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presents

LINCOLN UNIVERSITY ~ MITCHELL AUDITORIUMTuesday February 9th, 2016 —7 PM

P PSCONCERT

Featuring Gary Sanders on Piano

Patrick Clark, Conductor

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Program

Richard Rodgers in Concert, Words and Music by Richard Rodgers, Choral

 Arrangement by Mac Huff, Instrumental Arrangement by Paul Murtha (2002)

 Vocal soloist: Nancy Luehrman

 When You Believe, Words by Stephen Schwartz, Choral Arrangement by

 Audrey Snyder, Instrumental Arrangement by John Moss (1997)

 Vocal soloists: Kristin Van De Velde, Bill Stine, Elizabeth Hedrick

Showboat: A Choral Montage, Words by Oscar Hammerstein II, Music by

 Jerome Kern, Choral Arrangement by Hawley Ades (1979), Instrumental

 Arrangement by Earl Braun (1983)

 Vocal soloists: Lacey Williams, Tom Steever

Porgy and Bess: Medley from the Broadway Musical, Music by George

Gershwin, Lyrics by Dubose Heyward and Ira Gershwin, Arranged by Ed

Lojeski (1984)

 Vocal soloists: Sylvia Morris Ferguson, Carl Beach

INTERMISSION

Stage Fright Rhapsody (from Alfred Hitchcock’s “Stage Fright) (1950/1994)Leighton Lucas (1903-1982), arr./orch. by Philip Lane (b. 1950)

Forrest Gump - Main Title “Feather Theme” (1984/1995)

 Alan Silvestri (b. 1950), ed. By Paul Lavender (1937)

 Warsaw Concerto (1941)Richard Addinsell (1904–1997)

Rhapsody on a Theme of Paganini, 18th Variation, op. 43 (1934)

Sergei Rachmaninoff (1873-1943)

Somewhere in Time (From “Somewhere in Time”) (1980/1994) 

 John Barry (1933-2011), arr. by Calvin Custer (1939-1998)

Stolen Face Ballade for Piano and Orchestra (1952/1999)

Malcolm Arnold (1921-2006), arr. by Philip Lane (b. 1950)

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VIOLIN ICheryl Nield**Sarah Acree

 Julie Carr Xiao Xiao Du

 Kelby KornrumpfCrystal Remmel

 Hannah Tabor

Sierra Tackett

 Janna Volmert

VIOLIN II

Susan Wallace* Marty Gardner

Tayla Hughes Kristi Langendoerfer McKayla Porter Esuga

 Emily Schweiss Rebecca Talbert Madjid Vasseghi Parker Watkins

 Evan Wilde

VIOLA E. F. Braun* Laura Eggeman

 Elijah Hiltey Hannah Keeley Janet MengwasserCatherine Roehl

 Kirsten SchwandtnerWarren Solomon

CELLOScott Major*

 Nathan Erickson Patricia Koonce Jonathan Satterfield

Greg Spillman Brahm Treiman Rachel Ulm

 Aimee M. Veile

BASS Bonnie Verdot*

 Izzak Green Alison Riggs

 Leah Stock

FLUTE/PICCOLOTisha Celada*Susan Capehart

OBOE/ENGLISH HORN Andrew Marjamaa* Mary Stahlhuth

CLARINETSteven Houser*

 Earl Kliethermes

BASS CLARINET David Heise

BASSOON Karel Lowery* Andrew Bell

FRENCH HORN Molly White* Kyla McDonaldCharles Turner

TRUMPET Barry Sanders* Liam Reagan Heath Thomure

TROMBONET.J. Higgins*

 Karen Kramer Max Mollencamp

BASS TROMBONE Jim Merciel

BARITONEWilliam Mollencamp

TUBA Bruce G. Connor

PERCUSSIONSamantha Gierer

 Matt Musselman Eric Veile Dalton Wright

TIMPANITom Higgins***

HARP Janna Volmert

PIANO Jimmie Kay Sanders

CONDUCTOR Patrick Clark

***JCSO President**Concertmaster*PrincipalViolin, Viola, Cello

and String Bass performers, except for the principal, arelisted in alphabeticalorder.

Personnel

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Patrick David Clark  ( b. 1967, St. Louis, MO) is acomposer and conductor, recently having completed aMasters degree in orchestral conducting at the Universityof Missouri where he studied with Edward Dolbashian.Most recently Patrick has been commissioned to write anorchestral work for the Illinois Symphony Orchestra incelebration of their 20th anniversary.

Patrick holds his Bachelors degree in composition, also from MU wherehe studied with Thomas McKenney and John Cheetham. Patrick earnedhis Master’s degree from the University of Arizona, studying with Dan

 Asia, and his DMA in composition from the Shepherd School of Music,Rice University studying with Arthur Gottschalk, Paul Cooper andEllsworth Milburn. Patrick is a Tanglewood Fellow (1997), participated asa composer at June in Buffalo (1996) and studied with Louis Andriessen atthe Royal Conservatory in the Hague in Holland on a Netherlands- America Foundation Grant (1999-2001).

Patrick has worked since as a composer, writer for Andante.com, andteacher in Holland, Los Angeles and Albuquerque, NM. Orchestral worksby Patrick have been programmed by the Seattle Symphony, San AntonioSymphony, Nashville Symphony, and the Nederlands Ballet Orkst Variousmixed ensemble works have been performed by the Tel-Aviv-based

Kaprizma ensemble, New York-based Dogs of Desire, and HarveySollberger’s ensemble Sirius. Saxophonist Leo Saguiguit programmed twoof Patrick’s, Departure/Train and Attila , at the International SaxophoneConference in Scotland in July 2012. Patrick’s original composition for bigband, After Hours, has been recently recorded by the MU Concert JazzBand and released on their 2011 CD of new music, Tunnel Vision.

Patrick is the recipient of the 2011 Sinquefield Prize in music compositionat the University of Missouri, and conducted his own commissioned work, A Fantasy on Themes of Mussorgsky, with the University PhilharmonicOrchestra at the March 14, 2011 Chancellor’s Concert, Jesse Auditorium. Patrick was one of eight composers selected to write a work for Alarm

 Will Sound, performed in July of 2011. The resulting composition,Ptolemy’s Carousel, and many other works by the composer can be heard athttp://soundcloud.com/patrick-david-clark .

Our Conductor

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Gary Sanders — Anative of Jefferson City, Mr.Sanders is a graduate of theUniversity of Missouri-Columbia School of Musicwith a B.M. in PianoPerformance, Magna Cum

Laude, Phi Beta Kappa, and Pi Kappa Lambda. His teachershave included Anne Manahan, Santiago Rodriguez, and

William Koehler. A self-taught pianist prior to receiving a fullscholarship at the UMC School of Music, the piano and itsrepertoire have been a life-long passion. Having playedprofessionally for many years, this is his first performance withthe JCSO. His identical twin, Barry, plays 1st trumpet with the JCSO.

A fervent collector of obscure, 19th century out-of-print pianomusic, Mr. Sanders maintains an enormous library of raremusic scores. Most recently he has been invited by theChairman of the Liberace Foundation for the Creative and

Performing Arts to play on one of Liberace’s pianos in LasVegas. When not playing or teaching the piano, he spends histime with his wife, Melinda, and their two, very spoiled BostonTerriers, Molly and Rosie. He is an avid gardener of tropicalplants and an employee of the Missouri Department of Ele-mentary and Secondary Education in Jefferson City.

Our Soloist

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SopranosKelly CopelandMaggie GeorgeLiz HedrickJeanne JohnstonShirley KleinPauline KuntzNancy LuehrmanRuth RobertsonCindy WilkinsLacey Williams

AltosBetsy BaxSylvia Morris FergusonMargaret Jenkins FritzSusie HaeffnerJulie HeiseCheryl HickmanLu LockwoodNancy Ellis-OrdwayCharlotte Parsons

Patt PerkinsAnne RiggsKristin Van De Velde

JCSO Choir Personnel

TenorsPat BehlerJim BorgwaldWilliam A. BryantEarl FriedmeyerJoyce HendersonArt Wilkins

BassCarl BeachJohn FinleyStephen HallJon HansonSteve InglishSteve PriceRich ReinwaldGregory SchildmeyerTom SteeverBill Stine

Jimmy Kay Sanders, rehearsal and performance pianistPatrick Clark, chorus director

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Department of Visual

and Performing ArtsMusic Unit and Art Unit

820 Chestnut StreetJefferson City, Missouri

65102-0029Phone: 573-681-5195

Fax: 573-681-5004

Quality Undergraduate Education Scholarships and Service Awards Available

SmartMusic® Lab

NASM Accredited

Enjoy small classes with highly qualified faculty who provideindividual attention in an interactive setting.

Bachelor of Science in Music EducationBachelor of Science in Sacred Music

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Your Foundation for Excellence

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Proudly serving Central Missouri since 1965

2501 Industrial Drive

 Jefferson City, Missouri 65109

573-635-7995 phone

573-635-5220 fax

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To help with all of yourhome improvement needs,Brady’s is privileged to beJefferson City’s PittsburghPaints dealer.

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JCSO ChamberOrchestra

Looking for live entertainment for a luncheon or wedding? The JCSO has a ChamberOrchestra that can suit any need you may have from a trio to full chamber ensembles.If you have an upcoming event and would like to add some world class entertainment

please contact us for rates and availability.

Email Bonnie Verdot: bverdot184@aim.com

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Symphony Angels

Dr. Steven & Jan HouserDon Schilling

Sharon & James MercielBonnie Verdot

Nancy LuehrmanCharles TurnerLaura EggemanSusan Capeheart

Dianne & Tom HigginsPatrick Clark

 J&H McIntoshMildred TunnellCynthia Tandy

Patricia & John KoonceCandace Cheung

Cheryl NeildDoug Etter

 The Richard Powell FamilyRobert MansurMarty Gardner

Karel & James LoweryCarmen & Charles Brown Jefferson City Cantorum Annel & Robert Bailey

Mary Wherritt Annoymous

 Jefferson City Public SchoolsLinn High SchoolLincoln University

Our Savior’s Lutheran Church 

 Willie Beatty, Mitchell Auditorium General Manager

Symphony Board of Directors

 Tom Higgins, PresidentKarel Lowery, Vice President

 Jim Merciel, SecretaryPatricia Koonce, TreasurerPatrick Clark, ConductorBonnie Verdot, Past President

 Amiee Veile, JCPS Liaison

 Julie Carr Andrea CheungCandy Cheung

 T.J. HigginsCrystal RemmelGreg Spillman

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Would you like to become a

Symphony Angel

 The Jefferson City Symphony Orchestra is comprised entirely of Volunteers who love to share music with our community. There aremany costs associated with our performances, such as rental and

purchase of sheet music, instruments and repairs, and even the costof this program you are reading. We rely on family, friends, andbusinesses in the Jefferson City area to provide funds to continuebringing you beautiful and exciting music from around the world.

If you or your business is interested in supporting the Jefferson CitySymphony Orchestra please choose one of the options below:

I would like to give a donation of $_________,the check is enclosed. (Payable to JCSO)

I would like to give a donation of $_________,can you please send me an invoice for payment.

I would like to learn more about sponsoring a concert oradvertising in concert programs.

Please mail to: The Jefferson City Symphony Orchestra (JCSO)PO BOX 104384 Jefferson City, MO 65110

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Music Notes from the Pianist

By Gary SandersWhen Dr. Patrick Clark asked me to write some program notes about

the pieces I am playing tonight, I felt a twinge of dread. I am not awriter, an English scholar, a film buff, nor an historian. I am simply a

 pianist –  a pianist who loves the literature of the piano and music itself.

I’ve researched this particular genre (I call it the Hollywood PianoConcerto as have others) for over four decades after first hearing

Liberace’s version of the ―Warsaw Concerto‖ on an old LP my parentsowned. It was that piece that prompted me to teach myself how to playthe piano. I wanted to play THAT piece! The recording became

completely unplayable after wearing deep grooves in the vinyl fromlistening to it over and over while trying to emulate what Liberace wasdoing. I felt that if he could play arpeggios so could I. To this day, the

―Warsaw Concerto‖ is my favorite piece of music in the entire musicrepertoire.

There have been thousands of compositions written for piano and

orchestra since Bartolomeo Cristofori de Francesco invented and firstexhibited his keyboard instrument in Florence, Italy. Presented in 1709,

the instrument was first named ―gravicembalo col piano e forte‖ (softand loud instrument) but was thankfully shortened to fortepiano andfinally truncated to piano. From Bach to the present day, most every

composer, still known or now forgotten, whether a pianist or not,

contributed something to the genre of piano and orchestra. The piano

alone has always been integral to the film industry as an expressive,emotional outlet since the days of the silent movies where a ―house‖ pianist or organist played the background music using varying degrees

of volume and tempo combined with major, minor, diminished chords,and intervals to heighten the movie’s action. Today’s film music isfilled with a multiplicity of instruments yet the piano still rises and

shines above them when given a good tune.

The ―Hollywood Piano Concerto‖ was born in 1940 as a result of Rich-

ard Addinsell’s ―Warsaw Concerto.‖ As movies with sound evolved sodid the music that accompanied them. Renowned composers of the daywere asked to write movie themes including Rachmaninoff,

Shostakovich, Addinsell, Charles Williams, Charles Wildman (Willy

Mattes), Kabalevsky, Copland, etc.

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The tense war period during the 1940’s spawned this highly chargedgenre and many pianists were playing the themes in living room

concerts across the world. These works, particularly those from the

1940’s and 1950’s, have a Rachmaninoff flair to them in both melodicand harmonic treatment in addition to being a virtuosic display for the

soloist. Many of the movie plots revolve around the life of a concert

 pianist. The concertos are still popular to this day which attest to their

timelessness. For me, these works are quite simply some of the mostsavory tidbits found in music literature –  full of spice that delights thesenses. They are to be indulged and relished little by little, piece by

 piece. I scoured the Internet to purchase all of the movies thattonight’s piano music comes from. It was necessary for me toexperience how and where this music originated. It was not an easy

task as some of the films are completely unknown today. Thank good-

ness for Amazon.Com and E-Bay!! Get your popcorn, and let’s go tothe movies:

 Stage Fright (1950)

Jane Wyman, Marlene Dietrich, and Richard Todd star in this AlfredHitchcock directed movie. An aspiring actress tries to help a friend

who is suspected of killing his lover’s husband, a high societyentertainer. The female investigator falls in love with the suspect anda blackmail plot ensues. Themusic is composed by Leighton Lucas

(1903 –  1982), a former ballet dancer turned composer and conductor by the time he was 19. He later was a professor at the Royal Academy

of music. His music to ―Stage Fright‖ was well praised and accepted.The score is a new and very welcome discovery for me, and I chose it

at the first piece to play because of the title.

“The Warsaw Concerto” Dangerous Moonlight (1941) Also known as ―Suicide Squadron‖, this British movie features AntonWalbrook and Sally Gray. Quite honestly, the greatest gift from this

film is the music itself as the plot weakly revolves around anAmerican, female journalist who falls in love with a tired, worn, shell

shocked, Polish concert pianist who is fighting as an airman during the Nazi invasion of Poland.

Because of this film’s music alone, I believe the genre of the―Hollywood Piano Concerto‖ was born. Richard Addinsell (1904 –  1977), a former law student turned composer, provided the music.Initially composed many years before this movie (Rachmaninoff

turned down the original invitation to score the film), the theme started

life as a simple rumba.

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Music Notes

Warsaw cont:Both Addinsell and his musical partner, Roy Douglas, poured throughmultiple scores of Rachmaninoff’s music for inspiration. The rumba,with its distinctive and piquant harmony, was transformed into an

overwhelming success as one of the most popular pieces of music ever

written. It is still the most recognized, performed, and recorded―Hollywood Piano Concerto‖ of its kind, suis generis, and by far themost emulated - a well synthesized and seductively beautiful work of

art. Until his death, Addinsell continued to provide a prolific amount of

the highest quality entertainment music. Liberace championed his ownarrangement of this piece in the late 1940’s and used it throughout his

entire career as one of his stage entrance and exit pieces.

Forrest Gump (1994)Tom Hanks, Rebecca Williams, and Sally field star in this Robert

Zemeckis directed film about a man with a below average I.Q. who

accomplishes great things during his life. Despite childhood repetitivehearings of ―stupid is as stupid does‖, Forrest manages to overcome hischallenges resulting in incredible, historical experiences with the likes

of Elvis Presley, John F. Kennedy, Lyndon Johnson, Richard Nixon, etc.

The film begins with a feather gracefully falling to the feet of ForrestGump while he is sitting at a bus top in Savannah, Georgia, - hence the

name of the music ―Feather Theme.‖ The film’s composer is AlanSilvestri (born 1950) - a prolific composer of film music for over 30years. He is known for his musical collaboration on ―Back to theFuture‖, ―Who Framed Roger Rabbit‖, ―Contact‖, ―Cast Away‖, and―The Polar Express‖. Silvestri is a Grammy Award winner. 

 Somewhere in Time (1980)Christopher Reeve and Jane Seymour star in this Jeannot Szwarc

directed film. Considered a ―sleeper‖ movie by many critics, it is a beautifully crafted film about a young man haunted by a brief andunusual encounter. Years before taking a break as a successful

 playwright, Christopher Reeve is approached by an old woman who

gives him a pocket watch and whispers ―come back to me.‖ The incidentis tucked away. While on break at the Grand Hotel on Mackinac Island,he sees a glorious portrait of a young and beautiful woman (Jane Sey-

mour). He can’t stop staring at it. Intrigued and enamored he discoverswho she was.

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Using self hypnosis, he travels back in time to 1912 –  the time periodof the portrait. The story follows their meeting and subsequent love

affair which ends, quite innocently, because of a simple glimpse at a

 penny dated from his time which he accidentally carried in his pocket. He finds himself thrust back to the present. Grief-stricken, he

dies and is happily reunited with Jane Seymour. The main theme mu-

sic is by John Barry (1933-2011) –  a highly gifted composer of beau-tifully crafted film music which earned him five Oscars. ―SomewhereIn Time‖ was Barry’s best selling score, outselling all his othersoundtracks put together. Barry collaborated on ―Body Heat‖, ―Out ofAfrica‖, ―The Cotton Club‖, and scored eleven films in the JamesBond theme series.

Rachmaninoff’s 18th Variation from his ―Rhapsody on a Theme of

Paganini‖ for piano and orchestra is used extensively during thismovie. The piece needs no introduction as it is one of the most

 beloved tunes of all time. Based on a set of Paganini’s variations forviolin, Rachmaninoff took the main musical motif and literally turned

it upside down and backwards to arrive at one of the most recogniz-

able and luscious melodies ever. It is this tune that Jane Seymour

hears Christopher Reeve humming and inquires about it. He,however, can’t really say much about the music as it hadn’t beenwritten yet. A musically enjoyable twist!

 Stolen Face (1952)

Paul Henried and Lizabeth Scott star in this black and white filmnoir. A forgotten, suspenseful movie, its plot revolves around a heart-

 broken, jilted doctor who repairs an escaped female inmate’s highlydisfigured face to match the face of the woman (a concert pianist)who has left him. He is devastated and marries the inmate in hopes of

recapturing his lost love only to suffer even more from an abusive

relationship. The music is by the prolific and noted composer Mal-com Arnold (1921 –  2006). Arnold enjoyed the music of jazz whichlater led to him being a member of the London Philharmonic Orches-

tra as a trumpet player. Much of his work was light, entertainmentmusic which brought him much acclaim. He was a well-respected

composer in his own right.

Nicole B. Fekaris

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Congratulations to the Jefferson City

Symphony for bringing the Best of

Music to the Mid Missouri community.

Jan Houser Piano StudioTraditional and Suzuki Lessons

Dr. Steven Houser,Woodwind Lessons

Houser Piano Tuning

 janzstudio@embarqmail.com

573-635-2909

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 Porgy and Bess

DuBose Heyward’s novel, Porgy, was originally published in 1925. Ittells the story of a crippled beggar  — Porgy — living in the fictionalcommunity of ―Catfish Row‖ in Charleston, South Carolina; and hisnewfound love — Bess. As Porgy manages to tame the wild-spiritedBess through love, he also attempts to protect her from her monstrous,

murderous lover, Crown, and the tricky drug-dealer, Sporting Life.Ultimately, in saving her from Crown, Porgy loses Bess to Sporting

Life, who steals her away to New York City.

George Gershwin composed what he called a ―folk opera‖ nine yearslater, the libretto being written in part by Heyward himself, along withIra Gershwin, and from that opera, Porgy and Bess, comes tonight’smedley. It begins with the haunting melody of the classic

―Summertime,‖ praising the beauty and life of the Charleston streets.―My Man’s Gone Now‖ begins the opera’s plot, a song of mourningfor the old man Robbins, killed by Crown. The music picks up with

the happy tune of ―I’ve Got Plenty o’ Nuttin,‖ as Porgy, happy to havetaken in Bess, gleefully exclaims that he has everything he needs.

 Next is Sporting Life’s ―It Ain’t Necessarily So,‖ a song of trickery, preaching to the people of Catfish Row not to trust everything they

read in the Bible. The love story reaches its peak with Porgy’s declara-tion, ―Bess, You is My Woman,‖ to which Bess replies in kind. Thefinale, ―Oh Lawd, I’m On My Way,‖ would not seem out of place in asouthern gospel choir, as Porgy and the whole community cry out to

God in a triumphant chorus.

When you Believe

―When You Believe,‖ was composed by prolific Hollywood composerStephen Schwartz, who is also known for his work in musicals includ-ing Godspell, Pippin, and Wicked. Schwartz has won three Grammy

Awards, three Academy Awards, including one for his work on The

Prince of Egypt, and has been nominated for six Tony Awards. He re-ceived the 2015 Isabelle Stevenson Award, a special Tony Award, forhis commitment to serving artists and fostering new talent.

Music Notes

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In addition to being the theme of The Prince of Egypt, ―When YouBelieve‖ was released as a hit single, featuring a unique duet be-

tween singers Whitney Houston and Mariah Carey. It peaked at 15on the Billboard Hot 100. It won the 1999 Academy Award for Best

Original Song.

―When You Believe‖ is a song of hope, with lyrics describing theeverlasting hope that all people can feel, and the ability each personhas to achieve miracles when they reach out to God and believe.

 Richard Rogers

One of the greatest American composers, Richard Rodgers hascomposed music for over 900 songs and for 43 Broadway musicals.

Rodgers is well known for his work with lyricists Lorenz Hart and

Oscar Hammerstein II.

Rodgers began his career in 1919, while still attending Columbia

University, alongside Hart, with amateur work appearing in severalBroadway comedies. Rodger’s and Hart’s first big hit, ―Manhattan,‖appeared in a benefit show for the Theater’s Guild in 1925, afterwhich the two became a well-known songwriting duo on Broadway.Together with Hart, Rodgers composed for shows throughout the

depression, including On Your Toes and Babes in Arms, from which

selections are included in this medley.

Following Hart’s death in 1943, Rodgers teamed up with Hammer-

stein, another fellow Columbia alum. Their first musical, theunforgettable Oklahoma! clearly marked their talent, as well as the beginning of their success. The two composed for some of the most

 popular musicals of all time, such as South Pacific, The King and I,

and The Sound of Music.

The composer left a powerful legacy for all songwriters to come. Hewas the first person to ever complete an EGOT — winning an Emmy,a Grammy, an Oscar, and a Tony — and also won a Pulitzer to roundthings out. His music has become nearly ubiquitous among bothmusical and American culture: ―Do-Re-Mi‖ is taught in

elementary music classes to children nationwide, ―Oh,What a Beautiful Morning,‖ is often mistaken for a folksong, and 99.9% of all tourists to the state of Oklahomacross the state lines with the line ―Oooooooo-klahomawhere the wind comes sweeping down the plain.‖ 

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 ShowboatShow Boat is a 1927 musical in two acts, with music by Jerome Kern

and book and lyrics by Oscar Hammerstein II. It follows the lives of

workers on the Cotton Blossom a Mississippi show boat over a period of forty years, as American culture shifts and changes

especially with regards to race-relations.

The show was quickly praised for its then-unique approach to

musical storytelling, in which serious themes are portrayed in lavish

musical displays; as well as for its departure from the trend of

relatively lighthearted and whimsical musicals and operettas onBroadway at the time. Critics immediately recognized both the

quality of the storytelling and the Americana music of the show, and

it is often cited as a turning point for American musical theatre.

The musical boasts classic American music, with many of noteappearing in tonight’s medley. The medley includes the songs ―WhyDo I Love You?‖ ―Make Believe,‖ You are Love,‖ and ―Ol’ ManRiver.‖ The arrangement for the Jefferson City Symphony is partially by Hawley Ades and partially by our very own violist E.F. Braun,who will probably be recognized for it at some point tonight.

Music Notes

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If you wish to participate in The Jefferson City Symphony Orchestra please contact either Patrick Clark or Bonnie Verdot. 

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