MUSIC DIRECTOREric McIntyre

ORCHESTRA STAFF Jennifer Powers, Personnel Manager

Mary Kay Polashek, Librarian

BOARD MEMBERS Sam Wormley, President Aaron Fultz, Secretary

Andrew Forbes, TreasurerGina Folsom · DeLores Hawkins · Alan Henson

Beth Martin · Stan Rabe · Scott WalkerDon Withers

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Noelle Fultz, Program Layout and Standing Ovation LiaisonJeffrey Prater, Program Notes

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BEETHOVEN AND BEYONDMay 4th, 2019, 7:30 PM

The Central Iowa Symphony is funded in part by local option tax funds provided by the City of Ames through the Commission on the Arts.

Please join us for Concert Conversations 45 minutes prior to each performance as well as for a reception afterwards

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CIS 2018-2019 SEASONCALL OF THE WEST

Saturday, 10/13/18, 7:30 PM

SMILES, LAUGHS, ECSTATIC OUTBURSTSSaturday, 12/1/18, 7:30 PM

YOUNG ARTISTS CONCERT Sunday, 3/3/19, 3:00 PM

BEETHOVEN AND BEYONDSaturday, 5/4/19, 7:30 PM

ERIC McINTYREMusic Director

MAY 4TH, 2019, 7:30 PMAMES CITY AUDITORIUM

Violin Concerto in D Major, Op. 61 Allegro ma non troppo Ludwig van Beethoven Larghetto (1770-1827)Rondo. Allegro

Jonathan Sturm, violin

INTERMISSION

A Somerset Rhapsody, Op. 21 Gustav Holst (1874-1934)

Krzesany (1974) Wojciech Kilar (1932-2013)

This concert underwritten by Kay and Roger Berger.

BEETHOVEN AND BEYOND

Eric McIntyre is now in his tenth season as Music Director and Conductor of the Central Iowa Symphony. In addition to his work with CIS, he is Professor of Music at Grinnell College, where he teaches music composition courses and directs the Grinnell Symphony Orchestra. He has previously served as music director of the Fort Dodge Area Symphony, Ottumwa Symphony Orchestra, the new music ensemble AURA at the University of Houston, and director of brass ensembles for the Swakopmunder Musikwoche in Swakopmund, Namibia. Other international engagements have included lectures and masterclasses at Nanjing University, the Royal Academy of Music in London, University of Cape Town, and professorships with study abroad programs in London, England and Florence, Italy.

McIntyre's original compositions have been performed around the world by an array of performers and received support and awards from ASCAP, the Iowa Arts Council, the American Music Center, and the National Endowment for the Arts. His current work explores the motion of waters through a fusion of fixed digital audio and video components with live performers. Equally adept as a hornist, McIntyre was a member of the Houston Ballet and Houston Grand Opera Orchestras and performed with the Houston Symphony. He continues to perform as a guest musician with Des Moines Symphony and Orchestra Iowa and as a chamber musician and free improviser on modern and historic natural horns and with chimeric instruments of his own creation. As a concerto soloist on the natural horn, he has made recent appearances with Fort Dodge Area Symphony, Central Iowa Symphony, Northern Iowa Community Orchestra, and the Five Seasons Festival orchestra in Cedar Rapids.

McIntyre contributes to Grinnell Colleges's Liberal Arts in Prison Program, for which he has presented lectures, taught credit-bearing courses, and conducted several orchestral performances with the Grinnell Symphony Orchestra at Newton Correctional Facility. His passion for teaching music listening skills has also led him to develop a series of seminars for individuals in long-term incarceration at the Anamosa State Penitentiary.

Beyond academic and musical pursuits, McIntyre and his family raise dairy goats, chickens, and turkeys and grow and process much of their own food on their farm outside Grinnell. He enjoys canning vegetables, processing meat, and driving his vintage 1961 JD 3010 tractor.

ERIC McINTYRE

Eric McIntyre

JONATHAN STURM, VIOLINJonathan Sturm serves many roles in the music world, especially in Iowa. He is in his 28th season as concertmaster of the Des Moines Symphony, with which he has performed eight concertos as soloist. Other orchestras in Iowa have also invited him to perform with them featuring repertoire from romantic concertos to Piazzolla’s tangos. Jonathan’s performances have taken him to Cuba, Russia, Germany, South Africa, and to cities across the United States from Seattle to Palm Beach, Florida. He has been on the faculties of Eastern Music Festival, Madeline

Island Chamber Music Festival, and Stringwood Music Camp. In 2011, his 2-CD and DVD project Fire and Romance won the silver medal for instrumental performance and bronze medal for music video in the Global Music Awards competition.

In addition to his violin performing career, Jonathan is an award-winning professor of music history at Iowa State University and was named by the Iowa String Teachers Association as the Leopold LaFosse outstanding studio violin teacher in Iowa for 2018. His students have graduated to attend some of America’s major universities and conservatories, and have won competitions in Iowa that brought them performances with several orchestras in the state.

Prior to his tenure at Iowa State University, Jonathan taught at Drake University and at Rhode Island College. He also previously served as the concertmaster of the Des Moines Metro Opera, and the Rhode Island Philharmonic.

Besides his extensive career as a violinist and published music educator, Jonathan performed for 19 years as the violist in the internationally acclaimed Ames Piano Quartet. With this ensemble he recorded ten compact discs released on the Dorian, Albany and Sono Luminus labels.

His diverse interests have also led him to serve two terms as the President of the Iowa State University Faculty Senate, working with the Board of Regents and the university administration to govern the faculty and improve the teaching and research missions of that university. Jonathan holds a Doctor of Music degree from Indiana University, where he studied with famed violinist Josef Gingold, and Master’s degrees in violin and musicology from the Eastman School of Music. He received his Bachelor’s degree from Oberlin Conservatory.

When we listen with modern ears to the famous works of that universally recognized Titan of a composer Ludwig van Beethoven (1779-1827), it is hard to imagine, among the many pieces we now consider his masterworks, that some of them failed to immediately please his audiences and critics. Nevertheless, a number of Beethoven’s most famous works (the Third Symphony, for example) were heavily criticized at their premieres (under-rehearsed performances notwithstanding) as being either technically faulty or simply the work of a “crazy man.” Like fine wine and numerous great works of visual art, some masterful musical compositions also need to age a while before coming into their own. Such was certainly the case with Beethoven’s Violin Concerto in D major, Op.61.

Written during the final months of 1806 and first performed in Vienna just before Christmas of that year, the concerto’s premiere has often been considered a failure by historians. Nevertheless, one can read mixed critical reactions from those times. Carl Czerny, Beethoven’s student and friend wrote, albeit thirty-six years after the premiere, that the soloist and virtuoso violinist Franz Clement played the first performance with great prowess and to heavy applause. However, a more contemporaneous critic of the premiere, Johann Nepomuk Möser, was not so complimentary when writing about Beethoven’s concerto:

The judgment of connoisseurs is unanimous; its many beauties must be conceded, but it must also be acknowledged that the continuity is often completely broken, and that the endless repetitions of certain commonplace passages may easily become tedious to the listener . . . It is to be feared . . . that if Beethoven continues upon this path he and the public will fare badly.

Despite initial criticism, the passing of time and the aroused interest of some major musical personalities assisted Beethoven’s work in finally being recognized as a truly great concerto. Felix Mendelssohn, the great re-discoverer of the works of Johann Sebastian Bach, seems to have had a penchant for bringing to light forgotten and under-performed masterworks of the past. In 1844, Mendelssohn (conductor) teamed up with the violin prodigy Joseph Joachim (only twelve years old at the time) to perform Beethoven’s Violin Concerto with the London Philharmonic Society. From that point, the concerto gradually became a staple of the repertoire.

PROGRAM NOTES

Jonathan Sturm Ludwig van Beethoven

PROGRAM NOTES PROGRAM NOTESThis violin concerto is in the standard Classical-era three-movement form: fast-slow-fast. However, it tends to be more symphonic in nature than the usual concerto of the time period. In addition to its lead melodic function, the solo violin part often assumes a more accompanimental role, while the orchestra supplies the foreground.

The first movement (Allegro ma non troppo) is the longest of the three. The very start of the movement is quite unusual with a five-note rhythm played solo on the tympani. This rhythmic figure appears later in other instrumental configurations, and even appears in a four-note version that has similarity to the famous four-note rhythmic motive in the first movement of the Beethoven’s Fifth Symphony. This repetitive rhythmic figure is heard in various guises throughout the first movement of the concerto. The solo violin enters after the orchestral exposition with a musical texture that sounds much like a solo cadenza.

A large part of the solo in the first movement lies in the higher registers of the instrument. Concerning this, one critic quipped that the solo remained in the upper hand positions of the violin so much of the time that very little bow rosin would be noticeble after performance on the low G-string. Beethoven wrote no cadenzas himself for this concerto, although he did compose them for a mostly forgotten piano version of the concerto that he produced later (Op.61a). Some performers have reworked these piano cadenzas for violin performances, but there are many famous violinists who have written out or improvised their own cadenzas. Today, all of the cadenzas played in the concerto were composed by our soloist Jonathan Sturm. Directly following the cadenza at the end of the first movement, the solo violin enters with the main theme again, but this time not in the “stratospheric upper regions”, but rather in the warm lower register of the instrument.

The second movement (Larghetto) is a lovely, slow and romantic set of variations on a quiescent melody. The solo part is accompanied by muted strings that produce slow moving harmonies that create both a sense of stasis and of contentment. There is no pause between the second and third movements, a technique that Mendelssohn would later (1844) employ between all the movements in his Violin Concerto. Instead of a break between the last two movements, Beethoven writes bridge music that smoothly connects the two.

The last movement (Allegro) is a spirited rondo, where the main theme regularly alternates with contrasting themes. This rondo is in a form known as sonata rondo (A-B-A-C-A-B-A), where the central ‘C’ section is highly developmental. The main ‘A’ theme is so memorable that it imprints itself easily on the memory, and the coda, somewhat longer

than usual, ends with the opening motive of the main theme quietly arpeggiated upward in the solo violin, followed immediately by a thunderous two-chord orchestral close.

English composer Gustav Holst (1874-1934) is best known for his great and often-performed symphonic work The Planets (1916). Nevertheless, along with composers Percy Grainger, Ralph Vaughan Williams, George Butterworth and Frederick Delius, Holst became devoted to the great folk-song revival that took hold in England before and around the time of W.W.I. This revival spawned a national, pastoral school of English concert music, producing classically oriented compositions full of references to actual English folk songs and those musical idioms derived from them.

Holst, never very robust in constitution, was relatively shy, and the acclaim he acquired, especially after the success of The Planets, often made him very uncomfortable. Instead of pursuing the limelight of fame as a leading composer, Holst preferred earning the major part of his living as a music teacher, an occupation that also provided him time to quietly compose. Originally influenced by the German-Romantic style, Holst eventually broke away from composing in that tradition. Some years before the opening of the Great War, Holst had already begun composing in a recognizably English style. Ralph Vaughan Williams, Holst’s life-long friend, supported the cash-strapped Holst financially on a number of occasions. For his part, Holst regarded Vaughan Williams as a true kindred spirit in the quest to develop methods of composing a truly English music.

Holst composed A Somerset Rhapsody in 1906. The work derives its title from Holst’s use of three folk tunes familiar in County Somerset (southwestern England). The three tunes are the pastoral “The Sheep-Shearing Song”, a march entitled “High Germany”, and “The Lover’s Farewell.” Holst describes the narrative program of A Somerset Rhapsody as follows:

‘Into a quiet country scene comes the sound of approaching soldiers. A youth who is courting a girl is persuaded to enlist and go to war. The soldiers march into the distance and the pastoral quietness returns. The girl is left alone.’

Gustav Holst

PROGRAM NOTES PROGRAM NOTESThe late, highly celebrated Polish composer Wojciech Kilar (1932-2013) is best known for his many excellent film scores, and he has been the recipient of numerous prestigious international awards for his cinematic music. In the U.S., probably his best known contribution is a musical track entitled “Moving to the Ghetto, October 31, 1940” in Roman Polanski’s film The Pianist (2002). Now a part of Ukraine, Kilar was born in the city of Lwów, which belonged to Poland in the years before W.W.II.

Also known as a composer of concert music, Kilar was part of a school of avant-garde composers in the 1960s that included Boleslaw Szabelski, Henryk Gorecki and the reknowned Krzystof Penderecki. This group of composers came to be known as the New Polish School. During his career, Kilar was also very active in the leadership of several important Polish composers’ organizations.

Kilar composed the orchestral tone poem, Krzesany in 1974. This piece traverses many musical moods from introductory loud and dissonant, to quietly introspective, to something reminiscent of a movement from a Baroque dance suite, to highly energetic and crowd-like boisterous. The various sections of Krzesany often move in and out of one another, and from one mood to the next, quite suddenly. From time to time, it is even possible to hear collage-like musical textures similar to those employed by the American composer, Charles Ives. Surprising, near the end of the work, is a clear and recognizable setting of what appears to be a traditional Polish folk-dance tune set in a tonal or nearly tonal context. This dance tune then becomes more and more energetic, insistent and almost carnival-like, as Kilar’s Krzesany comes to a close.

Krzesany (krzesane) is an incredibly energetic style of folk dancing common to the southernmost region of Poland called the Podhale. This dance features a difficult heel-clicking move while the dancers jump in mid-air (see photo). Anna Legierska describes the krzesane this way:

The most typical [Podhale] regional dance is called the krzesane. These dance acrobats don’t need stages or dance studios – they perform wherever, outdoors, on rocks, high up in the mountains (the closer to the peak the better), in meadows or in a crowded room. Their only equipment: bagpipes, gusles and a shepherd’s walking stick-cum-axe called a ciupaga. They say that highlanders have music in their veins and feet made for dancing.

— Jeffrey Prater

This Central Iowa Symphony concert may be rebroadcast on KHOI 89.1 FM in upcoming weeks.

KHOI is a local noncommercial radio station whose mission is to build community through communication. khoifm.org.

KHOI is proud to partner with CIS in providing excellent, locally-performed music to Central Iowa.

KHOI REBROADCAST

Wojciech Kilar

From: A Foreigner's Guide to Polish Folk Dances (2014)

MUSICIANSV I O L I N 1Kevin Amidon*Ashley Hansen Carol Weber Ruth Fiscus Jennifer Killion Brittni Cain Sara Jimenez

V I O L I N 2Maryann Mori*Carrie Forbes Heather StaffordKate OrngardBeth MartinJennifer Musgrove Victoria Kyveryga

V I O L A Mary Kay Polashek*Anna Peterson Julienne KrennrichAndrew WeihrauchNaiying LiaoMaggie LaWare

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CO N T R A BA S S O O NPhilip Dixon

H O R NPam Schwab Stephani ScherbartGale WebbKiva Forsmark

T R U M P E TJason Kirke*Jason HeerenLauren SchwabLizzie Miller

T RO M B O N EBrad Harris*Kara BaderMichael AlbarracinTheresa Presley

T U BAJames Kilmer

P E RC U S S I O NDan Krumm*Aaron Fultz

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P E R S O N N E L M A N AG E RJennifer Powers

O RC H E S T R A L I B R A R I A NMary Kay Polashek

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