Kemp Recital Hall Thursday Evening February 29, 1996 7:00p.m

Block, Glenn, Director/Conductor

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Kemp Recital HallThursday EveningFebruary 29, 19967:00 p.m

Block, Glenn

ISU ReD: Research and eData

Illinois State University ISU ReD: Research and eData School of Music Programs Music 2-29-1996 Chamber Orchestra Glenn Block Director/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/Conductor, "Chamber Orchestra" (1996). School of Music Programs. 1408. https://ir.library.illinoisstate.edu/somp/1408 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 ISUReD@ilstu.edu. I Music Department I I I I I I I I I I I I I Illinois State University CHAMBER ORCHESTRA Glenn Block, Music Director and Conductor Jon Feller, Assistant Conductor Maryann Flock, Assistant Conductor Kemp Recital Hall Thursday Evening February 29, 1996 7:00p.m. Program Pulcinella (Suite for Small Orchestra-1922) Sinfonia (Ouverture) Serenata Scherzino - Allegro - Andantino Tarantella Toccata Gavotta con due Variazioni Vivo Minuetto-Finale Intermission Concerto No. 5 in A major K219 ( 1775) Allegro aperto Adagio Igor Stravinsky (1882-1971) Wolfgang Amadeus Mozart (1756-1791) Rondeau - Tempo di Menuetto - Allegro - Tempo di Menuetto Sarah Gentry, Violin I I I I I I I I I I I I I I I I I I I I I I I I I I I I About the Soloist Dr. Sarah Gentry is on the faculty at Illinois State University where she is coordinator of the string division. She received her M.M. from Yale University and her Doctor of Music degree from Indiana University in violin performance. She serves as concertmaster of the Peoria Civic Opera Orchestra and as assistant concertmaster of the Peoria Symphony. She has studied with Sydney Harth, Henryk Kowalski, and Franco Gulli. Program Notes The suggestion that was to lead Stravinsky to "Pulcinella" came from the ballet impresario Serge Diaghilev, for whom Stravinsky had composed many ballets for the Ballet Russes in Paris. "I want you to look at some delightful 18th-century music with the idea of orchestrating it for a ballet." He indicated that the composer was the early Italian composer Pergolesi ( 1710-1736). Stravinsky looked and fell in love with the charming and little-known music. "My first step was to fix a plan of action and an accompanying sequence of pieces. Diaghilev had found a book of Pulcinella stories in Rome and we studied this book together and selected certain episodes. I therefore began to look through Pergolesi for 'rhythmic' rather than 'melodic' numbers. I discovered that this distinction does not exist. Whether instrumental or vocal, whether sacred or secular, 18th-century music is, in one sense, all dance music. The episode chosen as the basis for the ballet was called 'The Four Pulcinellas.' " All the local young girls are in love with Pulcinella; bu tall the young men to whom they are betrothed are mad with jealousy and plot to kill him. Just when they think they are at the point of success, they borrow costumes resembling that of Pulcinella and present themselves to their sweethearts in disguise. But Pulcinella - cunning fellow! - had arranged to change places with Fourbo, his double, who made a pretense of succumbing to the blows as a magician and resuscitates his double. At the very moment when the four young men, thinking they have removed their rival, come to claim their sweethearts, Pulcinella appears and arranges marriages for them all. He himself weds Pimpenella, receiving the blessing of Fourbo, who in his turn assumes the magician's guise. In 1775, at the age of 19, Mozart composed five violin concerti. The last one, K. 219 in A major, exhibits some fascinating compositional touches. The orchestra tutti of the first movement, Allegro aperto (an "open" allegro), does not state the principal theme, but the accompaniment to the theme. The soloist enters in an adagio interlude, and then the Allegro aperto resumes with the soloist finally stating the main theme. The middle movement is in E major and marked adagio. Modulations into minor harmonies begin halfway through, in common with the outer movements. The final movement, Rondeau: Tempo di menuetto, contains a minor episode of "Turkish" or gypsy nature. The drums that would normally be called for are provided by the col legno strokes of the cellos and basses, who strike their strings with the wood of their bows to provide a percussion section. Personnel Violin Flute Francisco Marchan, concertmaster Mary Giesler Scot A. Schickel, principal Cassandra Stevens Rebecca Mertz Colleen Moss, principal second Jennifer Smith Oboe Kiowoong Choo, principal Maryann Flock Stephane Diemer Elizabeth Shrader Bassoon Viola Matthew Barwegen, principal Jon Feller Christopher Harrison, principal Laura Maland Jason Warner Cello Brian Gaona, principal Nate Johnson Douglas Cresto Bass Ian Solomon, principal Joshua Harms Staff Hom Brandon Sinnock, principal Katie Lunzman Trumpet Troy McKay Trombone Charles Plummer Rebecca Mertz, Manager/Librarian Jon Feller, Asst. Conductor Maryann Flock, Asst. Conductor ISU Instrumental Faculty Max Schoenfeld,flute Judith Dicker, oboe Aris Chavez, clarinet Michael Dicker, bassoon Joe Neisler, horn Amy Gilreath, trumpet Stephen Parsons, trombone Ed Livingston, euphonium, tuba David Collier, percussion Sarah Gentry, violin Arthur Lewis, viola Greg Hamilton, cello William Koehler, bass Next ISU Orchestra concerts: Sunday, April 14, 1996, at 7:00 p.m at University Galleries in the Center for Visual Arts; ISU Chamber Orchestra Holocaust Concert Sunday, April 21, 1996, ISU Symphony Orchestra at Braden Auditorium - Holocaust Concert I I I I I I I I I I 

Ensemble Concerts: Chamber Orchestra, February 29, 1996

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Chamber Orchestra

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