Center for the Performing Arts Wednesday Evening February 28, 2007 8:00p.m

Block, Glenn, Director

Carlson, Karyl, Director

English

Center for the Performing ArtsWednesday EveningFebruary 28, 20078:00 p.m

ISU ReD: Research and eData

Illinois State University ISU ReD: Research and eData School of Music Programs Music 2-28-2007 Chamber Orchestra Concert Choir Glenn Block Director Illinois State University Karyl Carlson Director Follow this and additional works at: https://ir.library.illinoisstate.edu/somp  Part of the Music Performance Commons Recommended Citation Block, Glenn Director and Carlson, Karyl Director, "Chamber Orchestra Concert Choir" (2007). School of Music Programs. 3103. https://ir.library.illinoisstate.edu/somp/3103 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 Illinois State Universit_y College off ine Arts I School of Music I I I I I Chamber Orchestra Glenn f::>lock, Music Director Concert Choir Kar_yl Carlson, Director ,, •This recital is in partial fulfillment of the '. graduation ·re9uirements for the degree Masters of Music in Conducting. Center for the F erformingArts F ebruar:y 28, 2007 Wednesda~ Evening ,I This is the one hundred and third program of the 2006-2007 season. ·. 8:00p.m. Frogram I I Text Flc.1se tom off cell phonc.s and pagers for the duration of the co ncert Tl,anl You. 0 erture to "Cosi Fan Tutti" , K588 I Wolfgang Amadeus Mozart I (1756-1791) J onathan S aeger, ccmductin,5 • Symphony o. 4 in A Major, Op. 90 ' Italian" Allegro Vivace Andante con moto Con moto moderato Saltarello, presto I Felix Mendelssohn Bartholdy (1809-1847) I f ozart' s opera Cosifan tulle was·the third and final collaboration between Mozart and Lorenzo da · onte. Unlike their other two collaborative efforts, Cosi was not adapted from an existing play. stead, da Ponte created an entirely new work. The story of Cosi fan tulle may very well be based on a supposed real incident that had entertained the Viennese society. The plot focuses on two llisters from Ferrara whose lovers test their infidelity by disguising themselves. ,Ir-he opera was composed during the fall and winter of 1789. The first rehe·arsal took place January 21 , 1790 with Mozart' s friend Haydn in attendance. The opera premiered in Vienna at the Burgtheatre on the January 26, 1790. Mozart conducted from the keyboard during the initial a,erformance. Ten performances were given of Cosi fan tulle between January and August, 1790. p e opera was not performed in Vienna again until the year 1850. · Throughout much the 191h and early 201h century the opera was considered by most critics to be l ub-standard or frivolous. Even Richard Wagner thought it was "a poor work" and considered the 1bretto to be " immoral." Time has given new life to Mozart' s Cosi fan tulle as it is now widely erformed. Da Ponte is now given credit for writing a libretto that is amusing when we look at it from an I 81h century prospective. J ennifer K..lucknek =nduct,,,g • I I, Motet BWV 225 ' Singet dem Herr ein neues Lied" Johann Sebastian Bach (1685-1750)1 ..  I ·I I I CR CON.NECT I Bv till~ Friends of tf1drt;, you help vmil c1R¥eda!bn cC !he fine arts and edtk:ati'.m in wr ~ Your Wlll)(lt h£{ps 1)(0\'tle ~n · al sdlolil.rslips forgtlllttliafts of artistt Maroe!Shlp a!So ~,e~ r.11011~ to ewenerxe !he all$ through emotilns. perlo!man(es, tw-s, lltls. andsociill'~ts. I I I Felix Mendelssohn was inspired to begin his A-major symphony (the title "Italian" was his own) during a trip he made to Italy in 1830-31. It was not until two years later, however, specifically on . e 13th of March, 1833, that he finished it in Berlin, when an invitation for a symphony from the 9-ondon Philharmonic Society served as the impetus to complete the work. He conducted the first performance himself in London on May 13, 1833. Mendelssohn's own words tell us that that he began the work with great enthusiasm and joy and indeed had sketched out the entire score in 183 I, l ut in the following year the composition was going anything but smoothly, and Mendelssohn omplained that it had cost him some of the bitterest moments of his life. Certainly there is no reflection of that bitterness in this rich and vibrant music. · 8 from the opening bars, the exuberant first movement seems to conjure up the sunny skies and . andscapes of the Italian countryside. The slow movement in D minor, known as the "Pilgrims' March", is said to have been inspired by a solemn religious procession in Naples or Rome. The third movement is a relaxed, airy dance movement dominated by lyrical strings, with horns, then ·1 omewhat more martial trumpets in the trio. The finale, a thrilling Saltarello (Roman dance with a opping step), seems to us virtually flawless, but Mendelssohn was not happy with it and intended o revise it (as well as the first movement). What the nature of the revisions would have been must remain a mystery, because Mendelssohn died before implementing his plans, and the symphony l as published only after his death as Opus 90, when it received the number 4, though it was ctually written earlier than the Symphonies we now know as Nos. 2 & 3 (and after No. 5). Usually, a minor-key symphony finale would have one or two contrasting episodes in major keys, but in this work Mendelssohn remains in the minor throughout, never letting the excitement lapse l for a moment. Of Johann Sebastian Bach's six a cappel/a motets, "Motet I, Singet dem Herrn," first heard in 1727, I s the most beloved by singers and audiences alike. It is set _in the fast-slow-fast form of the mstrumental concerto with unabashedly bright and bubbly outer sections. Like much of his choral music, the vocal writing is virtuosic and instrumental in feel. On the special occasions for which he composed these motets, Bach had at his disposal more than the usual school choristers and thus was lable to write in five parts, or even eight, as in "Singet dem Herrn," which is a prime example of double-chorus writing. At the very outset, one chorus provides a chordal foundation while the ?~er intr?duces the melodic I material, first in the sopranos. The tenors, and then the altos, closely 1m1tate this theme. After the extended first phrase, we hear the theme again, this time in the dominant key with the choruses swapping foundation and melodic roles. This interplay between the choruses, which recurs I throughout the work, continues until, quite unprepared, the sopranos introduce the fugue theme ("Die Kinder Zion") that provides the basis for the rest of the long opening section. The slower middle section has, in fact, two separate pieces running simultaneously. One chorusl sings a homophonic chorale ("Wie sich ein Vater erbarmet"), and as each phrase of the chorale concludes, the other chorus interrupts with lines from a more polyphonic aria ("Gott, nimm dich femer") . In the last section, Bach again trades phrases back and forth between choruses until finallyl the two coalesce into a single ecstatic whole in a grand triple-meter climax ("Alles, was Odem hat"). Sopranos Cristina Bueno Collen Duffy Chloe Fletcher Katie Floeter Sarah Hepner Christine Hicks Christin Keyes Kassy Krause Emily Marcantonio Anna Mc Williams Kimberly Owens Molly Scanlon Shaina Sedder Sara. Stockdale Kate Strosahl-Johnson Lauren Vala Heidi Vandevoort Altos 'Amy Feulner Melissa Hueenburg Morgan Joyce Sarah Kaminski Lauren Kramer Aubrey Malito Lisa Montgomery Sarah Oliver Nika Plattos Mary Rocke Arlene Siagian Kelly Snyder Rachel Ventress Rebecca Woodle Concert Choir I Tenors Mark Badger I Ben Bettis Terry Cole Nathan Coon I Mike Detmer Jay Fischle Scott Guerrero Andy Hillier I Brian Lonergan William Russell Jay Sanders John Todd :I Derek Zinke !)asses I Ryan Bennet Brian Birch I Mike Brown Kyle Bush Tristan Hansen Joel Huffman I Blake Long Jonathan Saeger · Andrew Seng Nathan VanDaml Jeff Vukovich Tim Zajac · I I I I I I I I I I I I I I Violin I Emily Morgan, concertmaster Arcadia Kust Taylor Nix Violin II David Victor, principal Charlyn Reynolds Jennife.r Ring.-;hy Viola Colleen Kuraszek,. principal Colleen Doyle Matthew Harper Cello Shannon Schultze, principal Kim Wedesky Doubfe5ass Dorian Jackman, principal Chris Griffith flute Emily Brooks, co-principal Christa Krause, co-principal Rachel Bland Oboe Laura Israelsen, principal SaraRogis Anna Keehan, English horn Oarinet Jessica Boese, principal Lauren Themanson 5assoon Brian Cooley, principal Jessica Runck Hom Danielle Fisher, co-principal Krista Reese, co-principal Trumpet Joel Adair, co-principal Ken Wendt, co-principal Timpani Ryan Borden, principal r ortative O rga n Paul Borg S taff Jennifer Kluchenek, orchestra manager Kim Wedcsky, orchestra librarian Mike White, webmaster Jessica Runck, assistant librarian Upcoming E.vents March 01 7:30 p.m. CPA Gold Series & Charles W. Bolen Faculty Recital Series: Ragtime and Stride: David Feurzeig, piano Minority Scholarship Benefit 02 7:00 p.m. NLC Big Band Valentine Dance (rescheduled) 02 7:30 p.m. KRH Guest Artist, Jason Ham, euphonium * I 03 5:00 p.m. KRH Senior Recital, Jamie Szynal, soprano * 03 6:30 p.m. KRH Graduate Recital, Ashley Smith, soprano * 04 3:00 p.m. CPA Symphonic Band 04 7:00 p.m. CPA Hom Choir, Trombone Choir & Tuba Ensemble 06 11 :00a.m. KRH Convocation Recital * 06 8:00p.m. CPA Charles W. Bolen Faculty Recital Series: Faculty Jazz Ensemble 07 7:30 p.m. KRH Charles W. Bolen Faculty Recital Series: linden Duo * Angelo Favis, guitar & Kim Risinger, ~ute 08 8:00 p.m. CPA Gold Series: Concerto Aria I II 6:00 p.m. KRH Charles W. Bolen Faculty Recital Series: Adriana la Rosa Ransom, cello Fundraiser for High School Cellists 10-18 Spring Break 17 8:00 a.m. IWU Illinois Cello Competition - I" round I 18 l:00p.m. CPA Illinois Cello Competition - Final Round 18 TBA CPA Illinois Cello Competition - Concert I 20 11:00a.m. KRH Convocation * 20 8:00 p.m. KRH Charles W. Bolen Faculty Recital Series: * Joe Neisler, horn I' • indicates free admission I! KRH - Kemp Recital Hall CPA - Center for the Performing Arts IWU - Illinois Wesleyan University Music Hall I 

Ensemble Concerts: Chamber Orchestra and Concert Choir, February 28, 2007

https://ir.library.illinoisstate.edu/cgi/viewcontent.cgi?article=4102&amp;context=somp

Chamber Orchestra Concert Choir

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