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Concert Program Cover

First Concert of the 28th Season


Sunday, November 13th, 1966
Manchester College Auditorium
C. Dwight Oltman, Conductor

  Sonata Pian e Forte from the Sacrae Symphoniae Giovanni Gabrieli  
  Cello Concerto in D Major, Op. 21 Franz Joseph Haydn  

I. Allegro Moderato
II. Adagio
III. Rondo: Allegro

  Jerome Jelinek, violoncello  
  Symphony No. 1 in C Major, Op. 21 Ludwig van Beethoven  

I. Adagio molto; Allegro con brio
II. Andante cantabile con moto
III. Menuetto (molto e vivace)
IV. Adagio; Allegro molto e vivace

  Kiss Me Kate Selections Cole Porter  
  (In Commemoration of the Indiana Sesquicentennial)  

Program Notes by C. Dwight Oltman

  Sonata Pian e Forte Giovanni Gabrieli

Giovanni Gabrieli ranks as the leading composer of the Venetian School. Four influential years were spent in Munich studying and working with Orlando de Lasso. In 1586 he became first organist of St. Mark's Cathedral in his native Venice. Gabrieli's contributions in the field of composition were highly significant. He expanded harmonic colorations and introduced bold modulations. His handling of instruments demonstrated such consummate skill that some call him "The Father of Orchestration." The great master is also credited with establishing the principle of contrasting and opposing sonorities.

"Sonata Pian e Forte," taken from the monumental Sacrae Symphony, is one of Gabrieli's most famous works. It is the first composition in history which contains indications for playing "piano" or "forte"; it is perhaps the first instrumental ensemble work which designates particular instruments for each part. The sonata is written for two-part instrumental choirs. By using the choirs antiphonally, impressive color contrasts are obtained. The work was first performed from the balconies of St. Mark's.

  Cello Concerto in D Major, Op. 21 Franz Joseph Haydn

For many years Haydn's D Major Cello Concerto was attributed to his pupil, Anton Kraft. The technical difficulty of the solo part led musicologists to conclude that Haydn would not have written the work. Now that the original manuscript has been found, Haydn is properly recognized as the composer. The edition being performed employs the original Haydn instrumentation of strings, two oboes, and two horns rather than the expanded Gevaert arrangement sometimes used.

The Concerto was composed in 1783 and dedicated to Prince Esterhazy, Haydn's patron. Haydn, then fifty-one years old, had already written eighty symphonies! His Concerto demonstrates a musical craft commensurate with that experience. The first movement is in the expected sonata form. A graceful and elegant first subject is stated immediately by the orchestra. Great virtuosity is demanded of the soloist in much of the movement. The beautiful slow movement is a five-part song form. In the closing Rondo, Haydn uses a lively 6/8 melody as the principle subject. The movement has remarkable charm.

  Symphony No. 1 in C Major, Op. 21 Ludwig van Beethoven

Beethoven's First Symphony has often been compared with works by Haydn and Mozart. Despite the similarities, the composer's individuality is quite apparent. Indeed, the symphony was daring as judged by Beethoven's contemporaries. In Leipzig one writer described the composition as the "confused explosions of the outrageous effrontery of a young man." Listeners of the day were especially startled by the way in which Beethoven used brass and tympani.

The composition begins seemingly in F, then passes to G before reaching its C major tonality. This harmonic progression was quite unexpected in 1800, the year the symphony was composed. The spirited Allegro which follows the introduction has only minor diversions from classical propriety. In the slow movement, Beethoven is charming and placid in a way reminiscent of Mozart. Although the third movement is called a Menuetto, its bright tempo and sharp accents give it the feeling of a scherzo. The introduction to the final movement has long been regarded as a Beethovian joke. In fact, the entire movement sparkles with humor.

As one listens to the symphony today, it is difficult to imagine that anyone could have ever been shocked by such delightful music. Undoubtedly posterity will be equally amused at the works of art which disturb the listeners of our generation.

  Kiss Me Kate Selections Cole Porter

Cole Porter left his home in Peru, Indiana, to attend Yale University, and later the Harvard School of Music. In 1916 he joined the Foreign Legion. Following the armistice, he studied at the Schola Cantorum in Paris. From that time until his death, Porter was eminintly successful in the field of musical comedy, writing such memorable hits as Fifty Million Frenchmen, Kiss Me Kate, Can-Can, and Silk Stockings. It seems appropriate in this sesquicentennial year to honor one of Indiana's best loved native sons.

Kiss Me Kate is based on Shakespeare's The Taming of the Shrew. The musical was premiered in New York in 1948. It ranks as one of Porter's best. Songs used in Robert Russell Bennett's orchestral scoring are: "Wunderbar," "Why Can't You Behave," "Another Openin' Another Show," "Always True to You in My Fashin," "Were Thine that Special Face," "I Sing of Love," and "So in Love."


Manchester Symphony Orchestra Personnel

  Violin I
Vernon Stinebaugh, Concertmaster
Mary Louise Klotz +
Rosemary Manifold
Pamela Petry +
Lucy Eshelman +
Otto Feld
Louis Purflinger

Violin II
Joyce Holda *+
Karen King +
Anita Purvis +
David Deardorff +
Donna Holsopple +
Deborah Waas
Susan Shull
Leslie Bentley

Frances Early *
Shirley Royer +
Marie Feld
Gordon Collins

Dean Grove *+
Carol Kirkpatrick +
Elizabeth Bueker

Herbert Ingraham *
Allen Johnson +
S. L. Flueckiger

Linda Shaw *+
Alice Kreider
Patricia Parker
Shirley Oltman *
Christine Wise +
Steve Dinglebine

English Horn
Shirley Oltman

Rudy Sprinkle *+
Evelyn Lawrence +

Bass Clarinet
Jim Dwyer +

Peter Figert *
Pete Strodel

Bill Haworth *+
Jeannie Turner
Sherron Williamson +

Robert Bonner *+
David Bobel +
Tom Listenfelt +

Forrest Bedke *+
Larry Dockter +
John Yoder
Tom Gustin +

Stanley Laws +

Bob Shull +

John Paulsen +
Carey Kelsey +

* Denotes principal
+ Denotes MC student
Jerome JelinekMr. Jelinek began the study of the cello in Detroit, Michigan, under the guidance of John Lewan and continued his work at the University of Michigan with Oliver Edel, receiving the degrees of Bachelor of Music and Master of Music. A member of the Detroit Symphony from 1951-1953, he has also appeared as soloist with that Orchestra on two occasions.

In 1953, Mr. Jelinek left the Detroit area to enter military service and subsequently became cellist of the U.S. Naval Academy String Quartet. he was privileged during this time to continue his study in New York City with the eminent cellist, Luigi Silva. As a recipient of a Fulbright award in 1956, Mr. Jelinek studied with Douglas Cameron at the Royal Academy of Music, London, England, and concertized in England and Germany.

Upon returning to this country in 1957, Jerome Jelinek accepted the invitation of the University of Oregon to join their School of Music faculty and become a member of its resident ensemble, the University Trio. During the years 1957-1961, Mr. Jelinek performed as soloist and chamber musician in many cities throughout the Pacific Northwest as well as teaching cello and chamber music at the University of Oregon. In 1961 he appeared as soloist with the CBC-Vancouver Chamber Orchestra on a Canadian national network broadcast.

In 1961, Jerome Jelinek accepted his present position on the faculty of the University of Michigan School of Music and became cellist of the Stanley Quartet. Mr. Jelinek performs widely in the State of Michigan and throughout the nation both as a member of the Stanley Quartet and as cello soloist. His many awards include the Stanley Medal of the University of Michigan, a Fulbright award, and the Harriet E. Cohen International Music Award in Cello.