Goshen College Symphony Orchestra Fall Family Concert Friday, November 21, 2014 • 7:30 p.m. Sauder Concert Hall

Program

Carnival of the Animals Camille Saint-Saëns (1835-1921) Introduction and Royal March of the Lion Hens and Roosters Wild Donkeys: Swift Animals Tortoises The Elephant Kangaroos Aquarium Beasts with Long Ears The Cuckoo in the Depths of the Woods Aviary Pianists Fossils The Swan Finale Kathryn Schmidt & Matthew Hill, piano Paul Keim, narrator

Selected movements from Tchaikovsky & Ellington’s Nutcracker Suites P.I. Tchaikovsky (1840-1893) Dance of the Reed Pipes Duke Elington (1899-1974) Toot toot tootie toot March Peanut Brittle Brigade

The Fable of Old Turtle Linda Tutas Haugen Linda Tutas Haugen, narrator Keith Bear, Native American flutes

Please turn off all noisemaking electronic devices prior to the start of the concert. The use of unauthorized audio, video, and photographic equipment is strictly prohibited. Goshen College Symphony Orchestra Dr. Christopher Fashun, conductor

Violin I Piccolo Trumpet Jorge Abreu Toyens Kelsey McKinnell Lydia Good Matthew Chen Ardys Woodward Leah Landes * Hillary Harder † Wade Troyer † Vince Kurtz ^ Flute Peter Paetkau * Kelsey McKinnell * Trombone Sam Smucker ^ Becky Snider ^ Quinn Brenneman Josh Yoder § Ardys Woodward † Isaac Godshalk Katrina Kennel * Violin II Oboe Peter Wise † Garret Ahlgrim ^ Leah Amstutz Mikhail Fernandes ^ Miranda Earnhart Madeleine Yoder * Gretchen Geyer † Tuba Emily Gibbs ^ English Horn Charlie Westra § Hayley Mann Leah Amstutz Monica Miller * Piano Alisa Murray Clarinet Wade Troyer Jessie Smucker ^ Kenan Bitikofer Kendall Friesen Timpani/Percussion Viola Stephen Graber * Micah Detweiler † Philip Bontrager * Malinda Slabaugh Cristian Good * Melanie Drinkwater Matthew Maggert Joanna Epp Bass Clarinet Jacob Shetler ^ Abbie Kaser † Kendall Friesen Peter Meyer Reimer ^ Student Assistants Bryan Yoder ^ Alto/Tenor Saxophone Katrina Kennel Jacob Penner Malinda Slabaugh Cello Becky Snider ^ Abby Deaton ^ Bassoon Sam Smucker ^ Benjamin Ganger † Ken Hanson § Peter Wise Jacob Greaser ^ Ashley Westra § Maddy Keener Reuben Ng ^ Horn Nathan O’Leary Reid Brace Max Stauffer ^ Brenner Burkholder † Benjamin Wiebe * Emily Vogt * Matt Wimmer Erin Yoder § * denotes principal Bass † denotes assistant principal Bill Mateer * § § denotes faculty or community member ^ denotes off-campus for SST, student teaching, or extension semester Program Notes

The Carnival of the Animals (Le carnaval des animaux) Camille Saint-Saëns

After a disappointing concert tour in 1885, Saint-Saëns retreated to a small Austrian village and wrote Carnival of the Animals with the purpose of creating a work for his own enjoyment. Reluctant as he was to perform it, even for small parlor audiences, it gained much favor from his friends. He resisted publishing it during his lifetime, fearing he would be criticized for composing music that was not “serious.” Little did he know that it has become one of his most famous and adored works, especially fitting for family concerts. In 1949, American poet Ogden Nash, who is best known for his light verse, wrote satirical verses to ac- company each movement. Saint-Saëns in his own way created his own humor and fun by quoting several themes from his contemporaries’ music (Rossini, Offenbach, Berlioz, Mendelssohn, and himself).

Selected movmements from Suite P.I. Tchaikovsky & Duke Ellington

The sounds of The Nutcracker have become synonymous with Christmas not only because the is most often performed during the Christmas season, but also because of the setting and plot of the story itself. The ballet was the second collaboration between Tchaikovsky and the director of the Imperial Theatre Ivan Vsevolozhsky who used Alexandre Dumas’ adaptation of the story The Nutcracker and the Mouse King by E. T. A. Hoffmann. Perhaps the most interesting detail of The Nutcracker Suite is that it was completed before the ballet. It was Tchaikovsky’s intention that it be performed as a concert work apart from the ballet. The reason for this was twofold. His primary motivation was to upstage his contemporaries by being the first composer to feature the celeste in an orchestral work. Secondary to this was his growing skepticism and concern in how to effectively adapt and convey the story to the stage. By creating a concert piece of the music, Tchaikovsky had a failsafe if the ballet had an unenthusiastic reception at its premiere. The suite was performed a month earlier than the ballet under the Tchaikovsky’s direction on March 19, 1892 at an assembly of the St. Petersburg branch of the Russian Music Society. Additionally, Tchaikovsky suggested the performance be a double billing that would include his last , to further divert attention away from the ballet. In the music of The Nutcracker, Tchaikovsky exhibits his gift of melody, his inventiveness and colorful orchestration that displays the influences of 19th century harmonic practices and characteristics as well as French dance forms. Because it is dance music, symmetrically balanced phrasing is omnipresent, and phrases occur usually in eight or sixteen measures. Another characteristic trait in his ballet music is the juxtaposition of groups of instruments (winds and strings) or the grouping of instruments with similar tessituras (high, medium, low) in contrast with another. All of these elements are exhibited in the two movements in this performance. The name Duke Ellington is synonymous with jazz. Jazz standards such as Sophisticated Lady, Take the A Train, Satin Doll, and Caravan are but a few his most popular tunes. As he matured as a composer, he began to write jazz music that was either influenced by classicalmusic or music that was intended to be serious. In 1960, Ellington took Tchaikovsky’s Nutcracker Suite, Op. 71a and Edvard Grieg’s Peer Gynt Suites and adapted and arranged them for his big band. He was a master at colorful orchestration which is on full display in his version of the Nutcracker. His thematic transformation of Tchaikovsky’s themes is masterfully clever through his use of instrumentation, rhythm and meter, and timbral effects from the various mutes in the trumpets and trombones. The full orchestral adaptation was written by Jeff Tyzik who is the Principal Pops Conductor of the Rochester Philharmonic. The Fable of Old Turtle Linda Tutas Haugen

Old Turtle, written by Douglas Wood with watercolors by Cheng-Khee Chee, and published in l992, is a fable. It begins long ago with different animals and elements of nature arguing that God is like themselves. Old Turtle interrupts the argument and helps them all to realize that the essence of God is greater than their own personal characteristics. She foretells the arrival of human beings in the world: “they will come in many colors and shapes, with different faces and different ways of speaking.” The people come and soon begin to argue about God. They kill each other and harm the earth. Finally, the mountain, the ocean, stone, breeze and star, who argued earlier, speak to the people. Echoing Old Turtle’s words, they cause the people to un- derstand their relationship to each other and to all of nature. The book powerfully teaches peace, tolerance, and stewardship of the earth. The musical setting The Fable of Old Turtle by composer Linda Tutas Haugen portrays the drama found in the book. It begins by depicting each animal or element of the earth with its own musical theme or motive. After each of these creatures gives its own statement of who or what they think God is, they begin to argue. The music reflects this with increasing dissonance and tension. This is interrupted by the solo cello, representing “Old Turtle” who insists they stop. The cello continues with cadenza-like material interspersed with instru- mental accompaniment. During this section previous musical themes and motives are re-introduced as “Old Turtle” describes the arrival of people in the world. The Native American flute begins with a Hidatsa friend- ship song, echoed in duet with solo cello. This song develops into a joyful, gigue-like dance. As the people forget about who they are and begin to argue, kill and hurt the earth, the music continues to grow in intensity reaching a climax of destruction and death. But it is the creatures of the earth who plead for the people to stop. They echo musical ideas previously stated by “Old Turtle” and the people listen. The final coda section represents the hope and understanding the people eventually realize between each other and the earth. The composition closes with a prayerful improvised Native American flute solo, reflecting calm and peace.

This concert is made possible in part through generous support from the Goshen College Music Center and Horizon Education Alliance.

Goshen College is a nationally-recognized liberal arts college in Northern Indiana known for leadership in intercultural and international education, sustainability and social justice. The college offers bachelor’s degrees in more than 65 areas of study, as well as select master’s degrees. Goshen enrolls approximately 900 students from 33 states and 38 countries, and is recognized for its innovative, life- changing study abroad program (Study-Service Term) and exceptional educational value. Rooted in the historically peaceful Mennonite church, the college’s Christ-centered mission produces passionate learners, compassionate peacemakers, global citizens and servant leaders. Visit goshen.edu. Biographies An incredibly diverse and versatile conductor and performer, Christopher Fashun is an Assistant Professor of Music on the faculty of Goshen College where he conducts the Symphony Orchestra, directs the All-Campus Band, serves as the Coordinator for the Music Education Program, conducts the orchestra for musicals and opera, and teaches applied percussion. An accomplished percussionist and violist, he has several years of orchestral and chamber music experience and has enjoyed success in both areas as a soloist by winning three concerto competitions. During the past decade, Dr. Fashun has concentrated his study of world percussion in Brazilian and Afro-Brazilian music and dance. Most notably, his teachers include Jorge Alabe, Michael Spiro, Mark Lamson, Curtis Pierre, Jorge Martins, and Scott Kettner. He has also toured nationally and abroad as a jazz vibraphonist and has recorded albums with the Wisconsin Brass Quintet and the Jason Harms Quartet. In 2012 he led the Elkhart County Symphony Orchestra in its season opener that featured Broadway singer Doug LaBrecque. Since 2008, he has conducted the University of Iowa Philharmonia and All-University Orchestras and was the Music Director of the St. Ambrose University Community Symphony Orchestra in Davenport, IA. In November of 2009, Dr. Fashun conducted the Symphony String Orchestra at the IMEA Conference in Ames as part of the Iowa Junior Honors String Orchestra Festival Concert. Additionally, Dr. Fashun’s conducting experience includes leading orchestras and wind bands at the high school and middle school levels and directing jazz ensembles, percussion ensembles, and drumlines at the high school level. He is an active clinician with middle and high school orchestras, percussion ensembles, and frequently serves as an adjudicator for large group music festivals. Dr. Fashun holds a Bachelor of Music degree in music education from Saint Olaf College in Northfield, MN where he studied conducting with Steven Amundson and Timothy Mahr and viola with Andrea Een. He received his Masters of Music degree in percussion performance from the University of Wisconsin-Madison where he studied with Anthony DiSanza and continued his conducting studies with David E. Becker. He holds a Doctor of Musical Arts in Orchestral Conducting from the University of Iowa where he studied conducting with William LaRue Jones and viola with Christine Rutledge. Linda Tutas Haugen earned a B.A. in Music from St. Olaf College, and a M.A. in Music Composition and Theory from the University of Minnesota, studying with Dominick Argento. She has written for a variety of vocal and instrumental genres, including chamber music, orchestral, solo voice, choral, opera, and wind ensemble. Her music has received critical acclaim as “music of character and genuine beauty.” [Minneapolis Star and Tribune.] Opera Today praised Haugen’s opera, Pocahontas, as “superbly crafted,” “engaging,” and “beautiful and often powerful.” Haugen has received numerous grants and fellowships, including awards from the American Composers Forum, the Bush Foundation, Minnesota State Arts Board, the Jerome Foundation, and Meet The Composer. Prominent commissions include a 25th Anniversary work for the San Francisco Girls Chorus, an orchestral composition for the National Kidney Foundation in celebration of 50 years of organ transplantation, a NEA funded work for the Greater Twin Cities Youth Symphonies, a piece commissioned by the American Guild of Organists for its 2008 National Convention, and an opera, Pocahontas, for the Virginia Arts Festival and the Virginia Opera, commemorating the 400th Anniversary of Jamestown. Recent highlights include a work for treble choir, viola, and bells, commissioned by the Badger State Girl Choir for an audience with Pope Benedict XVI at the Vatican and tour of Italy, a performance of Anne Frank: A Living Voice at the 2011 National Collegiate Choral Organization Conference in Colorado, choral works featured at the 2010 Western and 2011 National ACDA Conventions, and commissions from Two Rivers Chorale, ACDA Minnesota, and Partners In Praise Girl’s Chorus. Linda has extensive experience as a composer-in-residence, and is committed to working with performers and audiences to help them understand the creative process and the importance of new music. Her works have been performed by a variety of ensembles, including Saint Paul Chamber Orchestra, North Carolina Symphony, Louisiana Philharmonic Orchestra, St. Olaf College Orchestra, the Chiara String Quartet, and Magnum Chorum. She is a member of ASCAP. Her website is www.lindatutashaugen.com.

Keith Bear (O’Mashi! Ryu Ta - “Northern Lights”) is a world renowned Mandan-Hidatsa storyteller and musician from the Three Affiliated Tribes in Fort Berthold, North Dakota. After growing up outside the tribal traditions Keith Bear returned to his people and reconnected through the “sacred branch of the Tree of Life,” the flute. Through extended family members, friends, and ceremonies Bear learned traditional songs, beadwork, porcupine quillwork, flute music, and traditional stories. Keith has appeared as a solo presenter, performer and storyteller at the Smithsonian Folklife festival, the Kennedy Center, Lewis & Clark Bicentennial signature events throughout the US, the International Storytellers Festival in Wales, UK; for the North Dakota Arts Council, and in cultural programs throughout Europe. He has soloed with the National Symphony and the St. Paul Chamber Orchestra in performances of The Fable of Old Turtle (composer: Linda Tutas Haugen). His presentations include being a spokesperson for the National Education Association regarding Indian warriors and Indian leaders. Bear is also a pipe carrier and ceremonialist, and belongs to the Buffalo Dance Society. In 2009, Keith was recognized for his contributions to the preservation of his Native culture and traditions by a fellowship from the prestigious Bush Foundation. An award-winning recording artist, his CDs, Makoche Masters, Echoes of the Upper Missouri, People of the Willows, Earthlodge and Morning Star Whispered were produced by Makoche Records. Native American Music Awards nominated Earthlodge for Best Traditional Artist, Best Video and Best Male Artist.

Kathryn Schmidt hails from western Canada where she performed as a soloist and chamber musician, taught and adjudicated. Kathryn completed a DMA in piano performance and musicology at the University of British Columbia (Vancouver) in 2010. Kathryn began teaching privately at age 15, and has taught piano and related subjects at UBC, and Trinity Western University (B.C., Canada) since 2004. Her students have gone on to teach, perform, compose, arrange, lead church music, and pursue graduate studies. Kathryn moved to Goshen in 2012 and currently teaches applied piano and theory at Goshen College and at the Community School of the Arts. Kathryn has performed with orchestras in Grand Forks (North Dakota), Vancouver, and Winnipeg (Canada) and has also recorded for radio, and the film and television industries. She has competed and performed in Vancouver, Richmond, Edmonton, Winnipeg, Ottawa and Toronto, as well as here in the States. She is excited about upcoming performances in Rieth Hall, at AMBS, and Canadian Mennonite University, (Winnipeg, Canada). Further studies brought Kathryn to the Mozarteum (Salzburg) on scholarship from the Johann Strauss foundation, as well as the beautiful Banff Centre. She has played in masterclasses for esteemed pianists such as Leon Fleisher, Graham Johnson, Andre LaPlante, Angela Cheng, Julian Martin, among others. An avid chamber musician, Kathryn has performed with some of Canada's most exciting singers and string players. She was resident accompanist at the Bowdoin Summer Music Festival (Bowdoin College, Maine) and the Egmont Chamber Music Festival (B.C., Canada). Kathryn recently adjudicated for the Achievement In Music program in South Bend; in 2012 was a panelist at the Indiana Wesleyan University Piano Pedagogy Conference. Additionally, Kathryn has published in Clavier Companion and American Music Teacher. Finally, Kathryn is dedicated to wellness for herself and her students, and studied the Alexander Technique rigorously for 10 years. But above all she is most proud of her wild family: husband Kris and 2 sons, Jonah and Zachary. Matthew Hill, pianist and Goshen College professor of music, teaches piano, chamber music, music history, and pedagogy. He is an active recitalist, chamber musician, concerto performer, and master classes teacher. His interests in monasticism, theology, and the role of silence in music, engage his teaching, scholarship, and performing with a unique perspective and depth. In the summer of 2013 he was on the piano faculty at the Schlern International Music Festival in northern Italy and also has also taught on the piano faculty at the prestigious Interlochen Fine Arts Summer Camp. Matthew Hill was selected to present at the 2014 MTNA National Convention on his studies with Claude Frank (“Brushes with Greatness”) and presented a recital and master classes at the Interlochen Arts Academy. Other professional highlights include: a series of master classes and a recital performance at the Sichuan Conservatory of Music in Chengdu, China; contribution of a chapter to Silence, Music, Silent Music (Ashgate 2007), publication of articles for Clavier, and an invited presention at “Couleurs dans le vent: Celebrating the Music of Olivier Messiaen” held at the University of Kansas. Matthew Hill has performed with with the UW- Madison Symphony, the Goshen College Orchestra, on Wisconsin Public Radio’s Live from the Elvehjem and at the White House in Washington D.C. as accompanist for the Wausau Conservatory Choraliers Children’s Choir. He currently accompanies the Shout forJoy Youth Choir, which is directed by his wife, Sandy Hill. The Blue Griffin recording label released his CD recording, Silent Colors, containing works by Liszt, Debussy, Messiaen, and several Gershwin songs arranged as virtuoso etudes by Earl Wild. The American Record Guide commenting on this recording states: “Matthew Hill is a talented pianist who has definite ideas as to how this music should go. He has a respectable technique to accomplish his aims.” He has a doctorate in piano performance from the University of Wisconsin-Madison under Howard Karp and has also studied with the renowned Beethoven performer Claude Frank, as well as with Dr. Richard Angeletti, and Dr. Garik Pedersen. His students have won various competitions – including a variety of concerto performances, and have also gone onto graduate study at such schools as the University of Oklahoma, Ball State University, Bowling Green University, Westminster Choir College, the University of South Florida, the University of Nebraska-Lincoln, and the Kansas City Conservatory of Music.

Paul Keim is Professor of Bible, Religion and Classical Languages at Goshen College, Goshen, Indiana, and an adjunct faculty member at the Anabaptist Mennonite Biblical Seminary in Elkhart, Indiana. He is a graduate of Goshen College (B.A.) and AMBS (M.Div.) and received his Ph.D. in Ancient Near Eastern Languages and Civilizations from Harvard University (1992). He also studied at the European Mennonite Bible School (Bienenberg) in Liestal, Switzerland. While serving with his family Mennonite Central Committee in Poland in the early 1980s, he also studied at the Jagiellonian University in Krakow, and at Warsaw University. Before coming to Goshen, he taught at Indiana University in Bloomington, and at the College of Charleston, South Carolina. More recently he spent a year as visiting professor at the Friedrich Schiller University in Jena, Germany. After teaching for several years, Paul was called to serve as Academic Dean of Hesston College, Kansas (1995- 97). He held that job for two years before becoming Academic Dean at Goshen College (1997-2001), where another 4 years of academic administration finally atoned for egregious sins apparently committed in a past life. Having served his term and paid his penalty (Isaiah 40:2), in the year 2000 he conducted a national search and hired himself onto the faculty, where he has remained safely ensconced for the past 14 years in the precarious embrace of a Mennonite institution. When he was 7 years old he was held down by an older cousin who tickled him so long that he began to babble in other languages. Apparently his abiding interest in humor and linguistics can be traced to this trauma. Language study remains a vocational necessity and an avocational indulgence. He is married to Julie King, an Expressive Arts Therapist (Leslie College), who is currently employed in the local school district as a paraprofessional working with special needs children. They have three children, Anna Beth, married to Sulmaan Khan, who lives in the Boston area; Naomi, who lives in Portland, Oregon and is currently pursuing studies for a Master’s in Social Work; and a sixteen-year-old son, Ian, a junior at Goshen High School. Upcoming Music Center Events

Music Together Fall Sing-Along Celebrations Saturday, November 22, 2014, 9:30 & 11:00 a.m., Rieth Recital Hall. Free.

Youth Honors Orchestra Fall Concert Sunday, November 23, 2014, 4:00 p.m., Sauder Concert Hall. Tickets: $7 adults, $5 seniors/students, at the door. GC faculty/staff/students free with ID.

A Festival of Carols Friday & Saturday, December 5 & 6, 2014, 7:30 p.m. Sunday, December 7, 2014, 4:00 p.m., Sauder Concert Hall Tickets: $15 Reserved seating. Online at goshen.edu/tickets or (574)535-7566.

CSA Student Solo Recitals Saturday, December 13, 2014, 11:00 a.m., 1:00 p.m., 3:00 p.m., Rieth Recital Hall. Free.

Afternoon Sabbatical: David Machavariani, cello & Ketevan Badridze, piano Tuesday, December 9, 2014, 1:00 p.m., Sauder Concert Hall. Free.

Bethany Christian Schools Christmas Concert Friday, December 12, 2014, 7:30 p.m., Sauder Concert Hall. Free admission. A free-will offering will be held.

A Festival of Carols Goshen College presents its 11th annual service of music, readings and gathered audience participation in traditional carols, held in the festively decorated Sauder Concert Hall. Friday, Dec. 5 & Saturday, Dec. 6, 7:30 p.m. Sunday, Dec. 7, 4:00 p.m. Reserved seating tickets ($15) availble beginning November 3, 2014, online at goshen.edu/tickets or at the Welcome Center: (574) 535-7566 DVD recordings of the 2013 Festival of Carols are now available for sale to the general public for $15 each. To purchase, call the Music Center Main Office at (574) 535-7566.