THE UNIVERSITY OF MISSOURJ-COLUMl3I A SCHOOL OF FINE ARTS DEPARTMENT OF MUSIC Event No. 16 in the 1996-97 Series

UNIVERSITY PHILHARMONIC ORCHESTRA

EbwaRb Dolbash1an. Music D1RectoR

Wednesday, October 9, 1996 8:00p.m.

Missouri Theatre 203 S. Ninth St. Columbia, MO The Conductor Edward Dolbashian, Director of Orchestral Activities at the Universit>7 of Missouri-Columbia, began his musical training as a student at New Yorks famed High School of the Performing Arts. Upon graduation, Mr. Dolbashian entered the Hartt College of Music, where he earned his bachelor of music and master of music degrees in oboe performance. Mr. Dolbashian's conducting career began when, during his tenure as oboist of the Hartford Symphony Orchestra, he accepted the directorship of the Holyoke (Massachusetts) Civic Orchestra. A desire to excel in the field of orchestral conducting took Mr. Dolbashian to the prestigious Pierre Monteux School of Orchestral Conducting in Mame, studying under Charles Bruck, and to Yale University, where he served as student conducting assistant to Otto-Werner Mueller en route to earning a master of music degree in orchestral conducting. Further studies took place at the Tanglewood Institute with Seiji Ozawa, , Andre Previn, ancfGustav Meier, and at the Boris Goldovsky Opera Conducting Seminar. In addition to his duties as Director of Orchestral Activities, Mr. Dolbashian teaches a wide range of topics, including private instrumental and conducting study, performance practice, and music theory. He has recently instituted a master of music degree f)rogram in orchestral conducting, the curriculum of which centers around the Conducting Lab Orchestra. The Lab Orchestra allows conducting students to regularly experience actual• rehearsal situations-an unusual opportunity in conducting programs across the country-and also presents a large repertoire of standard literature to the members of the orchestra. Recently Mr. Dolbashian has taken on extra duties as Music Director and Conductor of the Alton Symphony in Alton, Illinois.

♦ Program

Octet for Strings in E-flat major, Op. 20 Felix Mendelssohn

I. Allegro moderato ma con fuoco

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Divinum Mysterium Thomas McKenney

INTERMISSION

Symphonic Dances from West Side Story Leonard Bernstein

Prologue (Allegro moderato) "Somewhere" (Adagio) Scherzo (Vivace e leggiero) Mambo (Presto) Cha-Cha (Andantino con grazia) Meeting Scene (Meno mosso) "Cool-" Fugue (Allegretto) Rumble (Molto allegro) Finale (Adagio)

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Requests for accommodations related to disability need to be made to Dr. Alex Pickard, 213 Fine Arts Building, 882-7361, at least seven days in advance of the event.

Host for this event is the Missouri Symphony Society, a private, community­ based non profit organization and owner of the Missouri Theatre Program Notes

The Octet for Strings in E-flat major, Op. 20 was written in October of 1825, right before the composition of the acclaimed overture to A Midsummer Night's Dream, of 1826. Both compositions reveal a spontaneity of invention and a visionary sense of form which the composer only was able to recapture to a limited extent in some of his subsequent works. Most impressive is the fact that the Octet was finished when Mendelssohn was still four months short of his seventeenth birthday. The medium had been formerly explored by Louis Spohr in his double quartets, in which the two groups of strings were treated, for the most part, antiphonally. Although such procedure is used occasionally in the Octet, the writing is predominantly orchestral in texture, making it suitable to be performed by a full string orchestra. The composer himself originally prefaced the work with the following instructions: "This Octet must be played by all instruments in symphonic orchestral style. Pianos and fortes must be strictly observed and more strongly emphasized than usual in pieces of this character." The University Philharmonic performs tonight the first movement of Mendelssohn's Octet, Op. 20. Mendelssohn's double presentation of the first theme establishes a formal foundation for the expansive scope of the movement, which enables it to stand in its own right.

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Divinum Mysterium was commissioned by the Missouri Chapter of the American String Teachers Association for the 1996 Missouri All-State Orchestra. The premiere performance was given in January 1996, at the Missouri Music Educators Association All-State Festival Concert at Tan Tar-A. The title is from an 11th-century Sanctus trope. The music of this trope is used in various places in the orchestral work.

W. Thomas Mckenney is professor of composition and theory at the University of Missouri-Columbia. He received his Ph.D. in composition from the Eastman School of Music, and his Bachelors and Masters degrees from the College-Conservatory of Music of the University of Cincinnati. His compositions have been performed in , South America, China, and throughout the . In 1987, he was invited by the Ministry of Culture of the Peoples Republic of China to present a series of lectures on his use of lasers and electronic music. In addition to his work at the electronic music studio at MU, he has worked at Robert Moog's studio, the Stiftelson Elektronikmusik­ studion in Stockholm, Sweden, the Center for Experimental Music and Intermedia, at the University of North Texas, and the Center for Electroacoustic Music at the University of Missouri-Kansas City.

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The idea of a modern musical version of Shakespeare's Romeo and Juliet had always stirred Bernstein's imagination since it was first suggested to him by a friend in January of 1949. Because of his pressing commitments as a conductor, he had to postpone the project for seven years. Social circumstances changed during this period, and the original plot depicting a conflict between Jews and Catholics was replaced by a more updated dramatic setting which explored the ethnic tensions between two gangs on the West Side of . The new musical possibilities deriving from such a change inspired Bernstein even more, as he recalls in his diary:· "Suddenly it all springs to life. I hear rhythms and pulses, and - most of all - I can sort of feel the form." And now these rhythms, and pulses, and forms are available to us. The numbers included in the Symphonic Dances were extracted from the original musical score with a few slight alterations, including a change in the order of presentation of some excerpts. Not even special transitions between movements have been worked out, making for some abrupt shifts. The designation "symphonic" refers not exactly to the instrumental texture, but rather to specific features of formal organization commonly found in symphonic music, such as thematic unity among movements, the employment of fugal procedures, and even the inclusion of a solo cadenza. The skillful mixture of Latin American rhythms, big-band jazz, 'cool' jive and ingenious melodies represent an impressive achievement which not only reveal the eclectic musical inclinations of the conductor/ composer, but also his energetic personality.

Notes by Edson Carvalho and Thomas McKenney FRIENDS OF MUSIC The Friends of Music was formed in 1978 by a dedicated group of music lovers to increase scholarship funding for the department of Music. Since then, more than $667,000 has been contributed for music scholarships. In Spring 1996, Friends of Music provided over $35,000 for music scholarships during the 1996-97 academic year. The Friends of Music Scholarship Campaign has a goal of raising $46,000 to be used in attracting the most qualified performers to MU. Through the generous contributions of Friends of Music, contributors state tneir recognition of the importance of music and the programs of the Department of Music to the University. Their contributions make possible scholarships for talented young musicians and enrich the environment for the musical arts on campus and in Mid-Missouri.

As a contributor to the Friends of Music you will receive: • The satisfaction of helping talented students receive a musical education at·MU while improving the quality of performing ensembles and the environment for music in Mia-Missouri • Advanced notice of ticket sales for the Department of Music opera productions • Announcements of music performances presented each term on campus by the Department of Music • Invitations to receptions held in conjunction with special events or performances given by the Department of Music • The Department of Music newsletter Music at Mizzou. • All donations are tax deductible to the extent allowed by law.

If you are interested in becoming a member of Friends of Music, please call (573) 882-2605, or write to: Friends of Music Department of Music 140 Fine Arts Building University of Missouri Columbia, MO 65211 University Philharmonic Orchestra Edward Dolbashian, Music Director

FIRST VIOLINS VIOLONCELLOS BASSOONS Dean Anderson Andrea Brown Anna Christ Tania Bargfrede Aimee Fine Toby Jewell Yoon Cho Sarah Sherman Keith Koster Lisa Collins Sandy Stansbury Trina Flint Alison Swartz HORNS Mandy Hapner Erin Tucker Heather Holland Lindsey Miller* Jamie Mires Robert Myers OOUBLE BASSES Edmond Thomas Sharyn Parks Tiffany Freeman Consuelo Valerio Adrienne St. Clair David Hall Michael Wunsch Yung-Yi Hsieh TRUMPETS Aaron Kerkhoff Geoffrey Leigh SECOND VIOLINS Jeremy Stanek Marilyn Beissenherz FLUTES Joshua Morrison Rebecca Berlin Elizabeth Ellsworth Amanda Chambers Jennifer Lloyd TROMBONES Marla Cichowski Laura Mertens ·. Tim Baker Bryan Elder Kathleen Sander Seth Merenbloom Sally Hopkins Mauhew Wood Christina Jensen OBOE Fiona Preston-Bryan Kristen Arant TIJBA Hannah Rennard Krystin Davidson Greg Gilliland Roger Webb Elaine Smith Brandon Woodruff TIMPANI & PERCUSSION CLARINETS Christine Conklin VIOLAS Elizabeth Bennett Ian Hunter Anthony Addison Michelle Motz Chris Rouse Glenna Betts-Johnson Kara Toby Paine Ricardo Souza Michael Blackwood Greg Williams Jeff Brown PIANO Angela Cummings ALTO SAXOPHONE Joe Rackers Valley Jo Jacobs Pat Wroge LaDonna Johnson HARP Kirsten Snyder Wesley Kelley Audra Thomas

*concert master ♦ Upcoming concerts, recitals & other musical events in cfS96

t Symphonic Band and Jazz Ensemble 10/10/96 MoTh, 8:00 pm ◊Milton Masciadri, double bass 10/11/96 RWRH, 7:00pm t Symphonic Wind Ensemble 10/11/96 MoTh, 8:00 pm Jazz Bands 3&4 and Jazz Combos 10/14/96 RWRH, 8:30 pm String Area Recital 10/15/96 RWRH, 2:40 pm ◊The Missouri Quintet 10/15/96 RWRH, 8:00 pm Rober Webb, bass trombonist 10/16/96 RWRH, 8:30 pm 6.tVon Freeman Saxophone Quartet 10/20/96 RWRH, 7:00pm Voice Area Recital 10/22/96 RWRH, 2:40 pm LAI Musicale 10/22/96 RWRH, 7:00pm Joe Rackers, pianist 10?22/96 RWRH, 8:30 pm ◊Faculty Piano Quartet 10/25/96 RWRH, 8:00 pm University Singers 10/27/96 First Baptist Ch., 8:00 pm Woodwind Area Recital 10/29/96 RWRH,2:40pm •t Ballet Oklahoma, Dracula 10/30/96 JAud, 8:00 pm JoAnna Hoeppner, mezw soprano 11/2/96 RWRH,3:30pm •t Midori, violin I 1/2/96 JAud, 8:00 pm Hom Choir 11/4/96 RWRH, 7:00pm Brass Area Recital 11/5/96 RWRH, 2:40pm Lecia Cecconi-Roberts, clarinet 11/5/96 RWRH, 7:00pm Trombone Studio Recital 11/6/96 RWRH, 7:00pm t University Lab Orchestra 11/8/96 MoTh, 8:00pm Fiona Preston-Bryan, violin 11/9/96 RWRH, 1:00pm •t The Snow While Show 11/9/96 JAud, 2:00 & 7 :00 pm Christine Conklin, percussionist 11/9/96 RWRH, 7:00pm Concert Chorale 11/9/96 First Baptist Ch., 8:00 pm University Percussion Ensemble 11/10/96 RWRH, 3:00 pm Buder String Quartet Recital 11/10/96 RWRH, 7:00pm Andrew List, Composer/Lecturer 11/11/96 FAB-M 148, 2:40 pm ◊Esterhazy Quartet 11/11/96 RWRH, 8:00 pm Percussion Area Recital 11/12/96 RWRH, 2:40 pm MU Brass Choir 11/12/96 RWRH, 8:00 pm Saxophone Studio 11/13/96 RWRH, 7:00pm •t Choral Union & University Philharmonic 11/16/96 JAud, 8:00 pm Mendelssohn's Elijah Kate Sander, flute 11/17/96 RWRH, 2:00 pm Chamber Singers 11/18/96 Sacred Ht Cath. Ch., 7:00 pm Bassoon Studio Recital 11/18/96 RWRH, 7:00pm Jazz Bands 3&4 and Jazz Combos 11/18/96 RWRH, 8:30pm

RWRH = Rogers Whitmore Recital Hall JAud=Jesse Auditorium; MoTh=Missouri Theatre ,/ Music Department Faculty or Guest Recital • University Concert Series Event ◊ MU Faculty or Guest Recital .1.National Pastimes Production t Admission Charge