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Concert Program Cover

Second Concert of the 82nd Season

Winter Air

Monday, November 16th, 2020
Cordier Auditorium
Robert Lynn, Guest Conductor

  The Four Seasons: Winter
Concerto No. 4 in F minor, Op. 8, RV 297
Antonio Vivaldi  

I. Allegro non molto
II. Largo
III. Allegro

  Toccata in the Style of Frescobaldi Girolamo Frescobaldi
Gaspar Cassadó
  Don Quixote Suite Georg Philipp Telemann  

I. Overture: Largo - Allegro
II. Awakening of Don Quixote - Andantino
III. His Attack on the Windmills - Moderato
IV. Sighs of Love for Princess Aline - Andante
V. Sancho Pansa Swindled - Allegro moderato
VI. Rosinante Gallops and The Gallop of Sancho Pansa's Mule: Allegro - Alternativo
VII. Don Quixote at Rest - Vivace

  Concerto Grosso Ralph Vaughan Williams  

I. Intrada - Largo
II. Burlesca Ostinata - Allegro moderato
III. Sarabande - Lento
IV. Scherzo - Allegro (tempo di valse)
V. March and Reprise - Alla marcia

  "Hopak" from The Fair at Sorochyntsi Modest Mussorgsky  

The Adams Program Notes

  The program notes for this concert were written by Dr. Robert Lynn.  
  The Four Seasons: Winter Antonio Vivaldi

I. To tremble from cold in the icy snow, in the harsh breath of a horrid wind. To run, stamping one's feet every moment, our teeth chattering in the extreme cold.

II. Resting beside the fire to pass peaceful, contented days, while the rain outside pours down.

III. We tread the icy path slowly and cautiously, for fear of tripping and falling. We then turn abruptly, slip, crash on the ground, and rising, hasten on across the ice lest it cracks apart. The South winds, the North winds, all the winds at war... This is winter, which nonetheless brings its own delights.

  Toccata in the Style of Frescobaldi Giraolamo Frescobaldi
Gaspar Cassadó
arr. John Higgins

The toccata was developed during the late Renaissance period and was largely a vehicle for the organ and harpsichord. Toccatas feature an improvisatory style (though there is no actual improvisation) with a variety of moods and tempos. Frescobaldi's toccata heard on the program today is often played in transcriptions for band or orchestra; it's his most often-heard of many compositions in the genre.

  Don Quixote Suite Georg Philipp Teleman

I. Like most orchestral suites of the Baroque age, Telemann's Don Quixote Suite begins with a French overture. French overtures come in two parts: a slow introductions with dotted figures that create jagged, snappy rhythms, and a quick second part with imitation. The first part is often reprised.

II. Like most Baroque orchestra suites, the Don Quixote Suite is a dance suite. Telemann wrote many of these orchestral suites, and he often included a descriptive title or even programmatic content, such as in the Quixote suite -- based on Miguel de Cervantes' tale of a slightly delusional knight.

III. Don Quixote comes upon some windmills which he takes to be fearsome giants. He decides to engage them in battle.

IV. This movement features the "Baroque sigh" -- a motivic device common in Baroque music. It has only two pithces and descends by step. The first note is emphasized, with a relaxation on the second, creating an expressive "sighing" gesture.

V. Don Quixote's sidekick, Sancho Pansa, is only a simple farmer. The music features frequent shifts in dynamics, which create some "musical confusion."

VI. Musical depictions of the mighty steeds of Don Quixote and his squire.

  Concerto Grosso Ralph Vaughan Williams

A concerto grosso divides the orchestra into two groups: a smaller "concertino" group and a larger "tutti" group. The sound features mixtures of the two groups playing alone as well as combined.

II. The second movement has a distinctive main theme that uses only open strings.

III. The third movement borrows its structure from the Baroque suite with the sarabande, a dark, triple meter dance. But the dance characters is overshadowed by melodies that suggest a stark, haunting British landscape, with rich, dusky harmonies.

IV. The scherzo contrasts vigorous, short staccato figures with a lilting, cantabile melody. Much of the movement suggests a bleak and foreboding mood.

V. The final movement begins with a jaunty march, which is interspersed and combined with several quirky secondary themes. The piece closes with a restatement of the opening Intrada.

  "Hopak" from The Fair at Sorochinsk Modest Mussorgsky

The Hopak is a Ukrainian folk dance. Mussorgsky wrote one for the finale of his comic opera, The Fair at Sorochinsk. It is probably the best-known music from the opera.


Manchester Symphony Orchestra Personnel

  Violin I
Elizabeth Smith, Concertmaster
Kristin Westover
Pablo Vasquez
Ilona Orban
Linda Kummernuss
Angela Ruch

Violin II
Joyce Dubach *
Nailea Ponce +^
Paula Merriman
David Blakely
Adele Maxfield
Jessica Platt

Margaret Sklenar *
Liisa Wiljer
Emily Mondok
Kati Harrison
Benjamin Bolduc *
Monique Hochstetler +^
Daniel Kubischta +^
Wallace Dubach

Darrel Fiene *
Katie Allison

* Denotes principal
+ Denotes MU student
^ Denotes Keister Scholarship recipient
** Denotes assistant principal