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Symphony Orchestra Civic Chorale Illinois State University ISU ReD: Research and eData School of Music Programs Music 10-24-1993 Symphony Orchestra Civic Chorale Glenn Block Director/Conductor Illinois State University Michael Schwartzkopf Conductor Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation Block, Glenn Director/Conductor and Schwartzkopf, Michael Conductor, "Symphony Orchestra Civic Chorale" (1993). School of Music Programs. 1050. https://ir.library.illinoisstate.edu/somp/1050 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. I Music Department 1 Illinois State University I SYMPHONY ORCHESTRA I Glenn Block, Music Director & Conductor I I CIVIC CHORALE I Michael Schwartzkopf, Conductor I Julian Dawson, Pitino I I I II Braden Auditorium Sunday Afternoon I October24 Twenty-seventh program of the 1993-94 season. 3:00p.m. I Program I I Program Notes ,I Six Pieces, Op. 6 Anton Webern Six Pieces for Orchestra, Op. 6 Anton Webern I Anton Webern wrote the Six Pieces, Op. 6 in 1909, when be was in his mid-twenties Langsam (1883-1945) after having completed a doctoral degree. As a student of Arnold Schoenberg, be bad Bewegt acquired the moral and technical expertise of a highly developed style of composition. Massig Nevertheless, be was still only scraping out a meager living as an assistant operetta Sehrmassig I I conductor. Before the Op. 6 Pieces, be bad composed a piano quintet, the substantial Sehr langsam Passacaglia, Op. 1, some smaller vocal works, and the Five Movements for String Langsam Quanet. The Six Pieces have an average length of twenty-five bars: the longest (No. 4) bas I I 41, the shortest (No. 3) bas eleven. The compositional material is incredibly sophisticated and concentrated. Far from adding any programmatic suggestions after Nanie, Op. 82 Johannes Brahms the composition was completed, Webern eventually removed one. The fourth (1833-1897) movement was originally called "Marcia funebre". I I It is now known that Webern bad associated bis Opus 6 with one of the most Civic Chorale traumatic events of his life, the death of his mother in 1909. The First Piece is a Glenn Block, Conductor ''premonition." No. 2 probably represents a journey borne, at the end of which the dreaded event is confirmed with a hysterical, disjointed outburst The minuscule No. I I 3 evokes the delicate scent of the heather (Webern laid some in bis mother's coffm). Schicksalslied, Op. 54 Johannes Brahms No. 4 is the funeral march, whose relentless undertow of deep bells and gongs reaches a climax of enormous ferocity. The last two pieces are both relatively restrained, Civic Chorale representing the composer's fond memories as be revisits his mother's grave. Michael Schwartzkopf, Conductor I I I I. Nanie and Schicksalslied Johannes Brahms Intermission These two choral works by Brahms are intensely personal readings of poems that explore a tragic view of the world; they even have a common theme: divine indifference to the human condition. I I The text for Schicksalslied (Song of Destiny) (1868-1871) was taken from Friedrich Holderlin's novel Hyperion, which deals with the struggle of the Greeks to liberate Concerto No.1 in B-Aat Minor, Op. 23 Piotr Tchaikovsky themselves after three and abalf centuries of Turkish oppression. Hyperion's "Song Allegro non troppo e molto maestoso­ (1840-1893) _, of Destiny" depicts the painful and yearning contrast between unchanging Greek gods, Allegro con spirito .I and restless, ever-suffering humanity. Brahms' music conjures up an image of the Andantino semplice-Prestissimo radiant landscape inhabited by the gods; muted violins sing a glorious melody against Allegro con fuoco an accompaniment which is darkened by the relentless rhythm of the timpani. Brahms was first drawn to Schiller's Nanie in 1875, but he did not begin work on Julian Dawson, Piano I I the score until early 1880, upon the death of his friend, the painter Anselm Feurbach. ' Schiller's ''Lament" begins with a sweet elegiac song by the oboe. The choral style is predominantly polyphonic, and the four voices enter as in a fugue, one at a time. The .I I texture covers a wide range from a capella to richly elaborate orchestral scoring. I IL..., I I I I Concerto No. J In B-Flat Minor, Op. 23 Piotr Tchaikovsky But to us it is not given Tchaikovsky's First Piano Concerto received an enthusiastic reception at its_ world in any place to rest; premiere conducted by Hans von Buelow in Boston on October 25, 1875. The tnumph suffering humanity was repeated in many other cities during Buelow• s American tour. It was not until two I I perishes and falls months later that the concerto was first heard in Tchaikovsky's homeland, under a less­ haphazardly from one than-competent conductor, orchestra and soloist. hour to the other, The reasons for the concerto• s world premiere in the United States can be traced to like water dashed Tchaikovsky's self-consciousness as a less than adeq~te pianist. :nie ~vi~ the I I from crag to crag, composer sought while composing the piece was from his rather <1?mmeenng friend, year after year, down into the unknown. Nicholas Rubenstein, head of the Moscow Conservatory. Rubenstem felt the concerto was unplayable, even for a professional pianist such as ~e. Tchaiko".sky erased the first dedication of the concerto, which had been to Rubenstem, and substttuted von B~elow, 11 I Nanie (Lament)-Friedrich von Schiller who was about to embark on his American tour. Hans von Buelow had wntten a complimentary letter about the concerto, and had expressed to Tchaikovsky a des~ Even Beauty must die! to take a European concerto to America Thus, it happened that the Concerto had its That which subdues men and gods premiere in Boston! ll I does not move Allegro non troppo e molto maestos£?-Allegro con spfrito.-In a vigorous fo_ur­ the steely heart of Stygian Zeus. measure introduction, the horns lead mto a grand Tchaikovsky melody of soanng Only once did love touch intensity which is immediately taken up by the soloist. The main ~tion of the the ruler of the underworld movement has as its main theme ajerlcy, vivacious figure, which Tchaikovsky heard I I and still upon the threshold sung at a fair by a blind beggar. sternly he recalled his gift. Andantino semplice-Prestissimo.-Over an accompaniment of muted stnngs, a so~o Aphrodite does not tend flute sings a sad melody. There is a scherzo-like middle section and the movement 1s the lovely youth's wound, rounded off with a return to the opening melody. torn by the savage boar Allegro confuoco. The fmale is a rondo with a wild, <!ance-~e~trau:i- A lync sec~d in his graceful body. theme is announced by the strings and echoed by the piano. It1s this lyncal theme which Tchaikovsky uses to build a fmal climax of great breadth and grandeur. The immortal mother does not save t I the godly hero when, dying at the Scaean gate, Schicksalslied (Song ofDestiny )-Friedrich Hol.derlin his destiny he fulfills. Jl I But she rises from the sea In the light there above, blessed spirits, with all Nereus' daughters, you wander in Elysian fields! and the lament for the exalted son Shimmering celestial breei.es goes up. touch you gently, as the player's fmgers Behold, the gods weep, the sacred strings. all the goddesses weep that beauty must fade, Free from destiny, as the sleeping babe, that perfection must die. the celestial beings breathe; I I Even to be an elegy preserved chaste in the mouth of the beloved is glorious, in modest bud for the ordinary their spirit blooms goes down unsung to Orcus. for ever in them, I I and their blissful eyes shine eternally in still serenity. I I 111 I I Civic Chorale Lydia Easley, Student Assistant P-atricia Foltz, Piano I I Julian Dawson, was born in Dublin, Ireland. As Staff Pianist of the BBC in Scotland, Erin Anderson Tammy Hirstein Susan P-almer he performed the complete sonatas of Beethoven and Schubert. He was a frequent Louise Andrew Marjorie Hobbs Brenda Petersen soloist with the BBC Symphony and has performed recitals throughout the British Isles Sally Bailey Jane Hopper Denise Phillips I I and Austria. Since moving to the United States in 1975, Professor Dawson has served Wilson Ban1cs Joy Hunter Laurie Prather as Professor of Piano at Illinois State University. A former conductor of the ISU Sandra Barney Eva Hunter Vera Price . Symphony Orchestra and Bloomington-Normal Symphony, Mr. Dawson serves Carolyn Bartusek Jessica Ireland Helen Ritt I during the summers as Opera Conductor at the Brevard Music Center in North GinaBasi David Jensen James Roderick I Carolina. Elizabeth Bodenlos Lois Jett Maxine Rogers Margaret Bratcher James Jirak Daniel Rose Judy Brown Arlene Johnson P-at Rosenbaum Carol Campbell Tara Kaiser Jan Runner I I Don Conant Rowena Koshinski Julie Sandy Robyn Conant Dick Koshinski Norm Schickedanz Greg Coughlin Andrew Kott Sharon Schroeder AmieL. Darr James Larrabee Mary Selk I I /SU Instrumental Faculty David Davenport Sonja Larson-Strieff Sara Shaw Max Schoenfeld, Flute Judith Dicker, Oboe Clifford W. Derix Kara Lindstrom Anya Shoemaker Aris Chavez, Clarinet Michael Dicker, Bassoon Peg Dudzik Jonathan Lingle Karen Smith Joe Neisler, Hom Amy Gilreath, Trumpet Dave Dungan Bea Lowery Kim Snyder .1 Charles Stokes, Trombone Ed Livingston, Tuba Lynn Feldner
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