from on high ... and down below austrian holidays
TRANSCRIPT
MUSIC DIRECTOREric McIntyre
ORCHESTRA STAFF Jennifer Powers, Personnel Manager
Mary Kay Polashek, Librarian
BOARD MEMBERS Sam Wormley, President Aaron Fultz, Secretary
Andrew Forbes, TreasurerRoger Berger, Emeritus
Gina Folsom Alan Henson
Charles Orngard Jeffrey Prater
Stan Rabe
OTHER CONTRIBUTORSDawn Budd, Artistic Designer
Noelle Fultz, Standing Ovation LiaisonFriends of Central Iowa Symphony (FOCIS)
FROM ON HIGH ... AND DOWN BELOWOctober 8, 2016, 7:30 PM
AUSTRIAN HOLIDAYSDecember 3, 2016, 7:30 PM
The Central Iowa Symphony is funded in part by local option tax funds provided by the City of Ames through the Commission on the Arts.
Join us for Concert Conversations with Music Director Eric McIntyre at 6:15 PM before each performance
Reception following the concerts
&
ERIC MCINTYRE Music Director
OCTOBER 8, 2016, 7:30 PMAMES CITY AUDITORIUM
HUNGARIAN MARCH FROM LA DAMNATION DE FAUST, OP.24
Hector Berlioz (1803-1869)
TUBA CONCERTO IN F MINOR Ralph Vaughan Williams (1872-1958)
Prelude: Allegro moderatoRomanza: Andante sostenutoFinale - Rondo alla tedesca: Allegro
Bo Atlas, tuba
INTERMISSION
GOOD FRIDAY SPELL FROM PARSIFALRichard Wagner (1813-1883)
LE CHASSEUR MAUDITCésar Franck (1822-1890)
FROM ON HIGH ... AND DOWN BELOW
BO ATLASBo Atlas is currently in his 6th season as Principal Tubist with the Des Moines Symphony, and prior to that was Principal Tubist with the Topeka Symphony for 3 seasons. His formal education includes a Bachelor’s Degree from the University of Kansas, and a Masters Degree from the University of Nebraska-Lincoln, and is currently pursuing a Doctoral Degree from the University of Iowa. Mr. Atlas has also been active as a freelance musician performing with groups such as the Omaha Symphony, Lincoln Symphony, Kansas City Symphony, Waterloo Cedar Falls Symphony, Dubuque Symphony, Kansas Brass Quintet, Blackhouse Improviser’s Collective, Kansas City Brassworks, and the Fountain City Brass Band.In 2014, Bo began collaborating with Casey Maday (trombone) and Will Baker (Bass Trombone) to form a trio called The Des Moines Low Brass Triumvirate. The group’s goals are to provide high quality musical performances, enrich our community, entertain audiences, and reach and teach students throughout Iowa and the greater Midwest.Bo is also much sought after soloist and has received many accolades for his solo work including Semi-finalist at the International Tuba Euphonium Conference in 2010, Finalist at the Arapahoe Philharmonic Concerto Competition in 2011, winner of the University of Kansas Symphony Concerto Competition in 2012, winner of the Great Plains Regional Tuba Conference solo competition in 2009, and winner of the US Army Band Mock Audition in 2012.Bo has studied tuba with John Manning, Craig Fuller, Scott Watson, Patrick Stuckemeyer, Tony Clements, Peter Warhaftig, Sam Pilafian, and Christian Carichner.
A special thanks to Everts for the flower
arrangements.
Bo Atlas
PROGRAM NOTESIn 1846 Hector Berlioz (1803-1869), the great French avant-garde composer of the Romantic era, wrote the “Hungarian March” that would later appear in his opera The Damnation of Faust. In typical compositional frenzy, Berlioz is said to have orchestrated the march in just one night during a brief stay in Vienna. This was just prior to a trip to Budapest, where Berlioz hoped for a positive reception among Hungarian audiences for this new orchestral version of their nationalistic “Rákóczy March.” Between the 16th and the 18th centuries,
the Hungarian noble family Rákóczy produced important military leaders who mounted ultimately unsuccessful attempts to secure Hungary’s independence from Austria. The “Rákóczy March” was originally composed by Hungarian composer János Bihari (1764-1827), and was written as a tribute to the brave and audacious Rákóczys. The premiere of Berlioz’ “Hungarian March” was received with thunderous ovations in Budapest, and as a result, the composer decided to find a place for the march in his in-progress opera The Damnation of Faust. However, in order to work the march into the plot, Berlioz had Faust’s character, lost in thought, appear on a Hungarian plain just in time to observe a charge by the Hungarian army. Berlioz’ The Damnation of Faust was an operatic failure, but the masterfully orchestrated and rousing “Hungarian March” is frequently performed on symphonic concerts. Especially interesting is the brilliant coda that moves rapidly through a number of implied keys before finally coming to rest.
PROGRAM NOTES
Richard Wagner (1813-1883), the German titan of dramatic music in the mid-nineteenth century, had already composed much of his Der Ring des Nibelungen, most of Die Meistersinger von Nürnberg, and the whole of Tristan und Isolde when he began composing Parsifal in 1865. This latter music drama he subtitled “a festival consecration for the stage.” Parsifal is actually Wagner’s Germanized spelling of the English name “Percival” (Percival was one of King Arthur’s Knights of the Round Table). The plot concerns protagonist Parsifal’s quest for the holy grail, but this quest is strongly coupled with Wagner’s mystical philosophy, in which deliverance and salvation can come only through persons of pure, naive and single-minded faith. In the last act of this music drama, atonement and healing comes on Good Friday (the anniversary of Christ’s crucifixion) through Parsifal. The music of this scene, generally known in English as “The Good Friday Spell,” consists of powerfully mystical elements. In this excerpt from Parsifal one can hear a short chorale-like motive. This motive is a quotation of the well-known “Dresden Amen” that has long been included in Protestant hymnbooks.
The Tuba Concerto in F minor by the British composer, Ralph Vaughn Williams (1872-1958) was written in 1954 for the principal tubist of the Royal Philharmonic Orchestra, Phillip Catelinet. Up to this point, concerti for the lowest bass instruments of the orchestra were rare or non-existent, and some critics considered Vaughn Williams’ tuba concerto to be both strange and unworkable. However, as musicologist Beth Fleming points out:
Vaughn Williams had a penchant for featuring instruments that are more typically cast in supporting roles. Just as he favored the warm, rich tones of the viola in many of his works, he sought out the deep, intensely lyrical resonance and the quirky suppleness of the largest of brass instruments, exploiting all its best qualities in a ground-breaking concerto that inaugurated a legacy of tuba repertory.
The two fast outside movements give the performer opportunity to demonstrate the incredible agility and flexibility of the bass tuba. These fast movements require great concentration and virtuosity from the soloist. Especially beautiful is the slower and lyrical middle movement of the concerto, which demands a most tender and heart-felt romantic sensitivity from the performer. The premiere of this work, likely the very first tuba concerto, took place in June 1954 with soloist Catelinet and the Royal Philharmonic conducted by Sir John Barbirolli
Hector Berlioz
Ralph Vaughn- Williams
Richard Wagner
ERIC MCINTYRE Music Director
DECEMBER 3, 2016, 7:30 PMAMES CITY AUDITORIUM
DER ROSENKAVALIER WALTZ, OP. 59Richard Strauss (1864-1949) Arr. Roy Douglas
ANDACHTSJODLER TraditionalArr. Eric L. McIntyre
KAISERWALZER, OP.437 Johann Strauss II (1825-1899)
RADETZKY MARCH Johann Strauss, Sr. (1804-1849)
INTERMISSION
SYMPHONY NO. 1 IN C MINOR, OP. 68Johannes Brahms (1833-1897)
Un poco sostenuto – Allegro – Meno allegroAndante sostenutoUn poco allegretto e grazioso Adagio – Più andante – Allegro non troppo, ma con brio – Più allegro
AUSTRIAN HOLIDAYS
Le Chausseur Maudit (“The Accursed Huntsman”) was completed in 1882 by French composer Caesar Franck (1813-1883). This dark and intense programmatic work describes a man who chooses to go hunting rather than to church on a Sunday morning, regardless of the fact that this act is in transgession of the biblical commandment to keep the Sabbath holy. While hunting, the man is accosted by a loud voice that condemns him to be hunted and haunted for
eternity by demons. The musical depiction of evil spiritual forces was not uncommon in the late 19th century. Works like Danse Macabre by Saint Säens and Night on Bald Mountian by Moussorgsky are additional examples of this phenomenon. Le Chausseur Maudit was first performed in Paris by the Société National de Musique in 1883.
PROGRAM NOTES
— Jeffrey Prater
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Caesar Franck
PROGRAM NOTESGerman composer Richard Strauss (1864-1949) and his literary collaborator, Hugo von Hofmannsthal (1874-1929), produced six of the most important operas of the early twentieth century. The most popular of these is Der Rosenkavalier, begun in 1909 and first performed in January 1911. The complicated plot concerns a middle-aged noblewoman (the Marschallin) who is in love with a much younger man (Count Octavian). In the end, the Marschallin must release Octavian in favor of a
younger woman (Sophie). During an elaborate ceremony, Octavian must present to Sophie, on behalf of Baron Ochs (a lecherous old nobleman), a silver rose as an engagement present. However, upon presenting the rose, Octavian falls in love with Sophie. The opera’s title Der Rosenkavalier (‘The Rose Cavalier’) comes from this poignant scene.
During the time Hofmannsthal was writing the libretto, he suggested to Strauss that he think in terms of the old Viennese walzes from the 19th century. The numerous waltzes that Stauss composed for Der Rosenkavalier are new, but are filtered through highly nostaglic ears. It is these waltzes that have come to most clearly identify and characterize the opera. A set of excerpts, published in 1945 as Der Rosenkavalier Suite, op.59, are, like the opera itself, both beautiful and bittersweet, creating intense longing for times gone by.
Andachtsjodler (‘Remembrance Yodel’) is a traditional Austrian folksong from the early 19th century. It has been sung in the province of South Tirol during the Christmas season since about 1830. In the vocal version of Andachtsjodler there are a yodeled chorus and multiple sung verses telling of the spiritual peace one can find high up on a mountain. The orchestral version of this folk song was arranged by our conductor, Eric McIntyre.
PROGRAM NOTES
During his lifetime, Johann Strauss, Jr. (1825-1899), known as the “waltz-king,” wrote over 500 pieces of light-classical music (waltzes, quadrilles, polkas, marches and operettas). He became an exceptionally well known world-wide celebrity in times long before modern mass media, and many of his works are still among the most famous and
Austrian composer, Johann Strauss, Sr. (1804-1849), father of Johann, Jr. and two other composing sons (Josef and Eduard), was responsible, along with Josef Lanner, for popularizing the waltz in Europe. Like his son Johann, Jr., the elder Strauss wrote several hundred light-classical works including waltzes, cotillons, galops, quadrilles and marches. His most famous and most played work, however, is the Radetsky March. This work was dedicated to Field Marshall Josef Radetsky, victor of the Battle of Custoza. The march was first performed in August 1848, and was immediately embraced by Austrian troops, who would begin to clap softly in rhythm during the initial time through the main melody, and then more vigorously on its later repeat. This clapping tradition can still be observed when watching the Live from Vienna New Year's Day concert.
regularly performed examples in their respective genres.
Kaiserwaltzer (‘Emperor Waltz’) is among Strauss’ most popular and performed waltzes. It was likely composed in 1889 under the original title of Hand in Hand, since the waltz was intended to be a kind of musical handshake between Emperor Franz Josef of Austria and Emperor Wilhelm I of Germany, who were planning to meet. The premiere took place in Berlin in October 1889 during the ceremonial meeting of the two great heads of state. Kaiserwaltzer is filled with musical pomp, circumstance and sweeping waltz melodies fit for a meeting between powerful monarchs.
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Richard Strauss
Johann Strauss Jr.
Johann Strauss Sr.
— Jeffrey Prater
PROGRAM NOTESThe story of Johannes Brahms’ (1833-97) struggle to create his first symphony is long and complex. But it likely begins on October 28, 1853, when the great composer and music critic Robert Schumann published his famous article “Neue Bahnen” (‘New Pathways’) in his periodical Neue Zeitschrift für Musik (‘New Journal for Music’). The following is an excerpt:Many new and remarkable talents have made their appearance, and a fresh musical power seemed about to reveal itself among the many
aspiring artists of the day, even though their compositions were known only to the few. I thought to follow with interest the pathway of these elect; there would, there must, after such promise, suddenly appear one who should utter the highest ideal expression of his time, who should claim the Mastership by no gradual development, but burst upon us fully equipped, as Minerva sprang from the brain of Jupiter. And he has come, this chosen youth, over whose cradle the Graces and Heroes seem to have kept watch. His name is Johannes Brahms.
Brahms kept the world waiting for twenty-three years. He produced some sketches for the First Symphony in the late 1850s, and showed a piano version of the first movement to a colleague in 1862. Brahms' lack of confidence in producing a great symphony lead him to first compose two Serenades for Orchestra and the Variations on a Theme by Haydn. Some historians suggest that these were actually trial works (less integrated orchestral pieces than a symphony) in which Brahms could hone and try out orchestrational techniques before applying them to the symphony.In spite of a very long gestation period, and with many doubts and fears on the part of the composer, the First Symphony turned out to be a huge triumph for Brahms, when in November 1876 it finally premiered in Karlsruhe, and then in immediate subsequent performances in Mannheim, Munich, and Vienna. The important late nineteenth-century Viennese music critic Eduard Hanslick wrote, “from this work it should be completely clear to every musician the close spiritual relationship between Brahms and Beethoven.” From that point on, Brahms never seemed to have any more debilitating fears concerning the composition of symphonies.
Eric McIntyre is now is his eighth season as music director of the Central Iowa Symphony. He has previously served as music director of the Fort Dodge Area Symphony, Ottumwa Symphony Orchestra, and the new music ensemble AURA, and he continues to perform as a guest conductor including recent performances with the Nanjing University Symphony Orchestra in Nanjing, China. He has directed the brass ensembles of the Swakopmunder Musikwoche in Namibia since 2011. McIntyre is Professor of Music at Grinnell College, where he teaches music composition courses and directs the Grinnell Symphony Orchestra. He also contributes to Grinnell’s Liberal Arts in Prison Program, for which he has presented lectures, taught credit-bearing courses, and conducted several orchestral performances. His current research involves the teaching of music listening skills among incarcerated populations. McIntyre’s original compositions have been performed around the world by an array of performers and received support and awards from ASCAP, the Iowa Arts Council, the American Music Center, and the National Endowment for the Arts. Equally adept as a hornist, McIntyre was a member of the Houston Ballet and Houston Grand Opera Orchestras and has performed with the Houston Symphony, Des Moines Symphony and Orchestra Iowa. Also skilled as a natural hornist, McIntyre performs recitals on the classical horn and has appeared as a conceråto soloist with orchestras throughout Iowa. McIntyre is an alumnus of Indiana University, where he received B.M. and M.M. degrees in music performance and was awarded the Performer’s Certificate. He holds a D.M.A. in music composition from the University of Houston Moores School of Music. In addition to his musical activities, McIntyre and his family raise dairy goats, chickens, and turkeys and grow much of their own food on their farms outside Grinnell.
ERIC MCINTYRE
Johannes Brahms Eric McIntyre
V I O L I N 1Will Samorey, concertmaster
Kathryn PenningCarol WeberAshley HansonDavid Baegley Amelia Fiscus Amber Ringgenburg V I O L I N 2Donald Sieberns*Ruth FiscusMaggie GlasscockBeth MartinSuzanna Gilbert
V I O L A Mary Kay Polashek*Anna PettersonAndrew WeihrauchJennifer Powers
C E L LO Alan Henson*Amy AndreottiChristian RoettgerKay Nelson
MUSICIANSBA S S Donita McCoy*Cara StoneChriss Dieckman
F LU T EShon Stephenson*
Marianne Malinowski Chair
Rachel LowryHeather Imhoff
P I CCO LOHeather Imhoff
O B O EKevin Schilling*Janet DixonLouis BanittRachel Keske
E N G L I S H H O R NJanet Dixon
C L A R I N E TCharles Bogner*Noah Torstenson
BA S S O O NJanet Baldwin*Noelle FultzPhillip DixonJason Paull
CONTRA- BA S S O O NPhillip Dixon
H O R NPam Schwab*Stephani ScherbartGale WebbBrian Bunn
T R U M P E TJason Kirke*David StephensonKevin Muelenthaler
T RO M B O N EBrad Harris*Theresa PresleyMichael Albarracin
T U BAJim Kilmer
T I M PA N IDan Krumm*
P E RC U S S I O NAaron FultzAndrew Chatman
* Denotes section principal
P E R S O N N E L M A N AG E RJennifer Powers
O RC H E S T R AL I B R A R I A NMary Kay Polashek
CRESCENDO! 2015-16 PATRONSM A E S T RO ’ S C I RC L E $ 2 5 0 0 +Janet & Erv Klaas
S P O N S O R S $1000-$2499Alben F. Bates & Clara G. Bates Foundation
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Jean Earle FelixIn Memory of MarthaFelix Nebgen
Jean Earle FelixIn Honor of Pamela Schwab
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RO N F U C H S N A M E D C H A I RAlben F. Bates & Clara G. Bates Foundation
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CRESCENDO! 2016-17 PATRONSS P O N S O R S $1000-$2499 Kay & Roger BergerJoan E. WelchCheryl Lawson & Sam Wormley
B E N E FAC TO R S $500-$999Martha Anderson &George Burnet
Cinian & Paul DurbinDeborah & A.M. FinkCornelia & Jan FloraJack MauldinPam & Chuck Schwab
PAT RO N S $300-$499Carol & Robert DeppeCarin & Andrew ForbesLinda HansenMargaret Johnson
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Crescendo! is our donor recognition program. Did you know that nearly 60 percent of our concert funding comes from individual donors like you?It takes a community of dedicated musicians and lovers of live music to support an orchestra. Your generous support is deeply appreciated!For more information on the sponsor level benefits, please visit www.cisymphony.org/donations.
CRESCENDO!
Student (K-12) $20 +Friend $50 +Supporter/Gala Sponsor $150 +Patron $300 +Benefactor $500 +Sponsor $1,000 +Maestro’s Circle $2,500 +
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£ Marianne Malinowski Chair£ Ron Fuchs Chair
Dear Central Iowa Symphony patron,When you think of classical music in Ames and Central Iowa, you know that the Central Iowa Symphony consistently brings you entertainment from some of Central Iowa’s finest musicians.Throughout the year, we bring you high-quality performances of some of your favorite pieces of musical literature. In addition, Central Iowa Symphony helps you to expand your musical horizon by introducing you to some of the newest pieces of music and novel musical collaborations.Without your consistent support, we would not be able to bring you the high-quality performances you have come to expect. Gifts in the amounts of $150, $300, $500, $1000, or $2500 can significantly help us achieve our goal of fostering superb performances, offering satisfying musical experiences, and nurturing educational and cultural growth in Central Iowa. As a 501(c)(3) non-profit organization, your donations are tax deductible. We sincerely hope you consider Central Iowa Symphony in your planned giving.
Sincerely, The Board of the Central Iowa Symphony
A NOTE FROM THE CIS BOARD
Friends of the Central Iowa Symphony (FOCIS) is an auxiliary formed to support the orchestra. FOCIS will facilitate concert related activities like receptions and will recruit ushers. CIS wishes to thank tonight’s ushers.We welcome your involvement too! Please let us know if you would like to support the orchestra and become a member of FOCIS.
FRIENDS OF CIS (FOCIS)
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