his journal, Lewis spoke of the melodious birdsong, which one can hear in the Missouri section. We can almost hear Lewis' footsteps on the shore during one section, and then the menacing sounds of Grizzlies.

Pierre Cruzatte was a French-Omaha guide who accompanied the group and kept their spirits up through his mastery of the fiddle.

Most people have heard of Lewis' guide, Sacajewea. Her brother, Cameahwait (One Who Never Walks) was Chief of the first large group of Indians that the expedition met. Lewis and Clark were welcomed by Cameahwait.

The final movement suggests running water and rapids and grows more majestic as it reaches the Pacific, as an echo of the opening movement.

  The Stars and Stripes Forever John Philip Sousa

John Philip Sousa hardly needs an introduction. The Norman Rockwell of American music, he is know to, or at least his music is recognized by, all Americans. He was born, appropriately, in Washington, D.C., the son of a Spanish trombonist in the Marine Band. His father, though born in Spain, was of Portuguese origin. "Sousa" is a town in Portugal. Legend has it that his name originally was Antonio So, and that he added the usa to the name as a tribute to his adopted country. Sousa denies this, but if this story is not true, it ought to be, for as musicologist Wilfrid Mellers says, " is truer than fact." Mellers, a British expert in American music, says that Sousa is to the march as Strauss is to the waltz.

Mellers goes on to contrast Sousa with that other American icon, Stephen Foster. While the latter represents pessimistic nostalgia, the former evinces optimistic bouyancy. Foster is all heart; Sousa is all body. Sousa, himself, declared that his music was not for the head... it was for the feet! It "...should make a man with a wooden leg step out."

The Stars and Stripes Forever is doubtless the most popular of Sousa's 136 published marches. It was written in 1896 and is notable for the piccolo solo that begins about half-way through the work and plays in counterpoint to the third theme after the transition. The finale is polyphonic, with three voices playing simultaneously.

In addition to this march, known officially as "The National March of the United States," Sousa wrote at least nine operettas and several novels. Two of his best-known operettas are El Capitan, of 1896, from which the march by that name has become famous on its own, and The Free Lance, of 1905. Both of these operettas, ironically, were aimed against militarism -- this coming from The March King!

  Rhapsody in Blue George Gershwin
Orch. by Ferde Grofé

Like that other American icon, John Philip Sousa, George Gershwin needs very little in the way of introduction. If you haven't heard of him, that would surprise me, but if you haven't heard his music, that would astonish me.

Gershwin is best known as a song-write and pianist. He produced over 140 piano rolls in his early career, among which were some made on the Welte-Mignon piano. This is a superior sort of player-piano and Gershwin played his own works on these rolls, some of which are available now on CDs.

In the early days, he earned most of his money through his performances, both live, and on the piano rolls. As a song-writer, together with his older brother, Ira, he was soon in demand for the Broadway stage, producing such musicals as Lady Be Good, Funny Face, Strike Up the Band, Girl Crazy, from which we have I Got Rhythm, and Of Thee I Sing, the first musical comedy to win a Pulitzer Prize.

In 1924, he was commissioned by famed band director Paul Whiteman to write a "jazz concerto." To many that seemed to be an impossible task, since the concerto form had been well established as a three movement work, based on the sonata allegro. Jazz was notoriously improvisational. A jazz work cannot be reproduced, technically speaking, though there are now many exceptions to this "rule." A concerto typically has only some short bits of improvisation, known as cadenze. Many critics objected to the attempt to combine two incompatible genres.

Gershwin had a love affair with Paris. He pays homage to that love in his An American in Paris, of 1935. While he was writing that piece, he approached the noted teacher Nadia Boulanger and the composer Maurice Ravel, asking for lessons. Both of them rejected him ... not because they thought little of him, but on the contrary, because they thought so highly of him as a jazz performer. They thought it would spoil his chief quality. Various stories have been attributed to Ravel and Schoenberg (another hoped-for teacher) regarding this rejection. The most authentic is attributed to Ravel, who is supposed to have said, "Why would you want to be a second-rate Ravel, when you can be a first-rate Gershwin?" This was supposed to have happened when Ravel discovered how much money Gershwin was making. Gershwin is thought to have been the world's richest composer. "You should be giving ME lessons," he was supposed to have said. Although there is a strong hint of Debussy and Ravel in Gershwin's music, there is a greater influence of Gershwin on the music of Ravel, as is evident in Ravel's two piano concerti.

From the early days of his being known only as a song-writer and pianist, he is now known as a serious composer. He successfully bridged the gap between the popular and the classical worlds, from his Rhapsody in Blue, the Second Rhapsody, his Concerto in F, and Three Preludes, to his opera, Porgy and Bess, thought by some to be the greatest of all American operas.

  Pops Hoedown Richard Hayman
(b. 1920)

Richard Hayman is best-known as an arranger, harmonica player, and conductor. He has had a long career, working with Arthur Fiedler, and the Boston Pops Orchestra, the Saint Louis Orchestra, and the Grand Rapids Symphony Orchestra, where he is still Principal Pops Conductor.

Hayman worked for years in Hollywood as an arranger and conductor, and even has his own star on the Walk of Fame. He has served as musical director or master of ceremonies on tours with such notables as Al Hirt, Johnny Cash, Kenny Rogers, Olivia Newton-John, and many others.

Hayman orchestrated a medley of folk-tunes for his Pops Hoedown. It opens with a short introduction of rather frantic fiddling, and then moves into a series of familiar pieces. You will no doubt recognize the following tunes:

The Devil's Dream Reel
Chicken Reel
Thunder Hornpipe
Paddy Whack
Pop Goes the Weasel
Miss McCloud's Reel
Turkey in the Straw
Stop Buck
Soldier's Joy
The Rakes of Mallow
Devil's Dream

Toward the end, you will hear Hayman's signature harmonica.


Manchester Symphony Orchestra Personnel

  Violin I
Dessie Arnold, Concertmaster
Lois Clond
Ervin Orban
Ilona Orban
Rachel Nowak +^
Elizabeth Smith
Liisa Wiljer

Violin II
Joyce Dubach *
Martha Barker
Sarah Hao
Linda Kummernuss
Alyssa Loos +^
Paula Merriman

Naida MacDermid *
Kelsey Airgood +^
Benjamin Crim +^
Julie Sadler
Margaret Sklenar
Loughlin Wylie +^

Robert Lynn *
Joseph Kalisman
Najah Monroe +^
Timothy Spahr

Darrel Fiene *
Katie Huddleston +^
Jess Gaze

Kathy Urbani *

Kathy Urbani *
Kathy Davis

George Donner *
Diane Whitacre

Lila D. Hammer *
Mark W. Huntington
Sarah Leininger +^
Bass Clarinet
Sarah Leininger +^

Erich Zummack *
Elena Bohlander +^

Alto Saxophone
Michael McConnell

Tenor Saxophone
Terry McKee

John Morse *
Christen Adler **
Carol Campos +^
Kristen Hoffman +^
Kelly Weeks +^

Steven Hammer *
Dennis Ulrey
Derrick Golden

Jon Hartman *
Corey Dash
Andrew Suhre

Jeff Huber

Dave Robbins *

Dave Robbins *
Karl Gilbert
Katie Lowther +
Christopher Teeters +

Tim Reed

David Moan

* Denotes principal
+ Denotes MC student
^ Denotes Keister Scholarship recipient
** Denotes assistant principal
Jiyoung JeoungDr. Jiyoung Jeoung was born in Gwangju, South Korea. She completed a Doctoral degree and Masters degree in piano performance at Ball State University in Muncie, Indiana. Her doctoral dissertation was an analysis of the solo keyboard works of the distiniguished American compower Joan Tower. She also completed a Masters degree in piano performance at Ewha Womens University in Seoul, South Korea.

Most recently, Jiyoung performed in New York City, at Carnegie Hall's Weill Recital Hall, as a first-prize winner of the American Protégé International Piano Competition. She also performed in New York City's Yamaha Piano Salon. Jiyoung has performed at several other venues throughout the United States. She has also performed in South Korea, Singapore, Malaysia, and Thailand.

Jiyoung was the winner of the Indianapolis Matinee Musicale Competition and the Bradshaw and Buono International Piano Competition. She also won the Peoples Choice Competition as a result of her performance on Northeast Indiana Public Radio's program "Meet the Music."

Jiyoung is currently a member of the keyboard faculty at Manchester College and a member of the keyboard staff at Butler University. She is also a keyboard faculty member at the summer Masterworks Festival in Winona Lake, Indiana.
Beverly Eikenberry"I am thrilled to stand on the podium today in front of such a dedicated and talented group of musicians. The hours each performer spends in preparation for one concert cannot be measures. It is a gift, a gift that began with that first moment of holding an instrument, feeling that excitement of possibility, laboring through the practice of playing musical scales and correcting mistakes; repeating, repeating and repeating until all the nuances of the music sound perfrect.

"I am also humbled to have these musicians and you, the audience, receive me in such an unearned place. I have not put in the time and effort about which I wrote above. To prepare for today, both Conductor Scott Humphries and former conductor Robert Jones spent time with me. I enjoyed reading an orchestral score and holding a baton for the first time. I am grateful for the time and attention given to me for this experience.

"Preparing has triggered memories of playing in the Manchester Symphony Orchestra under the baton of Dwight Oltman and singing in the A Cappella Choir under the direction of Clyde Holsinger. I am delighted that both musical ensembles continue to flourish today."

Beverly Eikenberry is a Mediator for Education for Conflict Resolution with an office located at Manchester College. She has enjoyed international work as a Peace Corps Volunteer, for Brethren Colleges Abroad, as director of church work camps in Latin America, and through Brethren Volunteer Service in Hiroshima, Japan, where she had the honor of singing in the Peace Choir from the World Friendship Center.