57 fall program - Southeast Iowa Symphony Orchestra

Program
FALL CLASSICAL CONCERTS
October 20-21, 2007
Ottumwa • Burlington• Mt. Pleasant
Sponsored by:
The Hawk Eye - Burlington
KYOU Fox 15 - Ottumwa
Dvořák - Symphony No. 7 in d minor, Opus 70
Allegro Maestoso
Poco Adagio
Scherzo: Vivace
Finale: Allegro
INTERMISSION
J. S. Bach - Keyboard Concerto No. 5 in f minor BWV 1056
Allegro Moderato
Largo
Presto
Serena Lu, piano
Prokofiev - Piano Concerto No. 1 in D flat Major, Opus 10
Colton Peltier, piano
Patrons: During the performance, please turn off audible signals on your
watches and communication devices. Thank you!
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Fall 2007 concert sponsor
Guest Artists
Serena Lu, eight years old, is a fourth grader who began studying with Dr. Paul
Wirth at age five. She won first in the St. Paul Conservatory of Music Piano competition, and received honors at the Upper Midwest Piano Festival, National federation
of Music Club Piano Festival, MN State Fair talent contest, and Minneapolis Music
Teachers Forum Mozart Piano Concerto Competition.
As a soloist, she has been featured throughout the Midwest, most recently
at the Twin Cities Schmitt Music Center, and at the Goshen, Indiana National Piano
Teachers Workshop in July of 2006. In April of 2007, Serena has performed as a solo
pianist with the St. Paul Chamber Orchestra.
Also an actress and rhythmic gymnast, she appeared on "NBC's
"American's Most Talented Kids" show and acted as " Sorrow" in the Minnesota
Opera's production of Madame Butterfly. She is the level 5 rhythmic gymnastic Junior Olympic national champion and a member of the USA Rhythmic Gymnastics
Future Star National Team.
Colton Peltier turned heads 2 years ago, when he won the first "Minnesota Idol"
competition and performed Beethoven's First Piano Concerto with the Minnesota
Orchestra. He was 9 when he performed with the St. Paul Chamber Orchestra, making
him the youngest musician ever to solo with the SPCO -- and he has soloed with the
Minnesota Opera and VocalEssence. Colton has also appeared with the Minnesota
Orchestra as a guest soloist for a Sommerfest family concert and for a subscription
series program as well.
His cultured tastes, which extend to crab legs, caviar and the music of Frank Sinatra, were evident before he
could ride a bike. Seemingly bored with his Kindermusik program, Colton was 3 when he started piano lessons under
the play-by-ear Suzuki method. He giggles at the memory of his earliest lessons, when he tapped his fingers on a
keyboard sketched on notebook paper. By 7, he had outgrown the program, and his teacher recommended private
instruction.
"It (piano) was just something for his brain. We didn't think anything would come of it," says Colton's
mother, Amy Peltier. "His dad played pro baseball, and he's our first son -- he's supposed to be a sports kid, right? We
have no idea where he got his genius." Colton, the eldest of three children, attends public school and has played
sports. He enjoys playing in churches and nursing homes as much as professional concert halls.
Serena Lu & Colton Peltier
with their teacher,
Dr. Paul Wirth
Dr. Paul Wirth is a prominent figure in the musical community of the Midwest. His unique combination of masterful performing and teaching, along with a sense of humor and unassuming personality have made him a much soughtafter featured artist in concerts, master classes, fund raisers, conventions, special events, and lecture series.
Dr. Wirth received his Bachelor of Music in Piano Performance from Temple University, where he studied
with the internationally known Polish pianist Maryan Filar, and his Master and Doctorate degrees in Piano Performance from Indiana University where he was the personal assistant to world renowned pianist Sidney Foster. He cofounded and is now the Artistic Director of the Central Minnesota Music School in St. Cloud, MN, a bustling music
learning center with over 250 students taught by a faculty of twenty-two.
As a featured artist, Paul Wirth has appeared with numerous orchestras, including the Gary Philharmonic,
Wilkensburg Symphony, Indiana University Philharmonic, and twice each with the St. Cloud Symphony and Heartland Symphony orchestras in return engagements. His solo performing has taken him throughout the East and Midwest.
A creative promoter of the art of piano performance, Wirth's energies have also extended to the writing and
performance of The Magic Boot, a comical farce in which he impersonates Mozart; and The Age of Romanticism in
which he transports his audience to the 19th century.
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Program Notes
Program Notes
by Jim Priebe
Symphony No. 7 in d minor, Opus 70
Antonin Dvořák (1841 – 1904)
Allegro Maestoso
Poco Adagio
Scherzo: Vivace
Finale: Allegro
Except for those who live in the Czech Republic – the modern name for Dvořák’s native Bohemia – concertgoers are likely to be unfamiliar with much of Dvořák’s music beyond the Symphony No. 9 in e minor (From the New World) the wonderful b minor Cello Concerto, and the
Slavonic Dances. Those who regularly attend concerts by the Southeast Iowa Symphony are
exceptions, however, since Maestro McConnell has programmed not only the aforementioned
works but the Symphony No. 8 in G Major and now the Seventh as well. In this writer’s opinion
our audience is well-served by this programming since Dvořák wrote a great deal of music
which deserves to be heard more frequently. Certainly the Symphony No. 7 falls into this category: many believe that it is Dvořák’s finest symphony (Ted Libbey calls it “one of the nineteenth century’s greatest symphonic scores”), the popularity of the New World Symphony notwithstanding!
Dvořák was energized. His Symphony No. 6 in D Major had been a big success (though it was
regarded as being more important as a work in the Bohemian national style than a work of international standing). He had been greatly inspired by the 1883 premier of Brahms’ Symphony No.
3 and was motivated to compose a work of similar stature which would closely follow classical
conventions and avoid, he hoped, the parochial Bohemian label. His Stabat Mater had been a
sensation when introduced in England in 1883 and there he had, in the words of Michael
Steinberg, become “beloved and revered like no composer since Mendelssohn.” The Royal
Philharmonic Society had invited him to conduct concerts in London in 1884, his first appearances as a conductor outside his own country, and he had been received with great warmth and
enthusiasm. The Society invited him to compose a new symphony to be performed the following year and the Symphony No. 7 was the result.
Lives and emotions are seldom purely and unambiguously simple, however, particularly the
lives and emotions of artists. Energized he may have been, but Dvořák was also troubled. His
(Continued on page 29)
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Program Notes
(Continued from page 27)
mother, to whom he had been very close, had passed away in 1882. The Bohemian composer Bedřich Smetana, who had been his mentor, was in his declining years and succumbing to mental deterioration. The very ambition of internationalism troubled him as well.
Internationalism implied a turning away from his Bohemian roots and since he was, in his
heart and soul a Bohemian, he was greatly conflicted.
It may be this emotional turmoil which gives the symphony its character. As befits the key
of d minor (the key of many works notable for their somber moments such as Mozart’s Don
Giovanni, both Beethoven and Bruckner’s Ninth symphonies and Brahms’s Tragic Overture) the symphony is often brooding and tragic in nature with an underlying tension. But
listeners who are familiar with Dvořák can hear another side of him as well: the cheerful
Bohemian of the Slavonic Dances, the man who loved to watch trains and could identify
each type of locomotive (and who would therefore surely have loved the venues in which the
SEISO performs), is never far beneath the musical surface of this symphony. Fortunately
Dvořák’s Bohemian soul was irrepressible and the resultant mix of tragedy and cheerfulness
makes the Symphony No. 7 an interesting and gratifying listening experience indeed.
Begun in December of 1884 the score of Symphony No. 7 in d minor was completed in
March of 1885. Dvořák conducted the premiere at a concert of the Royal Philharmonic Society in St. James Hall, London on April 22, 1885. A few minor revisions were made in
June of 1885 producing the symphony as it now is performed.
Keyboard Concerto No. 5 in f minor BWV 1056
Johann Sebastian Bach (1685 – 1750)
Allegro Moderato
Largo
Presto
Bach was a genius. Writer Robert Cummings describes Bach in this manner: “Johann
Sebastian Bach was better known as a virtuoso organist than as a composer in his day. His
sacred music, organ and choral works, and other instrumental music had an enthusiasm and
seeming freedom that concealed immense rigor. Bach's use of counterpoint was brilliant and
innovative, and the immense complexities of his compositional style – which often included
religious and numerological symbols that seem to fit perfectly together in a profound puzzle
of special codes – still amaze musicians today. Many consider him the greatest composer of
all time.” Bach was also a very human individual. He was stubborn, impatient, pennypinching and, at times, vindictive. And, having famously fathered 26 children, he must not
have focused his energies exclusively on music.
(Continued on page 31)
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Program Notes
(Continued from page 29)
He wrote music under vastly different circumstances than today’s composers. Bach’s employers (nobility and clergy) required him to compose for specific events such as ceremonies
and weekly church services. As a result he was immensely productive, writing vast numbers
of keyboard, choral, orchestral and chamber works both sacred and secular. As was the custom in his time, he often rewrote earlier pieces or used the music of other composers, altering
instrumentation, key, tempo and mood as circumstances required. Because music was often
considered to have served its purpose once the event for which it was composed had occurred, many of Bach’s works have been irretrievably lost. The chronology of and circumstances surrounding the composition of Bach’s work have been and continue to be the subject
of a vast amount of scholarly research. The “BWV” (Bach Werke Verzeichnis) catalog numbers published by Wolfgang Schmieder in 1950 are a visible example of this scholarship.
In the light of the foregoing it is little wonder that the exact circumstances under which the
Keyboard Concerto No. 5 was composed are somewhat uncertain. The concerto is variously
supposed to have originated as a violin concerto or as an oboe concerto transformed by Bach
into a keyboard concerto. Some even ascribe its origin to Vivaldi though this view has been
largely discounted. It may have been composed during his service in the ducal court of
Cӧthen or, more likely in Leipzig during his association with the Collegiuim Musicum there.
The date of its composition is likely to have been during the late 1730’s.
Like most concertos, the work is in three movements. The first is a rhythmic allegro moderato which contrasts a vigorous repeated motive in the accompaniment with energetic and
extended triplets in the solo.
The lovely middle movement’s largo melody in the relative major key of A flat is most likely
to be familiar to listeners as it was used by Bach in a Cantata BWV 156 as his Sinfonia in F
although, in the concerto, it appears in a more ornamented form. The delicate pizzicato accompaniment allows the soloist to make the most of the melody’s expressive nature. Most
will recognize this as the famous Arioso – a melody which has been adapted for nearly every
instrument imaginable.
The presto finale, flows vigorously in triple meter, the eighth note melody giving the impression of continuous motion and serving well to display the soloist’s speed and virtuosity.
(Continued on page 33)
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Program Notes
(Continued from page 31)
Piano Concerto No. 1 in D flat Major, Opus 10
Sergei Prokofiev (1891 – 1953)
As a child of comfortably well-to-do parents, Prokofiev’s musical abilities were recognized at
an early age, and he had already composed a number of youthful works when he was admitted
to the St. Petersburg Conservatory at the age of thirteen. His precocious abilities impressed
members of the faculty including Nicolai Rimsky-Korsakov, Alexander Glazunov and Nicolai
Tcherepnin. His precociousness evidently made him something of a smart-aleck: he once kept
statistics of his classmates’ mistakes until one of them pinned him down and pulled his ears!
Concerto No. 1 was composed during his conservatory years and was premiered by Prokofiev
himself in Moscow on August 7, 1912. It was dedicated to “the dreaded Tcherepnin” who had
harshly criticized Prokofiev’s conducting and was, Prokofiev felt, always unduly critical of his
efforts. Interestingly, Tcherepnin later wrote that he had, in fact, been quite critical because he
recognized Prokofiev’s talent and hoped to prevent him from becoming too egotistic. Although
Tcherepnin’s criticism evidently bothered Prokofiev all his life, it had been Tcherepnin who had
exposed his student to the music of the great classical composers and who is often given credit
for Prokofiev’s early interest in classicism.
(Continued on page 35)
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Program Notes
(Continued from page 33)
Tcherepnin’s classical influence notwithstanding, the Concerto No. 1 is not classical in nature.
Vigorous percussiveness and interesting dissonances indicate that Prokofiev was casting his lot
with the avant garde. Critics present at the premiere called it “musical mud” and the work of a
madman. The furor surrounding the premiere may ultimately have worked to Prokofiev’s
advantage since it brought him instant attention but for years afterward he would be dogged with
accusations of decadence and modernism.
This concerto, which Prokofiev considered to be his first mature work, is (unlike most) a single
continuous movement but it is divided into easily discernable sections which preserve the fastslow-fast form of the typical three movement concerto. It is lyrical, particularly in the Andante
section, and possesses a pervasive, energetic percussive quality. Modern concertgoers whose
ears have long since become accustomed to dissonances and harmonies far more daring than
Prokofiev’s will surely hear, not “musical mud,” but musical originality and creativity. And,
hopefully, they will take a moment to appreciate Tcherepnin’s willingness to tolerate, educate
and encourage a brat!
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Special Appreciation
Friends of the SEISO
Jane Adams
Georgette Allen, VP
Stephen Bailey
Ruthe Blackwood
Joy Blum
Marianna Brinck
Suzanne Brueck, Secretary
Peggy Burlingame
Cliff & Lindsay Calhoun
Linda Clark
Patricia Clark
Connie Coffin
Betty Cooper
John Corso
Betty Cowles
June Current
Mary Jane Dailey
Melva Delliva
Jeannie Dobroski
Eleanor Eastburn
Beverly Fisher
Rhonda Foster
Ellen Fuller
Kate Gerst
Mary Ann Grinde
Margaret Hansen, President
Cleo Hassell
Debbie Jochims
Jacqueline Johnson
Maryann Jordahl
Carolyn Kacena, Treasurer
Fran Lundell
Ginny Lunning
Margaret Matsch
Janet McCannon
Babs McRoberts
Jean Miller
Sandra Morrison
Margaret Orr
Florence Paterno
Laurine Paule
Billie Paule
Bobbie Peterson
Linda Phillips
Mary Reed
Lois Rigdon
Diana Small
Mona Riley Smith
Maggie Steele
Olive Sullivan
Sharon Walden
37
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Phone: 385-4240
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Supporting the Southeast Iowa Symphony Orchestra!
Providing Plant Services to Iowa Wesleyan College
38
Special Appreciation
Special Appreciation
Southeast Iowa Symphony Orchestra is grateful to the following
individuals, businesses and organizations who generously contribute to
the Orchestra with their talent, service and support.
Brazelton Hotel and Suites - Mt. Pleasant
Bridge View - Ottumwa
Dr. Joel Brown - IWC
Burlington Fine Arts League
Burlington Pops Committee
Capitol Theater - Burlington
Ron Clouse & MacKay
Envelope Corporation - Mt. Pleasant
John Cobler - Ottumwa
Comfort Suites - Burlington
Des Moines County Greeters
Hostesses: Karon Goosey & Kay Kent
Earl May - Ottumwa
Edd the Florist - Ottumwa
Dr. Jason Edwards - IWC
Fairfield Ledger
Fairfield Weekly Reader
Friends of the SEISO - Burlington
Virginia Garnjobst
Criss Roberts - The Hawk Eye
Roger Hatteberg
Hy-Vee - Ottumwa
Indian Hills Community College
Iowa Arts Council
Iowa Department of Cultural Affairs
Dr. David Johnson - IWC
KBIZ - KTWA - Ottumwa
KBUR-KGRS-MIX 107 - Burlington
KILJ - Mt. Pleasant
Joyce Kramer - Ottumwa
KYOU Fox 15
Henry Lippert
Cheryl Miller
Mount Pleasant News
Music & Menus Committee - Burlington
Judy Krieger & Scott Niles Ottumwa Courier
Ottumwa Pops Committee
Pennsylvania Place - Ottumwa
Michael Philipsen - IHCC
Gerry Runyon - Hillsboro
Dick & Susan See - Washington
Dr. Jamie Spillane - IWC
Tony's Flowers & Gifts - Ottumwa
Two Rivers Bank & Trust - Burlington
Washington Evening Journal
Welcome to Ottumwa
Hostess Denise Rabbass
Welcomes by Lois (Betz) - Mt. Pleasant
Lee Wolf - Mediapolis
The Gardeners of Mt. Pleasant
Della Appel
Marcy Hassenfritz
Tony & Nancy Warren
Randy & Becky Wright
Richard & Mary Beth Young
The Gardeners of Ottumwa
Gail & Dean Bleything
Kim & Mark Hellige
Craig & Sue Richardson
Trudy Roggentien
Jennifer & John Trucano
Special Thanks to
Iowa Wesleyan College for providing
office, rehearsal and performance space
for the Orchestra and to the Mount
Pleasant R.S.V.P. members who help so
willingly and efficiently with orchestra
mailings!
39
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PO Box 324 • Burlington, IA 52601 • 319-752-0336
[email protected]
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Memorials
Southeast Iowa Symphony Orchestra Memorials
Gifts to the Southeast Iowa Symphony Orchestra Memorial Fund
have been made in loving memory of the following individuals:
Burlington Area
Verna Beckford
George & Janice Brodsky
Suzanne Bueckman
Catherine Burk
Thomas Cain
Glenn Cederquist
Dorothy Dailey
Jack Newton
Whit Niehaus
Sylvia Pfeiff
Suzanne Reed
Milton Sandell
Romaine Torkelson
Mount Pleasant Area
Jill Brown
Jim Cisco
Roger Galer
Annette Hult Ginsberg
Virginia Hanze
Louis A. Haselmayer
Sharon Kelly
Ron Krotz
Kay Lange
Marilyn Minford McCoid
Roberta McCoid
Francis McConnell
Dr. Buddy Peshkin
A. Lloyd Spooner
Lola White
Ottumwa Area
Dr. Arthur Austin
Helen Austin
Barbara Bell
Paul & Ruth Bunn
Michelle Campbell
Andrew Jean Canny
Charles & Alberta Chadwick
Charles E. & Dorothy Collins
William Cramblit
K. C. DeBooy
Marjorie Dodd
Rose Ernest
Shari Forsythe
Marian Gillmore
Frances Gillmore-Grubbs
Glenn Grubbs
Dr. Richard & Marjorie Hastings
David & Mary Ruth Jay
Dorothy Johnston
Forrest Johnston
James & Bette McGrath
Dr. Robert P. Meyers
Beulah Miksch
Robert S. Patterson
Louise Perry
Edna Reid
Floyd Van Roekel
Harry & Maggie Van Roekel
Morton & Virginia
Schmucker
Gerald Seim
Karon Stirling
The SEISO Memorial Fund and named memorials are permanent accounts which serve to
enhance the Orchestra’s programs each year. Those who wish to make a gift to the Memorial
Fund in memory of a friend or relative, may send it to the SEISO office - 601 North Main,
Mount Pleasant, IA 52641.
41
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Special Appreciation
A special thank you to the
following individuals
whose time and energies
have made the
Orchestra’s Music &
Menus fund raisers
possible. For information
about attending
Music & Menus parties,
please call 319-752-9739.
A complete listing of all Music & Menus parties and reservation forms
are available on line at www.seiso.us
Joy Anderson
Richard & Karen Bangert
Jim & Suzy Beriault
Rich & Peggy Burlingame
Jeannie Dobroski
Char Engstrom
Ellen Fuller
Margaret Hansen
Roger & Debbie Hatteberg
David & Dawn Hazell
Terry Hinesley
Katie Hoth
Deb Jochims
John & Maryann Jordahl
Carolyn Kacena
Judy Kerr
Marcia Korb
Jean Miller
Melissa Nystrom
Jim & Mary Olson
Doug & Ann Peters
Mary Priebe
David & Linda Riley
Martin & Teresa Salino-Hugg
Gert Schaffer
J. Bryan Schulte &
Jane Wilson
Eric Schweizer
Lisa Walsh
1411 N. Roosevelt Ave.• P. O. Box 70 • Burlington, Iowa 52601
Phone: 319-752-2701 Fax: 319-752-5287
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Index of Advertisements
Al-Jon.................................................................
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American Vending............................................
4
Beckman & Hirsch Attorneys...........................
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Bezoni's True Value...........................................
10
Boles Auto Sales, Inc.........................................
32
Brazelton Hotel & Suites.......................................
28
Bridge View Center............................................
10
Burlington Civic Music......................................
40
Burlington Municipal Band...............................
32
Ceco Building Systems.......................................
42
Clemons, Inc......................................................
40
Cobler Sign & Graphics...................................
6
The Drake...........................................................
32
Edward Jones......................................................
30
Elliott Chapel......................................................
4
Farmers & Merchants Bank & Trust.................
10
Financial Partners................................................
10
Gamrath-Doyle-Vens Insurance........................... 38
The Garden Florist...............................................
10
Great River Medical Center......... Inside back cover
Hancher Auditorium.................... Inside front cover
The Hawk Eye.......................................................
2
Heartland Eye Care...............................................
6
Henry County Health Center.............................
4
Hills Bank & Trust...............................................
4
Home Furniture...................................................
40
The Iowa Clinic Heart & Vascular Care............
22
Indian Hills Community College......................
36
Iowa Arts Council..............................................
21
Iowa Wesleyan College............................ Back cover
KBIZ..................................................................
35
KBUR ..............................................................
43
KGRS Mix 107....................................................
43
KILJ Radio.........................................................
KTWA................................................................
KYOU Fox 15.....................................................
Mansion Inn.......................................................
McCune and Reed.............................................
MidwestOneBank..............................................
Mississippi Manor B&B....................................
National Management Resources Corp............
Noel Insurance....................................................
O'Hara's Hardware....................................................
Olson-Powell Memorial Chapel...........................
Ottumwa Courier................................................
Ottumwa Noon Lions.........................................
Ottumwa Regional Health Center.......................
Ottumwa Tent & Awning Co............................
Pennsylvania Place...............................................
Prugh Funeral Service..........................................
River Basin Printing ...........................................
Shottenkirk...........................................................
Sodexho................................................................
South Ottumwa Savings Bank..............................
Southeastern Community College........................
Southern Iowa Mental Health Center.................
Suzuki Music School............................................
Target....................................................................
Two Rivers Banking-Investments-Insurance .....
USbank.................................................................
Video Production Services....................................
Vaughn Automotive..............................................
Weir & Kimzey Funeral Home............................
West Bend Mutual Insurance..............................
West Music Company...............................................
Zaiser’s..................................................................
Thank you to all the businesses
who support the SEISO through advertising!
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