Capen Auditorium Wednesday, November 15, 1967 8:15p.m

Kinney, Lawrence, Conductor

English

Capen AuditoriumWednesdayNovember 15, 19678:15 p.m

ISU ReD: Research and eData

Illinois State University ISU ReD: Research and eData School of Music Programs Music 11-15-1967 The University Orchestra Lawrence Kinney Conductor Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp  Part of the Music Performance Commons Recommended Citation Kinney, Lawrence Conductor, "The University Orchestra" (1967). School of Music Programs. 3422. https://ir.library.illinoisstate.edu/somp/3422 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. Presents ~ E UNIVERSITY ORCHESTRA owrence Kinney, Conductor 8: 15 p .m. Wednesday, Nov. 15, 1967 Capen Auditorium PROGRAM THE UNIVERSITY ORCHESTRA SYMPHONY IN C MAJOR • . • . • . • • . Franz Schub rt The great C major Symphony was finished in March. It was probably written for performance by the Philharmonic Society , since Schubert rarely composed without a performance of some. sort in mind. The society, it is said, found the work too difficult, whereupon Schubert offered the earlier C major Symphony, No. 6. The manuscript of his last Symphony which came eventually into the possession of the society, shows more signs of revision than usual, al I alterations tend-ing to give greater melodic significance to the work. The Symphony itself is the Schubertian apotheosis, and the finest possible justification of his methods with sonata form. We present this Symphony tonight in a shortened ver~ion : INTERMISSION DANCE OF THE CHILDREN FROM "THE BELOVED VOICE" Jaromir Weinberger Weinberger is a Czechoslovakian opera composer. A student of Max Reger, his is a peculiar gift for utilizing Czech and Slovak folk tunes and for decking them out in the glitter of a sophisticated orchestration. His greatest claim to fame is his opera "Svanda the Bagpiper," which was trans-lated into seventeen different languages and performed on more than 150 operatic stages during the very first years of its run. "THE ALCOTTS" FROM THE CONCORD SONATA FOR PIANO . •. Charles lves-Deckwerth "And so we won't try to reconcile the music sketch of t he Alcotts with much besides the memory of that home under the elms - the Scotch songs and the family hymns that were sung at the end of each day - though there may be an attempt to catch something of that common sentiment - a strength of hope that never gives way to despair - a conviction in the power of the common soul, which, when all is said and done, may be as typical as any theme of Concord and its Transcendentalists" -Charles Ives ANDANTE FROM THE STRINGS QUARTER OP. 30. Tschaikowsky-Maganini Tschaikowsky wrote three string quartets. This noble and expressive "Andante" from the third quartet is clearly "too big" for the quartet idiom. Tschaikowsky himself felt this to be so, for he transcribed it for other instrumental combinations. Glazounoff also transcribed this movement. His version is for large string orchestra, all parts subject to division, the celli at times into four parts. The present edition is a revision and re-arrangement of Glazounoff's brilliant transcription. It has been written to make the work available for smaller combinations than his scoring calls for. A special obligato cello part and a new piano-conductor part make the work basically complete as a trio for violin, cello and piano. Without piano, the work is complete when played by two violins, viola, cello, and bass . PASSACAGLIA AND FUGUE INC MINOR .. Bach-Stokowski The passacaglia was originally a dance of slow, measured steps. By Bach's time, it had become a form of variations on a ground bass, usually a short, simple melody in triple time The present work was originally composed for harpsichord but Bach himself rewrote it for organ, and it is the later version . which Mr. Stokowski has transcribed for orchestra. It is a set of twenty variations on an introductory eight-bar theme. The theme is presented by the cellos and basses alone; after its initial appearance, it is repeated most frequently in the bass strings, but at times by instruments of higher register and varying timbres, and sometimes with altered rhythm. The work is crowned with a gigantic double fugue (on two subjects heard simultaneously), which rises to a powerful edifice of sound. Program Notes by Miss Mary Esther Evans, Graduate Assistant, Music Department • ' ILLI N OIS STATE UNIVERSITY SYMPHONY ORCHESTRA First Viol in Greg Thompson Susan Barford Eve Stolt Nancy Reimers Pat Ferguson Annette Newquist Second Viol in Steve Hawkins Elizabeth Losch Les I ie Bertagnoli Madeline Reed Viola Jennifer Hol I Bledsoe David Hawkins Jul ia Anderson Tracy Smi th Cello Via nne Carey Mary Johnson Susan Shapiro Catherine Vegh Betty Alard Kristen Anderson String Bass Ron Anson James Hamilton Linda Huff Flute Sandie Baile Kim Upton Catherine Cornman Oboe Diane Jones Mary McDaniel Linda Hanson Eng I ish Horn Caro lyn Hanson Clarinet Marilyn Zaruba Cathy Llewellyn Jeffrey Riley Bassoon Greg Brozenec Susan Otto (Contra) Judy Pellegrino French Horn Mary E. Evans George York Kurt Schutt Carol O'Hare Trumpet Roar Schaad Larry Litt I e Susan Childers Trombone Don Jeanes George Fischer William Hezlep Tuba Michael Rutherford Percussion Jon Doren Gordon Warren STUDENT RECITAL Thursday, November 16, 1967 CE 159 7:30 p.m. Auf ein altes bild . . ................... .. .. .... ..... . ........... Hugo Wolf Leslie Sickbert, soprano Connie Blauvelt, pianist The Girl with the Flaxen Hair ......•...•...•.•. • •.... . •.. . . • .••.•.• Debussy Serenade Impromptu ...•.... . . .• • . ......•..•••..••••...•..•.•.••.. Debussy Sue Leben, pianist Elegy ..•......•• . •. • ••........ • ......••.. • ...•.••••... . .• Daniel Pinkham The Hour Glass ..... • • •. ......... . .. .• •..•.... . .•. • ...... . Daniel Pinkham Laurie Eldredge, soprano Mike Persenaire, pianist Fuguerest • ••...••••.••.......••....•..•••••••.• • •..••.• . .•.••• Frangkise-r Allegretto alla marcia (from Petit Quartet) •. • • • .•.•.......•.....•••.. Crosse Clarinet Quartet Bruce Mack, Thomas Makeever William Verick, Cathy Llewellyn Prelude in E flat, Opus 23, No. 6 .... . ... . ........ . . . ........ Rachmaninoff Patricia Daniels, pianist "Deh vieni non tardar" (from Marriage of Figaro) •.•......... • ......•. . Mo:za,rt Rhonda Day, soprano Jo Bearden, pianist "Adieu, chere Lou ise" (from Le Deserteur) •.......•.......... Pierre Monsigny John Gleasman, baritone Connie Blauvelt, pianist Sonata .. . .. . •• • .•..••....• . ...•...•.•••...•• • •......•.• Alberto Ginastera Allegro marcato Edward Tandy, pianist Sui te . ... . .. .. .. ... . .. .... ....•. . ....•.•.•.•... . ••.•........ Don Haddad l • Al I egro maestoso 2 . Andante espress ivo 3. AU egro con brio . Mike Rutherford, tubist Linda Kloptowsky, pianist 

Ensemble Concerts: The University Orchestra, November 15, 1967

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