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Coming Events Upcoming JCCA Events Joshua Charles Presents Coming Events presents 2013—2014 Jefferson City Symphony Orchestra Season November 12, 2013 February 4, 2014 April 29, 2014 If you wish to participate in The Jefferson City Symphony Orchestra please contact either Patrick Clark or Bonnie Verdot. Upcoming JCCA Events Rachmaninoff - Piano Concerto No. 3 A Lincoln Portrait Fanfare for the Common Man Tuesday, May 17, 2013 Finlandia 399TH ARMY BAND of FORT LEONARD WOOD featuring Joshua Charles Pianist Patrick Clark, Conductor Bob Priddy, Narrator April 23, 2013 Lincoln University ~ Mitchell Auditorium Dear Audience, Thank you so much for being here this evening. Please take a moment to thank the Orchestra Musicians who consistently contribute so many beautiful musical moments for Jefferson City and the mid-Missouri Community. Program Fanfare for the Common Man (1942)……………...Aaron Copland (1900-1990) A Lincoln Portrait (1942)……………………………….Aaron Copland (1900-1990) Finlandia, Op. 26, No. 7 (1899)….…………………...….Jean Sibelius (1865-1957) Intermission AmerenMissouri Capital Ritz Piano Concerto No. 3 (1909)…………………..Sergei Rachmaninoff in D minor, Op. 30 (1873-1943) Fechtel Beverage and Sales Jefferson City Coca Cola Inc. Metal Culverts Inc. Bob & Sally Robuck N.H. Scheppers Distributing President Lincoln DRAFTS EmancipationTHE Proclamation 1863-2013 Sesquicentennial Personnel VIOLIN I CELLO TRUMPET Cheryl Nield** Aimee M. Fine* Barry Sanders* Andrew Bailey Rowan Bond Liam Reagan Julie Carr Andrea Cheung Heath Thomure Anne Cave Shannon Hapgood Julia Cegleski Savannah Hoff TROMBONE Johanna Hobratschk Patricia Koonce T.J. Higgins* Elizabeth Komaromi Patrick Ordway Courtney Barker Natalie Reeves Jonathan Satterfield Jim Merciel Evie Pinkley Greg Spillman UBA Crystal Robinson T BASS Bruce G. Connor Janna Volmert Bonnie Verdot* Hannah Westin PERCUSSION Candy Cheung Kevin Pierce VIOLIN II Michael Koestner Mike Stockman Susan Wallace* Ben Phelps Eric Veile Breanna Buersmeyer Tim Weddle Marty Gardner TYMPANI FLUTE/PICCOLO Amber Krumm Tom Higgins*** Richard Stokes Tisha Celada* Hannah Tabor Susan Capehart ARP H Sierra Tackett Janna Volmert OBOE/ENGLISH HORN Rebecca Talbert Don Schilling* Greg Treiman CONDUCTOR Andrew Marjamaa Madjid Vasseghi Patrick Clark Evan Wilde CLARINET NARRATOR Evonne Wilson Steven Houser* Bob Priddy Earl Kliethermes VIOLA Eddie Crouse* BASS CLARINET Laura Eggeman ENOR AXOPHONE ***JCSO President Margaret Lawless T S David Heise **Concertmaster Abby Peper *Principal Logan Richardson BASSOON Violin, Viola, Cello Heide Schatten Karel Lowery* Warren Solomon and String Bass Kayla Smith performers, except Allie Talbert for the principal, are FRENCH HORN Molly White* listed in alphabetical Paul Graham order. Brandon Orr Charles Turner 2013 Piano Competition Winner Joshua Charles Joshua Charles graduated summa cum laude with a BM in Piano Performance from the University of Kansas in 2010. He went on to co-author the #1 New York Times Bestselling The Original Argument: The Federalists’ Case for the Constitution, Adapted for the 21st Century with Glenn Beck. He is currently working on his MA in Government from Regent University, and is also a Fellow heading up the Rediscovery Project at the Public Policy Institute at William Jessup University. Joshua has studied under the direction of his teacher and friend James Cockman in Lee’s Summit, Missouri. This is Joshua’s second performance of the famous Rachmaninoff 3rd Piano Concerto. Music Notes Fanfare for the Common Man Eugene Goosens had a habit of collecting Fanfares to begin each concert with the Cincinnati Symphony Orchestra, where he was the conductor. During World War I he had asked English composers for pieces to begin each of his concerts. Since the US was now involved with World War II Goosens decided that American composers would be appropriate for the task. In 1942 Goosens contacted Aaron Copland and asked him to write a fanfare. Influenced by Vice President Henry Wallace’s speech “Century of the Common Man,” Copland went to work. After struggling to name the piece, suggestions ranging from Fanfare for Soldiers and Fanfare of Four Freedoms, he settled on Fanfare for the Common Man. The premiere was set for March 12, 1943, to which Copland commented that he was “all for honoring the common man at income tax time.” A Lincoln Portrait When commissioned by conductor André Kostelanetz during World War II to compose a portrait of an eminent American, to express the "magnificent spirit of our country," Aaron Copland selected Abraham Lincoln as his subject. Although the choice may seem to us virtually inevitable, the fact is his first selection had been Walt Whitman. It was when Kostelanetz persuaded him that a political figure of world stat- ure would be better suited to the patriotic purpose that Copland settled upon Lincoln. In 1942, the year of Lincoln Portrait, Copland had already turned the corner from his path of neoclassical abstraction onto what became a highway of Americana, filled with works in which folk materials were freely used and adapted. By no means content only to appropriate traditional tunes, Copland blended them with a full complement of original music that marvelously counterfeited the genuine article, and the combined ingredients came out of his American cuisinart mixed with the extremely palatable spices of jaunty, irregular rhythms, spiky dissonances, as well as simple triadic harmonies, intimate and/or grand orchestral textures - and gallons of spirit. Of Copland's compositions in the American style that have endeared themselves to a large public, Lincoln Portrait may be the one that has touched most deeply the American consciousness. The work was premiered by Kostelanetz and the Cincinnati Symphony on May 14, 1942, and a radio broadcast with Carl Sandburg as narrator came shortly thereafter. —Orrin Howard, LA Philharmonic "The first sketches were made in February, and the portrait finished on 16 April 1942. I worked with musical materials of my own with the exception of two songs of the period: the famous 'Camptown Races' which, when used by Lincoln supporters during his Presidential campaign of 1860 and a ballad that was first published in 1840 under the title 'The Pesky Sarpent,' but it is better known today as 'Springfield Mountain.' The composition is roughly divided into three main sections. In the opening section I wanted to suggest something of the mysterious sense of fatality that surrounds Lincoln's personality. Also, near the end of that section, something of his gentleness and simplicity of spirit. The quick middle section briefly sketches in the background of the times he lived. This merges into the concluding section where my sole purpose was to draw a simple but impressive frame about the words of Lincoln himself." —Aaron Copland, note from Boston Symphony performance in 1943 Music Notes Finlandia Written at the turn of the Twentieth century, Finlandia is the last of seven pieces written by Jean Sibelius as a peaceful protest against increasing censorship from the Russian Empire. Because of the pieces popularity and then invocation of national pride, Finlandia was often masqueraded under different names to avoid censorship, the most prominent Happy Feelings at the Awakening of Finnish Spring. The music is animated and turbulent with the struggles of the Finnish people during the era, and then a calm sweeps over ending the piece with a serene melody. Sibelius later reworked the melody into a hymn, which is recognized as one the national songs of Finland. Piano Concerto No. 3 Sergei Rachmaninoff completed his third piano concerto while on tour in the United States in 1909. In November the new concerto was debuted with Rachmaninoff playing solo with the New York Symphony Orchestra under the direction of Walter Damrosch. In almost immediately Rachmaninoff began to phase the third concerto out of his own solo repertoire, even though it was his favorite. He believed there were other pianists that were much more talented than he at performing the piece. “The opening theme, according to Rachmaninoff, “simply wrote itself.” The second theme, following unhurried transformations of the first, appears as a full-blown lyric outpouring and then assumes a march character. On these Field Violins materials Rachmaninoff builds a movement remarkable at once for its intricacy and its apparent spontaneity. 904 Amethyst Lane “Intermezzo” is the heading for the second movement, but it is a far more Jefferson City, MO 65109 expansive episode (or series of episodes) than that title might suggest. A lovely, nostalgic introduction by the strings, with the theme given out by the (573) 556-3523 oboe, expands dramatically before the entrance of the piano, which then takes the lead in a reflective nocturne and builds to a climax of considerable power. www.fieldviolins.com In the contrasting second section, a sort of scherzo in waltz time, the clarinet and bassoon give out a variant of the first-movement theme behind the piano’s filigree ornamentation. The second movement leads without pause into the third, a glittering, mercurial piece, for the most part nervous and marchlike, but with lyric contrasts again based on material from the first movement. The sheer drive of this finale is in sharp contrast to what has gone before. The awesome coda “Serving the stringed instruments begins with a cadence somewhat reminiscent of the corresponding section of needs of the Jefferson City area” Brahms’s Violin Concerto and the piano part at this point may suggest Liszt in his richest vein; the soaring strings and the brass-dominated
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