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Concert Program Cover

Third Concert of the 77th Season

Chamber Works Gala

Sunday, March 6th, 2016
Cordier Auditorium
Scott Humphries, Conductor

  Sonata No. 29 from Die Bankelsangerlieder Georg Daniel Speer  
  Mykayla Neilson, trumpet
Grant Ebert, trumpet
Laura Dickey, horn
Chris Hartman, trombone
Nathan Crain, tuba
  Artichokes Erich Zummack  
  Pomegranates Erich Zummack  
  Lila Hammer, clarinet
Mark Huntington, clarinet
Erich Zummack, bassoon
Freddie Lapierre, bassoon
Steve Hammer, trumpet
  Vanishing Point Tim Reed  
  Scott Humphries, alto saxophone
Kathy Davis, flute
Lila Hammer, clarinet
Robert Lynn, cello
Darrel Fiene, bass
Tim Reed, piano
  Crumpet the Trumpet Kristine Papillon  
  André Papillon, narrator  
  Serenade in E-flat Major, Op. 7 Richard Strauss  
  Capriol Suite Peter Warlock  

I. Basse-Danse
II. Pavane
III. Tordion
IV. Bransles
V. Pieds-en-l'air
VI. Mattachins


The Adams Program Notes by James R. C. Adams

  Sonata No. 29 from Die Bankelsangerlieder Georg Daniel Speer

The origin of this work is not fully known. It previously was considered as being by an anonymous seventeenth century German, but modern scholars attribute it to Georg Daniel Speer, a German composer from Breslau. It was from a collection of pieces published in 1684 under the title of Die Bankelsangerlieder. This German term means "bench singer," and refers to itinerant entertainers who would perform in local taverns while standing on a bench.

In the 1680s, Speer was extremely prolific, publishing books on performance, including examples of his own music as study pieces. He was a church musician as well as a teacher, and he took a keen interest in local politics, publishing a tract which landed him in jail for a short time.

In 1664, several autobiographical novels were published anonymously, but thought to be by Speer. During his travels in south-eastern Europe, he absorbed a great deal of knowledge of musical performances of the time. Probably the most famous of his works is this sonata. it is not a sonata in the modern sense of the word, but simply a work played, rather than sung. There were two sorts of music at that time, and their names were derived from the Italian, sonare (to play), and cantare (to sing). These early sonatas eventually evolved into the highly-structured sonatas we now know from the Classical era.

This work, probably by Speer, but usually played in arrangements by various more recent composers, is for a wind quintet, and provides a great opportunity for antiphonal playing.

  Vanishing Point Tim Reed
(b. 1976)

A Note from the composer: In visual art, a vanishing point is the distant point at which receding parallel lines appear to converge, bringing about a sense of both recession and emergence -- the end of the road and also its beginning. This piece is a reflection on the beauty evoked by contradiction, opposition and juxtaposition.

  Crumpet the Trumpet Kristine Papillon
(b. 1969)

Crumpet gently introduces children to the beauty of classical music in a humorous and sweet story about a baby trumpet. World renowned violinist Anne Akiko Meyers says in the Forward, "I have seen firsthand the power that music has on a developing child's mind and heart. Crumpet incorporates these important enriching daily activities to help soothe and nurture your child's imagination, and is a wonderful creation." rated Crumpet #1 for "Best Musical Gifts for Kids in 2015" and featured Crumpet as best holiday gift for 2015. Crumpet the Trumpet is now sold by leading orchestras and concert venues across the country.

  Serenade in E-flat Major, Op. 7 Richard Strauss

Despite his problems during the Nazi years, Richard Strauss became popular with audiences, and in the U.S. and Canada his music remained the most performed by symphony orchestras in this century. In terms of available recordings, he is in the top ten composers born after 1860.

So what problems did he face during the war years? During my college years, my best friend, who was extremely knowledgeable about music, was cool to that of Strauss, though I admired it. His reason was that Strauss had been too cozy with the Nazis. Hitler loved the music of Wagner. Strauss loved the music of Wagner, and thought of himself as Wagner's logical successor. So?

Post-war scholarship has revealed the truth about this. Strauss never joined the Nazi Party and often went against the Party's attempts to suppress the music of Mahler and Debussy. But a serious claim against Strauss was what happened in November of 1933, when he was nominated by Goebbels to be President of the Reichsmusikkammer. Goebbels did that without consulting Strauss. That appointment ended when the Gestapo intercepted a letter from Strauss to his Jewish friend and colleague, Stephen Zweig, ridiculing the Party's claims to "Aryan purity." The letter was sent to Hitler, and Strauss lost that position. It was lucky that Hitler liked his music, or he would have been in greater trouble and unable to protect his Jewish daughter-in-law and his Jewish grandchildren. He saved them several times from the concentration camps through his fame and connections. By now, it seems apparent that Strauss was unfairly accused of having Nazi sympathies.

Richard Strauss was the son of Franz Strauss, the principal horn player of the Court Opera in Munich, so Richard grew up in a musical world, but in a very conservative musical world. It is ironic that after an early period of infatuation with the works of Mozart, Schubert, and Mendelssohn, all approved of by his father, Richard then developed an obsession with the music of Wagner, which his father could not abide, refusing even to let Richard acquire any Wagnerian music. In spite of his disagreement with his father over "modern music," Richard learned a great deal from his father, shown most notable in his love of the brass.

The Serenade was written when Strauss was only sixteen years old. Its beautiful melodies and lyricism reflect the young Richard's love of the classics. It is one movement sonata form, and shows that he was still under the influence of his father.

Toward the end of his life, Strauss said of himself, "I may not be a first-rate composer, but I am a first-class, second-rate composer."

  Capriol Suite Peter Warlock

Peter Warlock was a man of great talent, but little self-discipline. He seemed to possess two personalities. On the one hand, he was quiet and introspective, and on the other, boisterous and given to scandalous excess. He wrote much musical criticism, some of which was highly controversial, so he changed publishers often.

Warlock had an interest in the Occult, which is why he changed his name from Philip Haseltine to Peter Warlock, a word meaning Sorcerer. He continued to use both names throughout his life, but reserved his pseudonym, Warlock, for all of his published music, and continued to write critical papers and biographies under his birth name, Haseltine. Among such literary works is a thorough book on Frederick Delius, whom he had met while they were students at Eton.

Warlock is best-known for his vocal music, much of which has based on English folk-songs, but also reached back to ancient times. He was an authority on early music. His Capriol Suite was based on dances of the sixteenth century, quoted in a treatise by Thoinot Arbeau, a French priest whose real name was Jehan Tabouret. One wonders if that name-change played a role in Haseltine's decision to take on a pseudonym. Under the name Peter Warlock, Haseltine published three versions of this dance suite; one for piano duet, one for strings, and a third for full orchestra. The best-known version is for strings, and that is the version we hear today.

The suite consists of six dances, which tell a story ... sort of. "Capriol" is the name of a lawyer who wished to learn to dance, and the suite is in the form of a dialogue between the lawyer and Arbeau, himself. The six dances are:

1. Basse-Danse, Allegro moderato, D minor -- (Basse-Danse means "Low dance," in which dancers glide across the floor without leaping.)

2. Pavane, Allegretto, ma un poco lento, G minor -- (Normally, a slow processional dance, this one is livelier than usual.)

3. Tordion, Con moto, G minor -- (From the French word, tordre, for "twist.")

4. Branslees, Presto, G minor -- (Bransles, Pronounced "BRAHN-sel," is a basic dance of the period. The word means "Brawl," for the side-to-side and back-to-front movements of the couples.)

5. Pieds-en-l'air, Andante tranquillo, G major -- ("Dancing on air," where dancers use a very light step, just short of leaping.)

6. Mattachins (Sword Dance), Allegro con brio, F major -- (From the Spanish matachines, dancers in a mock sword-fight. In the Americas, it is a reference to the war between the Christians and the Moors in Spain, led by St. James.)


Manchester Symphony Orchestra Personnel

Violin I
Elizabeth Smith, Concertmaster
Kayla Michaels +^
Thomas Dean, Student concertmaster +^
Rachel Felver
Paula Merriman
Kristine Papillon

Violin II
Joyce Dubach *
Wendy Kleintank
Julie Sadler
Linda Kummernuss
Alexandria Roskos +^
Tiffany Hanna +
Abby McVay +

Carrie Shank *+^
Margaret Sklenar
Renée Neher +^
Olivia Jenks +^
Courtney Yount +
Stephanie Camargo

Robert Lynn *
Michael Rueff +^
Chris Minning

Darrel Fiene *
Katie Huddleston +^

Kathy Davis *
Kathy Urbani
Terrionna King +
George Donner *
Nyssa Tierney

Lila D. Hammer *
Mark W. Huntington
Angela Ebert +^

Erich Zummack *
Freddie Lapierre +^

Christen Adler *
Matt Weidner
John Morse
Laura Dickey +^

Steven Hammer *
Mykayla Neilson +^
Grant Ebert +^

Chris Hartman +^

Nathan Crain +^

MacKenzi Lowri

Alan Chambers
Tim Reed

* Denotes principal
+ Denotes MU student
^ Denotes Keister Scholarship recipient
** Denotes assistant principal
Kristine PapillonKristine Papillon was born in Sleepy Hollow, New York, and has been painting and playing the violin since she was a young girl. She holds a BA in Violin Performance from the New England Conservatory of Music, studying with James Buswell. Kristine was a Tanglewood Music Center fellow and has performed with the New World Symphony, Nashville Symphony, Hartford Symphony, and now performs with the Fort Wayne Philharmonic.

She has also served as concertmaster for several Broadway touring productions as well as concertmaster for the Tennessee opera. This past year, Kristine wrote, illustrated, and recorded with her friends and colleagues in the Fort Wayne Philharmonic a nationally acclaimed children's CD story book titled Crumpet the Trumpet. Kristine currently lives with her husband, André, and three children in Fort Wayne, Indiana.
Tim ReedTim Reed, MU Music associate professor, graduated with a B.A. in creative music technologies from LaGrange College in 1999 and subsequently attended the Dallas Sound Lab School for the Recording Arts in the Fall of 2000. Reed completed his M.M. in composition/theory at Illinois State University in 2004 and gained his Ph.D. in composition at the University of Florida in 2008. Reed has received awards in the Goliard Ensemble Composition Competition, the LaGrange Symphony Young Artist Composition Competition, and the 2004 Pedrick-Hutson Guitar Duo Commission Contest.

Reed's compositions have been performed at various festivals including Music '04 (Cincinnati Conservatory), the 2005 Nong Project, the Kentucky New Music Festival, Electronic Music Midwest, Electroacoustic Juke Joint, SEAMUS and by the string orchestra $20 in Wroclaw, Poland. His music has also been featured on radio programs including No Pigeonholes, Difficult Listening, Furthernoise Radio, and Foldover. In October of 2003, Reed composed a score for the WIP Studios film Prison-a-Go-Go!, which has received several awards including Best Feature Film at the Backseat Film Festival. His compositions have been published by Trevco Music and by Lonely Whistle.