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ISU Symphony Orchestra Illinois State University ISU ReD: Research and eData School of Music Programs Music Spring 3-25-2018 ISU Symphony Orchestra Glenn Block, Director Illinois State University Jorge Lhez, Conductor Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation Block,, Glenn Director and Lhez,, Jorge Conductor, "ISU Symphony Orchestra" (2018). School of Music Programs. 3657. https://ir.library.illinoisstate.edu/somp/3657 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]. THANKYOU Illinois State University College of Fine Arts Illinois State University College ofFine Arts School of Music Jean M. Miller, Dean, College of Fine Arts Laurie Thompson-Merriman, Associate Dean of Creative Scholarship and Planning Janet Tulley, Assistant Denn of Acndemic Programs and Student Affairs Steve Parsons, Director, School of Music Janet Wilson, Director, School of Theatre and Dance l'.lichael \Ville, Director, School of Art Aaron Paolucci, Pro~m Director, Arts Technology • • Nick Benson, Center for Performing Arts l\fanager Barry Blinderm:m, Director, University Galleries Illinois State University School ofMusic Illinois State University Symphony Orchestra A. Oforiwaa Aduonurn, E1bnon111Iimlog Marie I-~bonville, MJ1sitology Allison Alcorn, M11si,vlog Katherine J. Lewis, Viola Debra Austin, Voia Roy D. l\Iagnuson, Theory a11d Con,po.ritio11 Glenn Block, M11sic Director Mark Babbitt, Trombon, Anthony Marinello III, Diru/orofBa11ds Jorge Lhez (Argentina), Guest Conductor Emily Beinbom, Murie Th,rapy Thomas Marko, Dirrclor of]a:::.:;_ Studi,s Glenn Block, Orrhu/T/1 and Conduclin.!, Rose Marshack, A-fmi,· Bmin,ss a11d Arts T,dmolog Shela Bondurant Koehler, Mmk Edrm,tion Joseph Matson, Musimlog Karyl K. Carlson, Dirrclor ofChorol Activiti,s Polly J\liddleton, Ass/. Dirrclor ofBands/ Dirrclor of BRM/vi Renee Chernick, Gro11p Piano Paul Nolen, Saxopho11, David Collier, Pm:ussion and Assodal, Dirrclor Lauren Palmer, Adminislraliv, Clerk Andrea Crimmins, Music Tb,ropy Stephen D. Parsons, Dirrclor Peggy Dehaven, OJ!ia Support Sp,dalisl Adriana Ransom, Cello/ String P"!J,cf/ ClA • Anne Dervin, C/arin,I and G,n,rol Ed11cation Kim Risinger, Flute Gma Dew, Mmic Ed11culion Advisor Cindy Ropp, Music Therapy J uclith Dicker, Obo, Andy Rummel, E11phoni11m/Tuba Michael Dicker, Bassoon Tim Schachtschncider, Padlili,s Mana_ger Geoffrey Duce, Piano Carl Schimmel, Thto,y and Composition • Ellen Elrick, M11nr Education Daniel Peter Schuetz, Voict" Tom Fau.'<, Ethnomrmivlog Lydia Sheehan, Bands Administralii~ Clerk Angelo Favis, GNifar a11d Grad11alt Coordi11afor Anne Shelley, Milner Ubraria11 Tim Fredsuom, Choral M11sir Education Debra Smith, M11sic Ed11talion Sarah Gentry, Violin Matthew Smith, Arts Tuhnolog Amy Gilreath, T r11mp,1 David Snyder, M11sic Ed11calion Dennis Gotkowski, Voict' Ben Stiers, Pemmion/ Asst. Dirrctor ofAlhlelir Bands David Gresham, Clarin,1 Tuyen Tonnu, Piano Mark Grizzard, Th,o,y and Chorol Musi< Rick Valentin, Arts Tuhnolog Christine Hansen, L,ad Acud,mic Adtisor Justin Vickers, Voict' Kevin Hart, Ja:::.z Piano and Th,o,y Michelle Vought, Voin" Phillip Hash, Music Education Roger Zare, Theory and Composition Martha Horst, Th,o,y and Composilio11 Mona Hubbard, OjJin' Mana,g,r Lauren Hunt, Hom John Michael Koch, Votal Arts Coorrlinalor William Kochler, Slrin_g Bass and Mmic Educulion • • Center for the Performing Arts March 25, 2018 Sunday Evening 7:00p.m. This is the one hundred and twenty-second program of the 2017-2018 season. Program Program Notes El Tareo en Flor - Luis Gianneo Please silence all electronic devices for the duration of the concert. Thank you. Luis Gianneo was an Argentinian composer, pianist, and conductor who was born in 1897 and died in 1968. Giannco was one of the principal figures in Argentina who made many great contributions . the development of the classical music in his country. He also made contributions when he was a El Tarco en Flor (1930) Luis Gian. (1897- 1 ember of the Gmpo &11ovaciti11 (Renovation Group), an Argentinian composer's association • founded in 1929 to promote modern music. His compositional style evolved from musical nationnlism in his early works, to neoclassicism in his middle stage, and the use of dodecaphonic Divertimento in D Major, K: 136 (1772) Wolfgang Amadeus Mozart procedures in hi~ Inter compositions. In each of these phases, he always used musical clements I. Allegro (1756-1791) from the folk music of Argentina. Il. Andante III. Presto Gianneo made his primary career as a teacher of young musicians, working in the principal conservatories and Universities of Arts in Argentina. He also created two of the principal youth orchestras in the middle of the twentieth century in Argentina: Orqmsta Silifti11ica J11ve11il Argmti11a d, - INTERMISSION - Radio ti M1111do and Orq11tsla Si1ifti11ica J11umil d, Radio dd Ettado. El Tarro ,,, Flor is a symphonic poem composed in 1930 when Giannco was living in Tucuman, one Symphony No. 7, Op. 92 in A Major (1812) Ludwig van Beethoven of the principal cities in northwest Argentina. Gianneo improved the musical life of Tucuman, premiering an abundant amount of contemporary music from composers like Stravinsky, Debussy I. Poco sostcnuto-Vivacc (1770-1827) II. Allegretto and Respighi, as well as his own works. III. Presto IV. Allegro con brio El Tarro m Flor belongs to Gianneo 's nationnlist phase, and in this work, we can hear some of the principal folk melodics and rhythms of Argentina mixed with great orchestration which show the different colors of the landscapes of Tucuman and the north of the country. El Tarro m Flor describes the flowering of El Tarco, a typical tree from Argentina that blooms a violet-colored flower in the spring. This tree has a big presence throughout Argentina, and every . pring it gives the cities a special color and unique atmosphere. Divertimento in D Major, K. 136 - W. A. Mozart By the age of 16, when he wrote this D Mqjor Divertinm1to, Mozart had already spent over two years • away from his home town of Salzburg. He had lived in London and Paris and travelled throughout Austria, Germany, France, the Netherlands and Italy. In addition to giving conce_rts at court in order to fill his family's pockets with gold rings, snuffboxes and watches, he met many of the famous musicians of the time and had opportunities to study and hear their music. Musical styles and traditions were different in every country and Mozart's early compositions are often case­ studies in where his travels had most recently taken him. He wrote tl1e three Divertimmti, K 136-8 in Salzburg, after the second of three extended trips to Italy. A final trip to Italy was already in the planning and the Itnlinn influence on Mozart's writing is strong. \Ve can't be cert'lin whetl1er he wrote the Divertimmtos for a specific occasion and even the title 'Divertimento' was added by another hand, probably that of his fatl1er, Leopold. The three divertimentos are published in the complete Mozart Edition as a sort of appendage to the string quartets and their performance citl1cr by a one-on-a-part string quartet, as today, or by a larger string ensemble, work equally well. Next Illinois State University Symphony Concert: Concerto-Aria Concert-Sunday, April 29, 2018-7:00 PM (CPA) . The three-movement structure follows tl1e pattern of the Itnlian Si1ifo11ia, while the writing also Works by Glazunov, Bizet, 1\-Ieyerbeer and Schumann's Symphony No. 3 "Rhenish" ods in the direction of the widely respected Joseph Haydn and Johann Christian Bach - both of Devin Cano, saxopbont soloist, R.'lchel Ann Miller, voic, soloist ,;horn Mozart had met in London and whom he regarded as botl1 friends and mcnto_rs. • The sparkling violin virtuosity of the opening movement is deftly drawn. The slow movement • unfolds gently with the melodic interest more equitably shared between the violins. The finale has a playful spirit even in the centrnl development when Mozart shows off his contrapuntal skill. Notes by Keith Homer dominant (E major) as historical practice and textbooks recommended, but to the unlikely regions Symphony No. 7, Op. 92 in A Major - L. V. Beethoven of C major and F major. Bcctl10ven makes it clear that he won't be limited to the seven degrees of the A major scale (which contains ncitl1er C- nor F-natural) in planning his harmonic itinerary. We Beethoven's first sketches for this symphony date from late 1811; the work was completed on April ,vill hear more from both keys, and by the time he's done, Beethoven ,vill have convinced us not 13, 1812, and first performed on December 8, 1813, in Vienna, under the composer's direction. only that C and F sound comfortably at home in an A major symphony, but that A major can be Here is what Goethe wrote after he first met Beethoven during the summer of 1812: • • made to seem like the visitor! . "His talent amaz!d mt; 111ifort11nalt/y, ht iJ a11 111/trfy 1111/amtd ptr.ro11ali!J, 1vho i.r 110/ altogether i11 the IVl'Ol'l, ii First, we move from the spaaous V1st1s of the mtroduct10n into the Joyous rhythms of tl1e V1vatt. holding the world to bt dete.rtable, but mnfy do~.r not make it Ol!J the mon t1yqyablt either for him.rt// or for other.r Getting there is a challenge Beethoven relishes, and many a music lover has marveled at his passage I!] hi.r allit11dt. " of transition, in which stagnant, repeated E's suddenly catch fire ,vith tl1e dancing darted rhythm that ,vill carry us through the entire movement.
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