Coming Events presents

November 17th, 2013—MONTICELLO Mid-Missouri Men’s Chorus presents: Winter Song First United Methodist Church 4pm

February 4th, 2014—JCSO Pop’s Concert A Romantic Night at the Symphony Mitchell Auditorium 7pm

May 13th, 2014—JCSO Mitchell Auditorium 7pm

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

Upcoming JCCA Events featuring April 4th, 2014 Michael Reno Harrell The Jefferson City Symphony Choir

May 16th, 2014 Conductor ~ Patrick Clark Hal Holbrook in Mark Twain Tonight! Choral Director ~ Ruth Robertson November 5th, 2013 7:00 pm 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

Gloria (1959)……………………………………..………... (1899-1963)

I. in excelsis Deo II. Laudamus te III. Domine Deus, Rex caelestis IV. Domine Fili unigenite V. Domine Deus, Agnus Dei VI. Qui sedes

Bethany Kiral Moebes—Soprano Soloist

Intermission

Pictures at an Exhibition (Modest Mussorgsky)…Mikhail Tuschmalov (1861-1896)

Polovtsian Dances (1887)….………………...…...Alexander Borodin (1833-1887)

No. 6 Schmuyle Viktor Hartmann Personnel

VIOLIN I CELLO TRUMPET Cheryl Nield** Aimee M. Fine* Barry Sanders* Julie Carr Rowan Bond Liam Reagan Julia Cegleski Andrea Cheung Heath Thomure Elizabeth Komaromi Kitty Engler Jaclyn Reehoff Shannon Hapgood TROMBONE Natalie Reeves Savannah Hoff T.J. Higgins* Crystal Remmel Pierce Kennedy Karen Kramer

Shana Smith Patricia Koonce ASS ROMBONE Greg Treiman Patrick Ordway B T Jim Merciel Department of Visual Susan Wallace Matthew Pierce Hannah Westin Jonathan Satterfield TUBA Graham Woodland Greg Spillman and Performing Arts Bruce G. Connor Music Unit and Art Unit VIOLIN II BASS PERCUSSION Ashley Ross* Bonnie Verdot* Kevin Pierce Leslie Andersen Candy Cheung Mike Stockman Breanna Buersmeyer Izzak Green Stephen Strobel 820 Chestnut Street Xiaoxiao Du Michael Koestner Eric Veile Robin Freeland Allison Riggs Jefferson City, Missouri Marty Gardner Donovan Toussignant TYMPANI Emma Helm Tom Higgins*** 65102-0029 Tayla Hughes FLUTE/PICCOLO Kate Jones Tisha Celada* HARP Phone: 573-681-5195 Yunxing (Lucy) Liao Susan Capehart Janna Volmert Hannah Tabor Debbie Musselman Fax: 573-681-5004

Rebecca Talbert PIANO OBOE/ENGLISH HORN Madjid Vasseghi Jan Houser  Quality Undergraduate Education Don Schilling* Evan Wilde ONDUCTOR Kailey Campbell C  Scholarships and Service Awards Available VIOLA Andrew Marjamaa Patrick Clark

Eddie Crouse*  SmartMusic® Lab LARINET E. F. Braun C Steven Houser*  Laura Eggeman NASM Accredited Earl Kliethermes ***JCSO President Janet Mengwasser  Enjoy small classes with highly qualified faculty who provide Logan Richardson **Concertmaster BASS CLARINET *Principal individual attention in an interactive setting. Crystal Robinson David Heise Warren Solomon Violin, Viola, Cello BASSOON and String Bass Bachelor of Science in Music Education performers, except Karel Lowery* Kayla Smith for the principal, are Bachelor of Science in Sacred Music listed in alphabetical Bachelor of Science in Art FRENCH HORN order. Bachelor of Science in Art Education Molly White* Paul Graham Laura Griggs Brandon Orr Your Foundation for Excellence

Our Conductor

Congratulations to the Jefferson City Patrick David Clark (b. 1967, St. Louis, MO) is a composer and conductor, recently having completed a Symphony for bringing the Best of Masters degree in orchestral conducting at the University Music to the Mid-Missouri community. of Missouri where he studied with Edward Dolbashian. Most recently Patrick has been commissioned to write an orchestral work for the Illinois Symphony Orchestra in celebration of their 20th anniversary.

Patrick holds his Bachelors degree in composition, also from MU where he studied with Thomas McKenney and John Cheetham. Patrick earned his 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 and Ellsworth Milburn. Patrick is a Tanglewood Fellow (1997), participated as Jan Houser Piano Studio a composer at June in Buffalo (1996) and studied with Louis Andriessen at Traditional and Suzuki Lessons the 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, and teacher in Holland, Los Angeles and Albuquerque, NM. Orchestral works Dr. Steven Houser, by Patrick have been programmed by the Seattle Symphony, San Antonio Symphony, Nashville Symphony, and the Nederlands Ballet Orkst Various Woodwind Lessons mixed ensemble works have been performed by the Tel-Aviv-based Kaprizma ensemble, New York-based Dogs of Desire, and Harvey Sollberger‘s ensemble Sirius. Saxophonist Leo Saguiguit programmed two of Patrick‘s, Departure/Train and Attila, at the International Saxophone Conference in Scotland in July 2012. Patrick‘s original composition for big Houser Piano Tuning band, After Hours, has been recently recorded by the MU Concert Jazz Band and released on their 2011 CD of new music, Tunnel Vision.

Patrick is the recipient of the 2011 Sinquefield Prize in music composition at the University of Missouri, and conducted his own commissioned work, [email protected] A Fantasy on Themes of Mussorgsky, with the University Philharmonic Orchestra at the March 14, 2011 Chancellor‘s Concert, Jesse Auditorium. 573-635-2909 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 at http://soundcloud.com/patrick-david-clark. Our Choral Director Proudly serving Central Missouri since 1965 All Things… To help with all of your Ruth Robertson arrived at Lincoln University in Paint & Glass home improvement needs, Custom Color Matching Brady’s is privileged to be 1995, just after receiving her Doctorate in Vocal Jefferson City’s Pittsburgh Storm window repair Performance from the University of Kansas. Paints dealer. Residential and Commercial Her primary assignment is to teach singing to vocal Shower doors/enclosures 2501 Industrial Drive majors whom she frequently enters in local and regional Window film Jefferson City, Missouri 65109 573-635-7995 phone recitals, auditions and contests. Almost every year she Automotive glass Catch us online @ 573-635-5220 fax has directed opera scenes recitals, involving both Lincoln NEW Stained Glass www.bradysglass.com University students and other talented singers from the community, many of whom appear this evening. She is delighted to help prepare the choristers and lead singers for this full musical, complete with an orchestra. She has directed several community choruses and adult church choirs in Missouri, Kansas and California. As a soloist she has sung locally with Cantorum and Symphony Chorus; in southern Cali- fornia and Central Europe with the Los Robles Masterworks Chorale; and in Wooster with the Ohio Light Opera. To her,―Music is the lan- guage of the soul, another way to pray aloud. It expresses much that the heart cannot say in words.‖ 63 Progress Lane, Suite G Dave & Karen Christ Linn, MO 65051 Owners Bethany Kiral Moebes performed with Sarasota Opera's Young Artist program, Florida State Opera, Opera in the Ozarks, the Evan N. Lowery Harrower Opera Workshop, Bel Canto Northwest, Show-Me Opera, Passion + Work Ethic= Success Harmoina Strings and the American Institute of Musical Studies in Graz, Austria. Her Vice President / Director of Business Development Providing classical music for weddings, opera roles include Ann Putnam in The Crucible, Sofia in I Lombardi alla receptions, parties, and events. Adding class prima crociata, Mimi in La bohème, Donna Anna in Don Giovanni, the and elegance to any occasion.

Sandman, Witch, and the Mother in Hansel and Gretel, Dido in Purcell‘s Ashley Ross, violin Dido and Aeneas, and Alma March in Mark Adamo‘s Little Women. She 5733 W. Packard • Appleton, WI • 888-624-6114 Office 573-338-2192 Personal Assistance for Rental & Sales Cheryl Nield, violin was a Finalist for the Ryan Opera Center at the Lyric Opera of Chicago [email protected] Jennifer Penserum, cello for the 2011-12 ensemble. Where the personal touch and a familiar, friendly face, Contact Ashley at 573-230-9401

makes your passion for a high quality instrument a https://sites.google.com/site/harmoniastrings/home Bethany completed her Doctor of Music degree at Florida State reality for a lifetime. University in Tallahassee. She received a Masters of Music degree from University of Missouri–Columbia, and an undergraduate degree in Looking for creative Sacred Music at Lincoln University of Missouri. ways to save time and money in your kitchen?

Special Thanks To Call today and schedule your Pampered Chef

cooking party and learn how you can earn free and Jimmy Kay Sanders—Rehearsal Pianist discounted products while having fun! Mention this Thank you for lending your talent & patience for our Choir. ad and I will provide the ingredients, all you have to do is invite your friends. Cyndi McClain—Director of Monticello

Thank you for yielding your rehearsal time to help us. Crystal Remmel Our Savior‘s Lutheran Church—Jefferson City, MO 573-291-7226 Thank you for providing the choirs rehearsal space. pamperedchef.biz/crystalsinthekitchen Chez Monet Jefferson City Symphony Orchestra Chorus Patisserie Ruth Robertson - Rehearsal Director Specializing in Fine Cakes, Pastries, and more for your special occasion. Jimmy Kay Sanders - Piano Accompanist

Bethany Kiral Moebes - Assistant Rehearsal Director

573-636-6885 Featuring [email protected] Bethany Kiral Moebes Soprano Soloist for Poulenc‘s Gloria

JCSO Chamber Sopranos: Altos: Orchestra Carol Beach Annell Bailey Looking for live entertainment for a luncheon or wedding? The JCSO has a Chamber Carmen Brown Betsy Bax Orchestra that can suit any need you may have from a trio to full chamber ensembles. Rebecca Comley Nancy Beard If you have an upcoming event and would like to add some world class entertainment Marie Duggan Cheryl Hickman please contact us for rates and availability. Jeanne Johnston Margaret Jenkins Fritz Allison Kingsbury Nancy Kettenbrink Email Bonnie Verdot: [email protected] Bethany Kiral-Moebes Lu Lockwood Pauline Kuntz Charlotte Parsons Nancy Lamb Pat Perkins Susan Lissant Anne Riggs Rachel Pirtle Abigail Roberts Gloria Robinett Ruth Robertson Gayle Unruh Kristin Van De Velde

Tenors: Basses: Patricia Behler Edwin Bybee Jim Borgwald* Steve Forsythe Andrew Hassell Jon Hanson Alan Luetkemeyer Steve Inglish Ken Lynch Stan Linsenbardt Theresa Sullivan Gregory Schildmeyer* Steve Buchholz# Bill Stine* Chi Cheung# Robin Wyss Reuben Phelps#

* Members of JCSO Chorus and Monticello # Members of Monticello joining with the JCSO Chorus on Borodin Your Symphony Inspiration for Mussorgsky

Symphony Angels

Dr. Steven & Jan Houser Laura Eggeman Don Schilling Patricia & John Koonce Sharon & James Merciel Candace Cheung Richard Stokes Memorial Cheryl Neild Mary Immel Memorial Doug Etter Bonnie Verdot The Richard Powell Family Nancy Luehrman Robert Mansur Charles Turner Marty Gardner Laura Eggeman Jackie Natsch Susan Capeheart Karel & James Lowery Dianne & Tom Higgins Carmen & Charles Brown Patrick Clark Promenaders

Willie Beatty, Mitchell Auditorium General Manager No. 5 Canary Chicks for the ballet No. 10 Plan for a City Gate in Kiev Tribly Jefferson City Public Schools Viktor Hartmann Viktor Hartmann Linn High School Lincoln University Our Savior‘s Lutheran Church

Symphony Board of Directors Tom Higgins, President Susan Capehart Karel Lowery, Vice President Andrea Cheung Jim Merciel, Secretary Candy Cheung Patricia Koonce, Treasurer T.J. Higgins Patrick Clark, Conductor Crystal Remmel Bonnie Verdot, Past President Greg Spillman Amiee Fine, JCPS Liason

No. 8 Paris Catacombs Viktor Hartmann In Remembrance Would you like to become a Mariula Ann Rousselot October 17, 1931-September 10, 2013

Mariula was a valued member of our symphony Symphony Angel? where she started playing in the cello section in 1967, it was only in the last few years that she retired from playing with the symphony. In addition to her musical talents, Mariula served as the JCSO Treasurer for The Jefferson City Symphony Orchestra is comprised entirely of an astounding 32 years. Please take a moment to remember Volunteers who love to share music with our community. There are many costs associated with our performances, such as rental and Mariula and keep her children, grandchildren, and great- purchase of sheet music, instruments and repairs, and even the cost grandchildren in your thoughts. of this program you are reading. We rely on family, friends, and businesses in the Jefferson City area to provide funds to continue bringing you beautiful and exciting music from around the world.

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Music Notes Music Notes Gloria—Francis Poulenc (1899-1963) Mikhail Tushmalov’s (1861-1896) orchestration of Modest Mussorgsky‘s (1839- Francis Poulenc was one of a somewhat notorious group of young French composers 1881) most famous work, Pictures at an Exhibition, is not what at first comes to mind who became known as ‗‘, an epithet clearly derived from the earlier ‗Russian when one mentions the piece. Pictures has been the subject of a number of reincarna- Five‘. The aims of the French group were to break away from the twin influences of tions, the most well-known of which being Maurice Ravel‘s (1875-1937) 1922 Germanic formality and French impressionism, and to employ a direct and simple style orchestration of it. Originally written as a piano suite in 1874, Pictures is a work of in their own music. Of the six, Poulenc was by far the most successful. early impressionism, requiring extreme dexterity and virtuosity from those who

Although Poulenc saw himself as primarily a composer of religious music, it was not in choose to perform it. The original work comprises ten movements, over the course fact until 1936, following his return to Catholicism, that he produced his first sacred of which Mussorgsky narrates a fantastical journey through an art gallery in which the work. A steady stream of religious pieces then flowed from his pen, including a Mass subject experiences aural depictions of various visual works by the artist Viktor Hart- and a series of motets. His first large-scale choral work, the , appeared in mann. The dimension of impressionism in Pictures is that each movement is meant to 1950, and the Gloria in 1959, only four years before his death. Both employ the same give the ―impression‖ of one of Hartmann‘s paintings. Tushmalov‘s orchestration, forces - chorus, soprano solo and large orchestra - and both enjoyed immediate acclaim. which was the first version of Pictures written for a full orchestra, feels more like a They have remained firm favourites with performers and audiences ever since. product of late romanticism as opposed to Ravel‘s late-impressionist rendition, and consists of only seven movements. A student of the famous Russian orchestration Poulenc‘s very distinctive style relies principally on strong musical contrasts. The har- teacher Nikolai Rimsky-Korsakov, Tushmalov presents a lush rendition that features mony moves between Stravinskian dissonance and lush, sensuous chord progressions; rich textures, shifting moods, and generally excellent orchestration. While Ravel‘s vigorous counterpoint in clipped, angular phrases alternates with lyrical melodic writing; iteration may prevail in the history books and the concert hall and Mussorgsky‘s dynamics frequently range from a hushed piano to an emphatic forte within the space of a original version still maintains significant draw for pianists, Tushmalov‘s Pictures is an bar or two. Poulenc skilfully uses this colourful musical palette to express a wide range interesting and rarely-performed document of musical history that should delight any of emotions, from lyrical serenity to unashamed glee. lover of music.

The Gloria was commissioned by the Koussevitsky Foundation of America. The words from the Mass are set to music of an unmistakable freshness and vivacity. Some critics at the time suggested that it bordered on the sacrilegious; Poulenc replied, ‘While writing it I had in mind those Crozzoli frescoes with angels sticking out their tongues, and also some solemn- Alexander Borodin (1833-1887), a member of the group of important nineteenth- looking Benedictine monks that I saw playing football one day.’ century Russian composers known as ―The Five,‖ wrote Prince Igor towards the end of his life. The opera was, in fact, unfinished at the time of Borodin‘s death, which The work is divided into six short movements. After a brief introduction, the chorus resulted in its being completed by colleague and composer Nikolai Rimsky-Korsakov enters with a prominent dotted figure to the word ‗Gloria‘, which forms the basis of with help from composer Alexander Glazonov. The libretto to Prince Igor is based on this movement. The animated second movement, ‗Laudamus Te‘, reveals Poulenc in The Lay of Igor’s Host, an epic twelfth-century poem much in the same vain as The Song playful mood, with the chorus for the most part divided into pairs of voices - sopranos of the Niebelungs, on which Richard Wagner based his famous Ring Cycle. In fact, a and tenors; altos and basses - exchanging a series of short, pithy phrases. In the expres- renewed interest in adapting literary texts for the stage was prevalent among the sive third section, ‗Domine Deus‘, the soprano soloist is heard for the first time with a nineteenth-century Russian and German composers (although ―The Five‖ sought to typically yearning melody, whilst the chorus is allocated a supporting role. We are then avoid many of the traits of the German school of composition, favoring a more abruptly whisked back to the playground for the brief and chirpy ‗Domine Fili Uni- nationalist approach); at the same time Borodin was working on Prince Igor, Rimsky- genite‘. The soprano soloist returns for the exquisite ‗Dominus Deus, Agnus Dei‘, with Korsakov was working on adapting Lev Mei‘s The Maid of Pskov into an opera and soloist and chorus sometimes combining and sometimes exchanging lyrical phrases. In Modest Mussorgsky was composing one based on Alexander Pushkin‘s play Boris the sixth movement a short, majestic opening soon gives way to an animated section at Gudonov. The poem recounts the story of Russian Prince Igor Svyatoslavich‘s raid the words ‗Qui sedes ad dexteram Patris‘. Peace and serenity suffuses the radiant clos- against the Polovtsians. At the end of Act II, Prince Igor is captured by Khan ing pages of the work but, characteristically, Poulenc cannot resist a last, loud interjec- Kontchak, who gives the Igor an opportunity to save himself: if Igor ceases his raid tion at the first ‗Amen‘, where he briefly recalls the dotted ‗Gloria‘ figure of the very and promises to never again do battle with the Polovtsians, he will be granted his opening, before calm is restored for the final ‗Amen‘. freedom. Igor decides to remain true to his values, refusing the offer. The Khan then

Poulenc‘s sense of humour and love of life shine through all his music, however solemn entertains Prince Igor by calling in slaves to dance and perform for him. This scene is the text might be. One of his friends said of him, ‘There is in him something of the monk and generally referred to as the ―Polovtsian Dances.‖ the street urchin.’ The Gloria brilliantly expresses these characteristics, with its captivating Thank you to Adam Rothbarth for programs notes on Pictures at an Exhibition and Polovtsvian Dances. mixture of solemnity and mischievous exuberance. ~ John Bawden