presents
Featuring Gary Sanders on Piano Patrick Clark, Conductor P PS CONCERT
LINCOLN UNIVERSITY ~ MITCHELL AUDITORIUM Tuesday February 9th, 2016—7 PM 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.
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Program Richard Rodgers in Concert, Words and Music by Richard Rodgers, Choral Arrangement by Mac Huff, Instrumental Arrangement by Paul Murtha (2002) Vocal soloist: Nancy Luehrman
When You Believe, Words by Stephen Schwartz, Choral Arrangement by Audrey Snyder, Instrumental Arrangement by John Moss (1997) Vocal soloists: Kristin Van De Velde, Bill Stine, Elizabeth Hedrick
Showboat: A Choral Montage, Words by Oscar Hammerstein II, Music by Jerome Kern, Choral Arrangement by Hawley Ades (1979), Instrumental Arrangement by Earl Braun (1983) Vocal soloists: Lacey Williams, Tom Steever
Porgy and Bess: Medley from the Broadway Musical, Music by George Gershwin, Lyrics by Dubose Heyward and Ira Gershwin, Arranged by Ed Lojeski (1984) Vocal soloists: Sylvia Morris Ferguson, Carl Beach
INTERMISSION
Stage Fright Rhapsody (from Alfred Hitchcock’s “Stage Fright) (1950/1994) Leighton Lucas (1903-1982), arr./orch. by Philip Lane (b. 1950)
Forrest Gump - Main Title “Feather Theme” (1984/1995) Alan Silvestri (b. 1950), ed. By Paul Lavender (1937)
Warsaw Concerto (1941)Richard Addinsell (1904–1997)
Rhapsody on a Theme of Paganini, 18th Variation, op. 43 (1934) Sergei Rachmaninoff (1873-1943) Somewhere in Time (From “Somewhere in Time”) (1980/1994) John Barry (1933-2011), arr. by Calvin Custer (1939-1998)
Stolen Face Ballade for Piano and Orchestra (1952/1999) Malcolm Arnold (1921-2006), arr. by Philip Lane (b. 1950) Personnel
VIOLIN I CELLO TRUMPET Cheryl Nield** Scott Major* Barry Sanders* Sarah Acree Nathan Erickson Liam Reagan Julie Carr Patricia Koonce Heath Thomure Xiao Xiao Du Jonathan Satterfield Kelby Kornrumpf Greg Spillman TROMBONE Crystal Remmel Brahm Treiman T.J. Higgins* Hannah Tabor Rachel Ulm Karen Kramer Sierra Tackett Aimee M. Veile Max Mollencamp
Janna Volmert BASS BASS TROMBONE VIOLIN II Bonnie Verdot* Jim Merciel Susan Wallace* Izzak Green Marty Gardner Alison Riggs BARITONE Tayla Hughes Leah Stock William Mollencamp
Kristi Langendoerfer UBA McKayla Porter FLUTE/PICCOLO T Tisha Celada* Bruce G. Connor Esuga Emily Schweiss Susan Capehart PERCUSSION Rebecca Talbert BOE NGLISH HORN Samantha Gierer Madjid Vasseghi O /E Andrew Marjamaa* Matt Musselman Parker Watkins Mary Stahlhuth Eric Veile Evan Wilde Dalton Wright CLARINET VIOLA Steven Houser* TIMPANI E. F. Braun* Earl Kliethermes Tom Higgins*** Laura Eggeman Elijah Hiltey BASS CLARINET HARP Hannah Keeley David Heise Janna Volmert
Janet Mengwasser Catherine Roehl BASSOON PIANO Kirsten Schwandtner Karel Lowery* Jimmie Kay Sanders
Warren Solomon Andrew Bell CONDUCTOR FRENCH HORN Patrick Clark
Molly White* Kyla McDonald Charles Turner ***JCSO President
**Concertmaster *Principal Violin, Viola, Cello and String Bass performers, except for the principal, are listed in alphabetical order. Our Conductor
Patrick David Clark (b. 1967, St. Louis, MO) is a composer and conductor, recently having completed a Masters degree in orchestral conducting at the University 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 a composer at June in Buffalo (1996) and studied with Louis Andriessen at 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 by Patrick have been programmed by the Seattle Symphony, San Antonio Symphony, Nashville Symphony, and the Nederlands Ballet Orkst Various 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 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, A Fantasy on Themes of Mussorgsky, with the University Philharmonic Orchestra at the March 14, 2011 Chancellor’s Concert, Jesse Auditorium. 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 Soloist
Gary Sanders—A native of Jefferson City, Mr. Sanders is a graduate of the University of Missouri- Columbia School of Music with a B.M. in Piano Performance, Magna Cum Laude, Phi Beta Kappa, and Pi Kappa Lambda. His teachers have included Anne Manahan, Santiago Rodriguez, and William Koehler. A self-taught pianist prior to receiving a full scholarship at the UMC School of Music, the piano and its repertoire have been a life-long passion. Having played professionally for many years, this is his first performance with the JCSO. His identical twin, Barry, plays 1st trumpet with the JCSO.
A fervent collector of obscure, 19th century out-of-print piano music, Mr. Sanders maintains an enormous library of rare music scores. Most recently he has been invited by the Chairman of the Liberace Foundation for the Creative and Performing Arts to play on one of Liberace’s pianos in Las Vegas. When not playing or teaching the piano, he spends his time with his wife, Melinda, and their two, very spoiled Boston Terriers, Molly and Rosie. He is an avid gardener of tropical plants and an employee of the Missouri Department of Ele- mentary and Secondary Education in Jefferson City. JCSO Choir Personnel
Sopranos Tenors Kelly Copeland Pat Behler Maggie George Jim Borgwald Liz Hedrick William A. Bryant Jeanne Johnston Earl Friedmeyer Shirley Klein Joyce Henderson Pauline Kuntz Art Wilkins Nancy Luehrman Ruth Robertson Bass Cindy Wilkins Carl Beach Lacey Williams John Finley Stephen Hall Altos Jon Hanson Betsy Bax Steve Inglish Sylvia Morris Ferguson Steve Price Margaret Jenkins Fritz Rich Reinwald Susie Haeffner Gregory Schildmeyer Julie Heise Tom Steever Cheryl Hickman Bill Stine Lu Lockwood Nancy Ellis-Ordway Charlotte Parsons Patt Perkins Anne Riggs Kristin Van De Velde
Jimmy Kay Sanders, rehearsal and performance pianist Patrick Clark, chorus director Department of Visual and Performing Arts Music Unit and Art Unit
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Symphony Angels Dr. Steven & Jan Houser Patricia & John Koonce Don Schilling Candace Cheung Sharon & James Merciel Cheryl Neild Bonnie Verdot Doug Etter Nancy Luehrman The Richard Powell Family Charles Turner Robert Mansur Laura Eggeman Marty Gardner Susan Capeheart Karel & James Lowery Dianne & Tom Higgins Carmen & Charles Brown Patrick Clark Jefferson City Cantorum J&H McIntosh Annel & Robert Bailey Mildred Tunnell Mary Wherritt Cynthia Tandy Annoymous Willie Beatty, Mitchell Auditorium General Manager Jefferson City Public Schools Linn High School Lincoln University Our Savior’s Lutheran Church Symphony Board of Directors Tom Higgins, President Julie Carr 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 Veile, JCPS Liaison
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Music Notes from the Pianist
By Gary Sanders When Dr. Patrick Clark asked me to write some program notes about the pieces I am playing tonight, I felt a twinge of dread. I am not a writer, an English scholar, a film buff, nor an historian. I am simply a pianist – a pianist who loves the literature of the piano and music itself.
I’ve researched this particular genre (I call it the Hollywood Piano Concerto as have others) for over four decades after first hearing Liberace’s version of the ―Warsaw Concerto‖ on an old LP my parents owned. It was that piece that prompted me to teach myself how to play the piano. I wanted to play THAT piece! The recording became completely unplayable after wearing deep grooves in the vinyl from listening to it over and over while trying to emulate what Liberace was doing. I felt that if he could play arpeggios so could I. To this day, the ―Warsaw Concerto‖ is my favorite piece of music in the entire music repertoire.
There have been thousands of compositions written for piano and orchestra since Bartolomeo Cristofori de Francesco invented and first exhibited his keyboard instrument in Florence, Italy. Presented in 1709, the instrument was first named ―gravicembalo col piano e forte‖ (soft and loud instrument) but was thankfully shortened to fortepiano and finally truncated to piano. From Bach to the present day, most every composer, still known or now forgotten, whether a pianist or not, contributed something to the genre of piano and orchestra. The piano alone has always been integral to the film industry as an expressive, emotional outlet since the days of the silent movies where a ―house‖ pianist or organist played the background music using varying degrees of volume and tempo combined with major, minor, diminished chords, and intervals to heighten the movie’s action. Today’s film music is filled with a multiplicity of instruments yet the piano still rises and shines above them when given a good tune.
The ―Hollywood Piano Concerto‖ was born in 1940 as a result of Rich- ard Addinsell’s ―Warsaw Concerto.‖ As movies with sound evolved so did the music that accompanied them. Renowned composers of the day were asked to write movie themes including Rachmaninoff, Shostakovich, Addinsell, Charles Williams, Charles Wildman (Willy
Mattes), Kabalevsky, Copland, etc. The tense war period during the 1940’s spawned this highly charged genre and many pianists were playing the themes in living room concerts across the world. These works, particularly those from the 1940’s and 1950’s, have a Rachmaninoff flair to them in both melodic and harmonic treatment in addition to being a virtuosic display for the soloist. Many of the movie plots revolve around the life of a concert pianist. The concertos are still popular to this day which attest to their timelessness. For me, these works are quite simply some of the most savory tidbits found in music literature – full of spice that delights the senses. They are to be indulged and relished little by little, piece by piece. I scoured the Internet to purchase all of the movies that tonight’s piano music comes from. It was necessary for me to experience how and where this music originated. It was not an easy task as some of the films are completely unknown today. Thank good- ness for Amazon.Com and E-Bay!! Get your popcorn, and let’s go to the movies: Stage Fright (1950) Jane Wyman, Marlene Dietrich, and Richard Todd star in this Alfred Hitchcock directed movie. An aspiring actress tries to help a friend who is suspected of killing his lover’s husband, a high society entertainer. The female investigator falls in love with the suspect and a blackmail plot ensues. Themusic is composed by Leighton Lucas (1903 – 1982), a former ballet dancer turned composer and conductor by the time he was 19. He later was a professor at the Royal Academy of music. His music to ―Stage Fright‖ was well praised and accepted. The score is a new and very welcome discovery for me, and I chose it at the first piece to play because of the title.
“The Warsaw Concerto” Dangerous Moonlight (1941) Also known as ―Suicide Squadron‖, this British movie features Anton Walbrook and Sally Gray. Quite honestly, the greatest gift from this film is the music itself as the plot weakly revolves around an American, female journalist who falls in love with a tired, worn, shell shocked, Polish concert pianist who is fighting as an airman during the Nazi invasion of Poland.
Because of this film’s music alone, I believe the genre of the ―Hollywood Piano Concerto‖ was born. Richard Addinsell (1904 – 1977), a former law student turned composer, provided the music. Initially composed many years before this movie (Rachmaninoff turned down the original invitation to score the film), the theme started life as a simple rumba. Music Notes
Warsaw cont: Both Addinsell and his musical partner, Roy Douglas, poured through multiple scores of Rachmaninoff’s music for inspiration. The rumba, with its distinctive and piquant harmony, was transformed into an overwhelming success as one of the most popular pieces of music ever written. It is still the most recognized, performed, and recorded ―Hollywood Piano Concerto‖ of its kind, suis generis, and by far the most emulated - a well synthesized and seductively beautiful work of art. Until his death, Addinsell continued to provide a prolific amount of the highest quality entertainment music. Liberace championed his own arrangement of this piece in the late 1940’s and used it throughout his entire career as one of his stage entrance and exit pieces.
Forrest Gump (1994) Tom Hanks, Rebecca Williams, and Sally field star in this Robert Zemeckis directed film about a man with a below average I.Q. who accomplishes great things during his life. Despite childhood repetitive hearings of ―stupid is as stupid does‖, Forrest manages to overcome his challenges resulting in incredible, historical experiences with the likes of Elvis Presley, John F. Kennedy, Lyndon Johnson, Richard Nixon, etc. The film begins with a feather gracefully falling to the feet of Forrest Gump while he is sitting at a bus top in Savannah, Georgia, - hence the name of the music ―Feather Theme.‖ The film’s composer is Alan Silvestri (born 1950) - a prolific composer of film music for over 30 years. He is known for his musical collaboration on ―Back to the Future‖, ―Who Framed Roger Rabbit‖, ―Contact‖, ―Cast Away‖, and ―The Polar Express‖. Silvestri is a Grammy Award winner.
Somewhere in Time (1980) Christopher Reeve and Jane Seymour star in this Jeannot Szwarc directed film. Considered a ―sleeper‖ movie by many critics, it is a beautifully crafted film about a young man haunted by a brief and unusual encounter. Years before taking a break as a successful playwright, Christopher Reeve is approached by an old woman who gives him a pocket watch and whispers ―come back to me.‖ The incident is tucked away. While on break at the Grand Hotel on Mackinac Island, he sees a glorious portrait of a young and beautiful woman (Jane Sey- mour). He can’t stop staring at it. Intrigued and enamored he discovers who she was. Using self hypnosis, he travels back in time to 1912 – the time period of the portrait. The story follows their meeting and subsequent love affair which ends, quite innocently, because of a simple glimpse at a penny dated from his time which he accidentally carried in his pocket. He finds himself thrust back to the present. Grief-stricken, he dies and is happily reunited with Jane Seymour. The main theme mu- sic is by John Barry (1933-2011) – a highly gifted composer of beau- tifully crafted film music which earned him five Oscars. ―Somewhere In Time‖ was Barry’s best selling score, outselling all his other soundtracks put together. Barry collaborated on ―Body Heat‖, ―Out of Africa‖, ―The Cotton Club‖, and scored eleven films in the James Bond theme series.
Rachmaninoff’s 18th Variation from his ―Rhapsody on a Theme of Paganini‖ for piano and orchestra is used extensively during this movie. The piece needs no introduction as it is one of the most beloved tunes of all time. Based on a set of Paganini’s variations for violin, Rachmaninoff took the main musical motif and literally turned it upside down and backwards to arrive at one of the most recogniz- able and luscious melodies ever. It is this tune that Jane Seymour hears Christopher Reeve humming and inquires about it. He, however, can’t really say much about the music as it hadn’t been written yet. A musically enjoyable twist!
Stolen Face (1952) Paul Henried and Lizabeth Scott star in this black and white film noir. A forgotten, suspenseful movie, its plot revolves around a heart- broken, jilted doctor who repairs an escaped female inmate’s highly disfigured face to match the face of the woman (a concert pianist) who has left him. He is devastated and marries the inmate in hopes of recapturing his lost love only to suffer even more from an abusive relationship. The music is by the prolific and noted composer Mal- com Arnold (1921 – 2006). Arnold enjoyed the music of jazz which later led to him being a member of the London Philharmonic Orches- tra as a trumpet player. Much of his work was light, entertainment music which brought him much acclaim. He was a well-respected composer in his own right.
Nicole B. Fekaris I want to close my program notes by dedicating my performance tonight to those who have been so influential and generous throughout my life. My heart is full because of them.
* To the memory of my parents, Carl and Nadine Sanders, who did the best they could with what we had. Their support of my ―living room con- certs‖ was sincere, inspirational, and most rewarding. You are deeply missed! * To Melinda, my wife and best friend of 35 years, you’ve listened to it all, supported it all, and still won’t put in ear plugs. Now that’s an audi- ence!! I couldn’t have done this without you Mel! * To Anne F. Manahan, a Juilliard Master’s Graduate, and my first, most beloved piano teacher extraordinaire. For your willingness and eagerness to accept an undisciplined, ―green‖, completely self-taught pianist as your student at the UMC School of Music and helping to secure my full schol- arship, I am eternally grateful. Your best advice to me was to ―keep an open mind….something just MIGHT drop in.‖ You are the rock my entire musical foundation is built on. Thank you from the bottom of my heart. * To concert pianist Stephen Hough – your profound musical insight and years of friendship opened the heavens to me. I’ve never listened to music the same way since I first heard you play, and I’ve never played the same since we became friends. I am indebted to you. You have set the bar for all pianists.
A big thank you to Willie Beatty, overseer of Mitchell Auditorium, for allowing me to choose the piano I wanted to use for this concert, for giving Dr. Clark and me the time to compare the two concert grands, for your dedication to Mitchell Auditorium and Lincoln University, and for supporting the JCSO and its endeavors. Your commitment and professionalism is greatly appreciated and most admirable.
In closing, I want to extend a most sincere and heartfelt thank you to the JCSO Board of Directors, Dr. Patrick Clark, and the members of the JCSO. Your graciousness, enthusiasm, sense of humor, and kindness in welcoming me to perform with your organization have allowed me to cross off a VERY big item from my bucket list – something I’ve dreamed about doing for many decades. Dr. Clark has been the most amiable and generous musician that I have ever collaborated with. We are so fortunate to have a conductor of his caliber. It has been my utmost honor and privilege to work with each and every one of you as a musical partner. What a joyful and rewarding ride - I hope we can do this again someday. I’ll buy the gas. ♫
Gary Sanders Congratulations to the Jefferson City Symphony for bringing the Best of Music to the Mid-Missouri community.
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Music Notes
Porgy and Bess DuBose Heyward’s novel, Porgy, was originally published in 1925. It tells the story of a crippled beggar—Porgy—living in the fictional community of ―Catfish Row‖ in Charleston, South Carolina; and his newfound love—Bess. As Porgy manages to tame the wild-spirited Bess through love, he also attempts to protect her from her monstrous, murderous lover, Crown, and the tricky drug-dealer, Sporting Life. Ultimately, in saving her from Crown, Porgy loses Bess to Sporting Life, who steals her away to New York City.
George Gershwin composed what he called a ―folk opera‖ nine years later, the libretto being written in part by Heyward himself, along with Ira Gershwin, and from that opera, Porgy and Bess, comes tonight’s medley. It begins with the haunting melody of the classic ―Summertime,‖ praising the beauty and life of the Charleston streets. ―My Man’s Gone Now‖ begins the opera’s plot, a song of mourning for the old man Robbins, killed by Crown. The music picks up with the happy tune of ―I’ve Got Plenty o’ Nuttin,‖ as Porgy, happy to have taken in Bess, gleefully exclaims that he has everything he needs. Next is Sporting Life’s ―It Ain’t Necessarily So,‖ a song of trickery, preaching to the people of Catfish Row not to trust everything they read in the Bible. The love story reaches its peak with Porgy’s declara- tion, ―Bess, You is My Woman,‖ to which Bess replies in kind. The finale, ―Oh Lawd, I’m On My Way,‖ would not seem out of place in a southern gospel choir, as Porgy and the whole community cry out to God in a triumphant chorus.
When you Believe ―When You Believe,‖ was composed by prolific Hollywood composer Stephen Schwartz, who is also known for his work in musicals includ- ing Godspell, Pippin, and Wicked. Schwartz has won three Grammy Awards, three Academy Awards, including one for his work on The Prince of Egypt, and has been nominated for six Tony Awards. He re- ceived the 2015 Isabelle Stevenson Award, a special Tony Award, for his commitment to serving artists and fostering new talent.
In addition to being the theme of The Prince of Egypt, ―When You Believe‖ was released as a hit single, featuring a unique duet be- tween singers Whitney Houston and Mariah Carey. It peaked at 15 on the Billboard Hot 100. It won the 1999 Academy Award for Best Original Song.
―When You Believe‖ is a song of hope, with lyrics describing the everlasting hope that all people can feel, and the ability each person has to achieve miracles when they reach out to God and believe.
Richard Rogers One of the greatest American composers, Richard Rodgers has composed music for over 900 songs and for 43 Broadway musicals. Rodgers is well known for his work with lyricists Lorenz Hart and Oscar Hammerstein II.
Rodgers began his career in 1919, while still attending Columbia University, alongside Hart, with amateur work appearing in several Broadway comedies. Rodger’s and Hart’s first big hit, ―Manhattan,‖ appeared in a benefit show for the Theater’s Guild in 1925, after which the two became a well-known songwriting duo on Broadway. Together with Hart, Rodgers composed for shows throughout the depression, including On Your Toes and Babes in Arms, from which selections are included in this medley.
Following Hart’s death in 1943, Rodgers teamed up with Hammer- stein, another fellow Columbia alum. Their first musical, the unforgettable Oklahoma! clearly marked their talent, as well as the beginning of their success. The two composed for some of the most popular musicals of all time, such as South Pacific, The King and I, and The Sound of Music.
The composer left a powerful legacy for all songwriters to come. He was the first person to ever complete an EGOT—winning an Emmy, a Grammy, an Oscar, and a Tony—and also won a Pulitzer to round things out. His music has become nearly ubiquitous among both musical and American culture: ―Do-Re-Mi‖ is taught in elementary music classes to children nationwide, ―Oh, What a Beautiful Morning,‖ is often mistaken for a folk song, and 99.9% of all tourists to the state of Oklahoma cross the state lines with the line ―Oooooooo-klahoma where the wind comes sweeping down the plain.‖ Music Notes
Showboat Show Boat is a 1927 musical in two acts, with music by Jerome Kern and book and lyrics by Oscar Hammerstein II. It follows the lives of workers on the Cotton Blossom a Mississippi show boat over a period of forty years, as American culture shifts and changes especially with regards to race-relations.
The show was quickly praised for its then-unique approach to musical storytelling, in which serious themes are portrayed in lavish musical displays; as well as for its departure from the trend of relatively lighthearted and whimsical musicals and operettas on Broadway at the time. Critics immediately recognized both the quality of the storytelling and the Americana music of the show, and it is often cited as a turning point for American musical theatre.
The musical boasts classic American music, with many of note appearing in tonight’s medley. The medley includes the songs ―Why Do I Love You?‖ ―Make Believe,‖ You are Love,‖ and ―Ol’ Man River.‖ The arrangement for the Jefferson City Symphony is partially by Hawley Ades and partially by our very own violist E.F. Braun, who will probably be recognized for it at some point tonight. Chez Monet Patisserie
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