University of Missouri - Columbia

DEPARTMENT OF MUSIC

UNIVERSITY SYMPHONY ORCHESTRA

Charles L. Emmons, Conductor

and

UNIVERSITY CHORUS

Ira C. Powell, Conductor

Jesse Auditorium Thursday, December 8, 1977

8:15 p.m.

PROGRAM

Overture to Russlan and Ludmilla ....... Glinka

Symphony No.93 in D Major ..........•.... Haydn

Adagio; Allegro assai Largo cantabile Menuetto Allegro Presto ma non troppo

University Symphony Orchestra

INTERMISSION

Mass in C Major, Op.86 .............. Beethoven

Linda Wright, soprano

Virginia Pyle, mezzo-soprano

Dan Cotton, tenor

Harry S. Morrison, bass

University Chorus and Symphony Orchestra

Orchestra Personnel

Violin

Rollings, Katherine, Springfield Concertmistress

Tomas, Deborah, Kirkwood Principal

Bertus, Ann, Wendell, Idaho Brockway, Marie, Milford, New Hampshire Emig, Frances, St. Louis Filer, Carol, Columbia Luna, Catherine, St. Louis McNames, Georqe, Columbia Kossmann, Katherine, Washington Pelkey, Martha Lou, Raytown Pringle, Rebecca, Columbia Searles, Katherine E., Columbia Sheumaker, Rodney, Kansas City

*Strenger, Sander Swanson, Kristine, Springfield

*Szekely, Eva, Columbia Thomure, Cathy, Columbia

Viola

Kane, Beverly Jean, Hampton, Virginia Principal

Lappin, Mary Anne, Kansas City *Kenneson, Carolyn, Columbia Tooley, Cynthia E., Bridgeton Wallace, Sandra Lee, Columbia Wright, Kathryn Sue, Springfield

Cello

Kruger, Linda Louise, Columbia Principal

Borgmann, Laura Susan, Ferguson Corbett, Carrie, Marceline Darigo, Jane Louise, University City Drewel, Carl, Jefferson City O'Brien, Lee Ann, Columbia

Cello, continued

Rice, Susan Terrell, Rolla Schneider, William Jonah, Clayton

*Spotts, Carleton, Columbia Spotts, Sylvia, Columbia

String Bass

Johnson, David D., Columbia Principal

Ingrasci, Lilli, New Bloomfield Laser, Martin D., Columbia Rice, Sandra J., Rolla Schult, Paul Daniel, University City Silber, Louis Scott, Olivette

*Stubbs, Sue, St. Louis

Flute

Brown, Jane, West Plains Principal

Smith, Vickie, St. Louis Lopatin, Sherri, St. Louis

(Piccolo)

Oboe

Dude, Carla, Columbia Principal

Workman, Lynn, St. Louis Knipschild, Ann, Marshall

(English horn)

Clarinet

Litwiller, Steve, Boonville CO-Principal

Symes, Jeanne, Wright City CO-Principal

Bassoon

Cumbie, Patricia, Columbia Principal

Leeper, Jerry, Hazelwood

Bassoon, continued

Swanson, Karl, Springfield Arnold, Alan, Chillicothe

(Contrabassoon)

Horn

Guetlich, Mark, Independence Principal

Blackwell, Chuck, Columbia Klug, Margaret, Lebanon Patterson, Daniel, Ironton Turner, Tracy, Columbia Wallace, Kathy, Kansas City

Trumpet

Gibson, Lisa, Springfield Principal

King, Ronda, Poplar Bluff Olmstead, Randy, Cameron

Trombone

Broadfoot, John, St. Louis Principal

Henrichs, Scott, Columbia Jones, Curt, Kansas City Rosenboom, John, Columbia Stark, Debbie, Columbia

Tuba

Theerman, David, Kirkwood

Percussion

Broyles, Sheri, Chillicothe Kelly, Kevin, Greenwich, Connecticut

*Faculty

Chorus Personnel

Soprano

Ashley, Paula Baker, Ellen Ballard, Betty Bell, Catherine M. Bender, Joyce Berman, Marjorie F. Blass, Shelley Bohr, Paula Bradley, Debbie Brigance, Linda Brown, Diana Brown, Polly Cassel, Cindy Chandler, Paola Denson, Gail Der, Orchid Dier, Jane Dowell, Linda Dowlin, Candy English, Joy Feldman, Vicki Fitzgerald, Laurie Ellen Frazier, Penny Gaunt, Michelle Grice, Charlotte Harvey, Sally Haywood, Angela Horne, Karen Rogers Hughes, Janice Lynn Hulett, Donna Jick, Laura Knapp, Christina Landgraf, Theresa Laughlin, Deborah LeClaire, Paulette Lee, Jana Denise Lee, Susan Elaine Lenox, Charlyne Maddox, Linda

Soprano, continued

Margreiter, Melanie ' Matthews, Kathleen Maxwell, Julie Melton, Rochelle Mendoza, Ester R. Michael, Gayla Novinger Linda Onda, Ellen Payne, Paula Peterman, Kathryn Powell, Elinor Reed, Johanna Rees, Beverly Robertson, Renee Sanders, Nell Shelby, Kathryne LeAnne Smith, Christa Stanley, E. Denise Yarwood, Lucinda

Alto

Allen, Donna Baker, Julia G. Bender, Cheryl Lynn Blackwell, Denise Boelson, Regina Bryant, Judy Buckles, Mary Parker Cole, Phyllis Leigh Compton, Lynn Conner, Garith Dafnides, Tina Dallman, Carol Davis, Mary Lou Dressler, Sharon Durham, Margaret Ann Edmondson, Mary Etz, Sandy

Alto, continued

Fields, Anna Margaret Findley, Virginia Foster, Sonya Garlich, Barbara Glaser, Joyce Guthrie, Lynita Haffey, Jan Hall, Cynthia Henrichs, Carol Ann Hinds, Mary Hunter, Krista Jester, Shelby Johnson, Nancy Lynn Johnson, Susan Kennemer, Terri Lynn Kinroth, Ann Lacy, Nancy Lake, Julie Larson, Lisa Lilja, Linnea Love, Laura Beth Markivee, Pam Maurer, Janet McMullen, Mary Merkner, Sue Morse, Kathy Nelgner, Virginia Neville, Nancy Nichols, Cathy Novacky, Dorothy O'Laughlin, Marjorie O'Neil, Jeanie Papageorge, Janet Perez-Gutierrez, Leticia Perkins, Deborah Price, Lela Rees, Martha Jane Riley, Denise Santoro, Mary L. Scholes, Roberta Smith, Ilogene

Alto, continuecl

Smith, Valerie Snow, Marilyn Stacy, Paula Stahl, Cynthia Stillwell, Lynda Strother, Diane Swanson, Carol Terwilliger, Mitzi Trembley, Anne Tyler, Margaret Underhill, Tracy Wasson, Sue Anne Williams, Loretta Wilson, Betty Winterrowd, Meleasa Wixom, Jeanne Wolters, Jeanne

Tenor

Abele, Chris Aivazis, Steve Andrae, Ron Armstrong, Frances Bacon, Paul Bain, David Lance Bain, David Russell Baker, Max Berkley Belden, Jeff Bielby, R. Kurt Brown, Janet Capron, Marilyn Cook, James L. Dreckshage, Urie Ehrlich, Paul Fleck, Desiree Hayden, James R. Jennings, Earl M. Lavin, Judith Lynn Lewis, David w. McMahon, Patrick J.

Tenor, continued

Moore, Julia D. Nowakowski, A.J. Ratch, R.A. Peterman, Ken Robertson, Stanley G. Rothenberger, Ray Russell, Berton Williamsen, Vern G.

Bass

Arnold, Kirk Barnes, Charles H. Becker, Robert C. Blunt, Phillip Briggs, Robert L. Jr. Brockman, Stephen E.R. Cassel, David Chesmelewski, John Clayton, Tim Crowdus, Steven Dallman, Mark Ellis, Paul Erd, Norman Ford, Keith Franck, Gordon Gettinger, Joshua Harrison, Montgomery Hyde, E. Clarendon Lane, Tony Langemach, Paul C. Lorentz, Kit Messimer, Donn Ogar, Vince Overby, Stephen Parrish, W. Doug Saathoff, Joe Sacco, Mark Seckler, Edwin M. Smith, Mark

Bass, continued

Smith, Walter B. Starn, W.E. Thompson, Gregory M. Trelow, Charles W. Twaddle, Andrew Watkins, Dave Williamson, Charles G. Wyatt, Francis E. Wyss, Robin

Rehearsal Accompanist

*Jane Franck

PROGRAM NOTES

by

James M. Burk

Russian composer Mikhail Ivanovich Glinka (1 June 1804-15 February 1857) was the son of a wealthy landowner. He studied music privately in St. Petersburg. From 1828 he devoted himself to music completely. He visited most of the im­portant musical centers of Europe. Rather than be influenced by Italian opera, Glinka preferred to develop a nationalistic Russian opera style. In its simplicity, his first opera, A Life for the Tsar (1836), was a reaction to the Italian style. Although Tsar does use some local color, it is not striking'ry-Russian. After being banned during and after the Russian Revolution, the opera was revived in 1939 under its original title, Ivan Sussanin. The music remained the same for the revival, but references to the Tsar were removed from the libretto. Glinka's second opera, Russlan and Ludmilla (first performance, 9 December 1842), did much to establish a nation­alistic style, thereby influencing Russian com­posers who followed, developing a "school". Glinka also wrote an orchestral fantasia, Kara­minskaya, using Russian folk music and a Jota Aragonesa, inspired by a visit to Spain. --

The libretto to Russlan and Ludmilla is from the great Russian writer, Alexander Pushkin (1799-1837). The fairy-tale poem is a mixture of the sentimental and the satire. The story is set in 10th Century pagan Russia. Ludmilla, the daughter of the ruling Prince of Kiev, is ab­ducted by a sorcerer. Three knights, rivals for Ludmilla's hand, set out to rescue her. One is a coward, one a dreamer, and the third is Russ­lan. Other characters help to complicate matters before Russlan finally rescues and weds the Prin­cess. The overture is an excellent sampling of

the opera's quick wit and gaiety. It begins with vigorous rhythm by the full orchestra with swirling patterns in the strings. The first theme is full of leaping lines and dancing vigor. The design is single-movement sonatina form, being short and concise. Timpani and woodwinds lead to a melodious second theme for violas, violoncellos and bassoons. This is re­peated by fuller orchestration. The brief de­velopment section consists mostly of fragments of the second theme punctuated by the timpani's three-note rhythm which unifies the entire over­ture. The overture remains a favorite on orch­estra concerts for its brilliant orchestral colors.

* * * Most of the compositions by Joseph Haydn (31 March 1732-31 May 1809) were written while in the employ of the Esterhazy family. But in 1790, upon the death of Prince Nicolaus (I), the musical establishment of the Esterh~z was dis­banded. Haydn did retain his duties and salary nevertheless. In 1791 Haydn visited London to compose an opera, six symphonies (93-98) and twenty other pieces for Johann Peter Salomon (1745-1815). Haydn remained for a year and re­ceived an honorary doctorate from Oxford Uni­versity. He returned to London in 1794 for another year. He composed six additional sym­phonies (99-104) for Salomon. These twelve symphonies and the six Paris symphonies (82-87) are perhaps his best known works in that genre. Haydn also composed works in other genres and other media. His oratorio, The Creation (1789), ranks with Handel's Messiah and Mendelssohn's Elijah as one of the most familiar and best­loved, large-scale sacred choral works of all time.

Symphony Nr.93 in D Major is the first of the first series of Salomon symphonies. The first movement is in single-movement sonata-form with

a slow introduction characterized by the dra­matic impact of frequent pauses. The two themes are complementary with the first being called amiable and the second lilting. The slow second movement is in five-part rondo design (ABACA) with the recurring main theme being constantly trans­formed. The minuet is a typical compound ternary structure (ABA) with some degree of vigor. Its trio contains punctuations by energetic and joyful signals from the wind instruments. The finale is a fitting close to the work with its happy prin­cipal theme. It is in sonata-rondo pattern (ABA. C.ABA, with C being of a developmental nature).

* * *

The important position in music history held by Ludwig van Beethoven (16 December 1770-26 March 1827) is that of culmination of the Classic era with its emphasis on formal structures and the expansion of those forms and expression leading into the Romantic period. The three-stage devel­opment of Beethoven's style has often been the prototype for describing the chronology of other composers' musical growth. Beethoven composed in most media and genres. His works are standard to the literature of the symphony orchestra (nine symphonies and overtures), the chorus (Missa Sol­emnis, Mass in C, Christ on the Mount of Olives), opera (Fidelio), the piano (32 sonatas, 5 con­certos, sets of variations), the violin (10 son­atas, concerto), the string trio and the string quartet (16 quartets and the Grosse Fugue).

The Mass in C Major was written as the result of a com.mission, in 1807, from Prince Nicolaus Ester­hazy II to celebrate Princess Marie Esterhazy's name-day. Beethoven had dedicated his three marches for piano duet (Op.45, 1804) to her. Neither the first performance (13 September 1807) nor the second performance (22 December 1808) of the Mass was satisfactory, so it was not until 1812 that Beethoven was able to convince Breitkopf to publish the mass which treated ''the text as it

has seldom been treated" before. The earlier Italian cantata-type mass separated the sec­tions of the Ordinary into self-contained move­ments, especially the longer sections, the Gloria and the Credo. Bach's Mass in b, Haydn's Sanctae Caeciliae and Mozart's Mass inc, K.427 are of this type. Beethoven's teacher, Haydn, abandoned the Italian approach in his last six masses. Haydn's pattern was adopted not only by Beethoven but also by Schubert and Bruckner. Haydn also introduced the vocal quartet in a rele similar to the concertina of a concerto grosso with the ripieno r3le being taken by the larger chorus. Some of Beethoven's composi­tional techniques are present in the Mass in C, such as: the tonal movement to E Major in the Kyrie, variation ~and expansion upon the return of the words "Kyrie eleison", and the fugato sections which predict the double fugue of the finale to the Choral Symphony (Nr.9 ind). The writing is beautiful for soloists, for chorus and for the instruments of the orchestra.