FROM ON HIGH ... AND DOWN BELOW
October 8, 2016, 7:30 PM
&
AUSTRIAN HOLIDAYS
December 3, 2016, 7:30 PM
Join us for Concert Conversations with
Music Director Eric McIntyre at 6:15 PM before each performance
Reception following the concerts
MUSIC DIRECTOR
Eric McIntyre
ORCHESTRA STAFF
Jennifer Powers, Personnel Manager
Mary Kay Polashek, Librarian
BOARD MEMBERS
Sam Wormley, President
Aaron Fultz, Secretary
Andrew Forbes, Treasurer
Roger Berger, Emeritus
Gina Folsom
Alan Henson
Charles Orngard
Jeffrey Prater
Stan Rabe
OTHER CONTRIBUTORS
Dawn Budd, Artistic Designer
Noelle Fultz, Standing Ovation Liaison
Friends of Central Iowa Symphony (FOCIS)
[email protected]
www.cisymphony.org
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.
BO ATLAS
OCTOBER 8, 2016, 7:30 PM
AMES CITY AUDITORIUM
ERIC MCINTYRE
Music Director
FROM ON HIGH ... AND DOWN BELOW
HUNGARIAN MARCH FROM
LA DAMNATION DE FAUST, OP.24
Hector Berlioz (1803-1869)
TUBA CONCERTO IN F MINOR
Ralph Vaughan Williams (1872-1958)
Prelude: Allegro moderato
Romanza: Andante sostenuto
Finale - Rondo alla tedesca: Allegro
Bo Atlas, tuba
INTERMISSION
GOOD FRIDAY SPELL FROM PARSIFAL
Richard Wagner (1813-1883)
LE CHASSEUR MAUDIT
Bo Atlas is currently in his 6th season
as Principal Tubist with the Des
Moines Symphony, and prior to that
was Principal Tubist with the Topeka
Symphony for 3 seasons. His formal
education includes a Bachelor’s
Degree from the University of
Kansas, and a Masters Degree from
the University of Nebraska-Lincoln,
and is currently pursuing a Doctoral
Bo Atlas
Degree from the University of
Iowa. Mr. Atlas has also been active as a freelance musician performing
with groups such as the Omaha Symphony, Lincoln Symphony, Kansas
City Symphony, Waterloo Cedar Falls Symphony, Dubuque Symphony,
Kansas Brass Quintet, Blackhouse Improviser’s Collective, Kansas City
Brassworks, and the Fountain City Brass Band.
In 2014, Bo began collaborating with Casey Maday (trombone) and
Will Baker (Bass Trombone) to form a trio called The Des Moines Low
Brass Triumvirate. The group’s goals are to provide high quality musical
performances, enrich our community, entertain audiences, and reach
and teach students throughout Iowa and the greater Midwest.
Bo is also much sought after soloist and has received many accolades for
his solo work including Semi-finalist at the International Tuba Euphonium
Conference in 2010, Finalist at the Arapahoe Philharmonic Concerto
Competition in 2011, winner of the University of Kansas Symphony
Concerto Competition in 2012, winner of the Great Plains Regional
Tuba Conference solo competition in 2009, and winner of the US Army
Band Mock Audition in 2012.
Bo has studied tuba with John Manning, Craig Fuller, Scott Watson,
Patrick Stuckemeyer, Tony Clements, Peter Warhaftig, Sam Pilafian, and
Christian Carichner.
César Franck (1822-1890)
A special thanks to
Everts for the flower
arrangements.
PROGRAM NOTES
PROGRAM NOTES
In 1846 Hector Berlioz (1803-1869), the great
French avant-garde composer of the Romantic
era, wrote the “Hungarian March” that would later
appear in his opera The Damnation of Faust. In
typical compositional frenzy, Berlioz is said to have
orchestrated the march in just one night during a
brief stay in Vienna. This was just prior to a trip
to Budapest, where Berlioz hoped for a positive
reception among Hungarian audiences for this new
orchestral version of their nationalistic “Rákóczy
Hector Berlioz
March.” Between the 16th and the 18th centuries,
the Hungarian noble family Rákóczy produced important military leaders
who mounted ultimately unsuccessful attempts to secure Hungary’s
independence from Austria. The “Rákóczy March” was originally composed
by Hungarian composer János Bihari (1764-1827), and was written as a
tribute to the brave and audacious Rákóczys. The premiere of Berlioz’
“Hungarian March” was received with thunderous ovations in Budapest,
and as a result, the composer decided to find a place for the march in his
in-progress opera The Damnation of Faust. However, in order to work the
march into the plot, Berlioz had Faust’s character, lost in thought, appear
on a Hungarian plain just in time to observe a charge by the Hungarian
army. Berlioz’ The Damnation of Faust was an operatic failure, but the
masterfully orchestrated and rousing “Hungarian March” is frequently
performed on symphonic concerts. Especially interesting is the brilliant
coda that moves rapidly through a number of implied keys before finally
coming to rest.
The Tuba Concerto in F minor by the British
composer, Ralph Vaughn Williams (1872-1958)
was written in 1954 for the principal tubist of the
Royal Philharmonic Orchestra, Phillip Catelinet.
Up to this point, concerti for the lowest bass
instruments of the orchestra were rare or nonexistent, and some critics considered Vaughn
Williams’ tuba concerto to be both strange and
unworkable. However, as musicologist Beth
Fleming points out:
Ralph VaughnWilliams
Vaughn Williams had a penchant for featuring instruments that are
more typically cast in supporting roles. Just as he favored the warm,
rich tones of the viola in many of his works, he sought out the deep,
intensely lyrical resonance and the quirky suppleness of the largest of
brass instruments, exploiting all its best qualities in a ground-breaking
concerto that inaugurated a legacy of tuba repertory.
The two fast outside movements give the performer opportunity to
demonstrate the incredible agility and flexibility of the bass tuba. These
fast movements require great concentration and virtuosity from the
soloist. Especially beautiful is the slower and lyrical middle movement
of the concerto, which demands a most tender and heart-felt romantic
sensitivity from the performer. The premiere of this work, likely the very
first tuba concerto, took place in June 1954 with soloist Catelinet and
the Royal Philharmonic conducted by Sir John Barbirolli
Richard Wagner (1813-1883), the German
titan of dramatic music in the mid-nineteenth
century, had already composed much of his Der
Ring des Nibelungen, most of Die Meistersinger
von Nürnberg, and the whole of Tristan und Isolde
when he began composing Parsifal in 1865.
This latter music drama he subtitled “a festival
consecration for the stage.” Parsifal is actually
Wagner’s Germanized spelling of the English
Richard Wagner
name “Percival” (Percival was one of King
Arthur’s Knights of the Round Table). The plot concerns protagonist
Parsifal’s quest for the holy grail, but this quest is strongly coupled with
Wagner’s mystical philosophy, in which deliverance and salvation can
come only through persons of pure, naive and single-minded faith.
In the last act of this music drama, atonement and healing comes on
Good Friday (the anniversary of Christ’s crucifixion) through Parsifal.
The music of this scene, generally known in English as “The Good
Friday Spell,” consists of powerfully mystical elements. In this excerpt
from Parsifal one can hear a short chorale-like motive. This motive is
a quotation of the well-known “Dresden Amen” that has long been
included in Protestant hymnbooks.
PROGRAM NOTES
Le Chausseur Maudit (“The Accursed Huntsman”)
was completed in 1882 by French composer
Caesar Franck (1813-1883). This dark and
intense programmatic work describes a man
who chooses to go hunting rather than to
church on a Sunday morning, regardless of the
fact that this act is in transgession of the biblical
commandment to keep the Sabbath holy. While
hunting, the man is accosted by a loud voice that
Caesar Franck
condemns him to be hunted and haunted for
eternity by demons. The musical depiction of evil spiritual forces was
not uncommon in the late 19th century. Works like Danse Macabre
by Saint Säens and Night on Bald Mountian by Moussorgsky are
additional examples of this phenomenon. Le Chausseur Maudit was
first performed in Paris by the Société National de Musique in 1883.
— Jeffrey Prater
DECEMBER 3, 2016, 7:30 PM
AMES CITY AUDITORIUM
ERIC MCINTYRE
Music Director
AUSTRIAN HOLIDAYS
DER ROSENKAVALIER WALTZ, OP. 59
Richard Strauss (1864-1949)
Arr. Roy Douglas
ANDACHTSJODLER
Traditional
Arr. Eric L. McIntyre
KAISERWALZER, OP.437
Johann Strauss II (1825-1899)
RADETZKY MARCH
Johann Strauss, Sr. (1804-1849)
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blank for Standing Ovation
INTERMISSION
SYMPHONY NO. 1 IN C MINOR, OP. 68
Johannes Brahms (1833-1897)
Un poco sostenuto – Allegro – Meno allegro
Andante sostenuto
Un poco allegretto e grazioso
Adagio – Più andante – Allegro non troppo, ma con brio – Più
allegro
PROGRAM NOTES
PROGRAM NOTES
German composer Richard Strauss (1864-1949) and
his literary collaborator, Hugo von Hofmannsthal
(1874-1929), produced six of the most important
operas of the early twentieth century. The most
popular of these is Der Rosenkavalier, begun
in 1909 and first performed in January 1911.
The complicated plot concerns a middle-aged
noblewoman (the Marschallin) who is in love with
a much younger man (Count Octavian). In the end,
Richard Strauss
the Marschallin must release Octavian in favor of a
younger woman (Sophie). During an elaborate ceremony, Octavian must
present to Sophie, on behalf of Baron Ochs (a lecherous old nobleman), a
silver rose as an engagement present. However, upon presenting the rose,
Octavian falls in love with Sophie. The opera’s title Der Rosenkavalier (‘The
Rose Cavalier’) comes from this poignant scene.
During the time Hofmannsthal was writing the libretto, he suggested to
Strauss that he think in terms of the old Viennese walzes from the 19th
century. The numerous waltzes that Stauss composed for Der Rosenkavalier
are new, but are filtered through highly nostaglic ears. It is these waltzes
that have come to most clearly identify and characterize the opera. A set
of excerpts, published in 1945 as Der Rosenkavalier Suite, op.59, are, like
the opera itself, both beautiful and bittersweet, creating intense longing
for times gone by.
Andachtsjodler (‘Remembrance Yodel’) is a traditional Austrian folksong
from the early 19th century. It has been sung in the province of South
Tirol during the Christmas season since about 1830. In the vocal version
of Andachtsjodler there are a yodeled chorus and multiple sung verses
telling of the spiritual peace one can find high up on a mountain. The
orchestral version of this folk song was arranged
by our conductor, Eric McIntyre.
During his lifetime, Johann Strauss, Jr. (18251899), known as the “waltz-king,” wrote over 500
pieces of light-classical music (waltzes, quadrilles,
polkas, marches and operettas). He became an
exceptionally well known world-wide celebrity in
times long before modern mass media, and many
of his works are still among the most famous and
Johann Strauss Jr.
regularly performed examples in their respective genres.
Kaiserwaltzer (‘Emperor Waltz’) is among Strauss’ most popular and
performed waltzes. It was likely composed in 1889 under the original title
of Hand in Hand, since the waltz was intended to be a kind of musical
handshake between Emperor Franz Josef of Austria and Emperor Wilhelm
I of Germany, who were planning to meet. The premiere took place in
Berlin in October 1889 during the ceremonial meeting of the two great
heads of state. Kaiserwaltzer is filled with musical pomp, circumstance and
sweeping waltz melodies fit for a meeting between powerful monarchs.
Austrian composer, Johann Strauss, Sr. (1804-1849),
father of Johann, Jr. and two other composing sons
(Josef and Eduard), was responsible, along with
Josef Lanner, for popularizing the waltz in Europe.
Like his son Johann, Jr., the elder Strauss wrote
several hundred light-classical works including
waltzes, cotillons, galops, quadrilles and marches.
His most famous and most played work, however,
is the Radetsky March. This work was dedicated to
Johann Strauss Sr.
Field Marshall Josef Radetsky, victor of the Battle
of Custoza. The march was first performed in August 1848, and was
immediately embraced by Austrian troops, who would begin to clap softly
in rhythm during the initial time through the main melody, and then more
vigorously on its later repeat. This clapping tradition can still be observed
when watching the Live from Vienna New Year's Day concert.
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PROGRAM NOTES
The story of Johannes Brahms’ (1833-97) struggle
to create his first symphony is long and complex.
But it likely begins on October 28, 1853, when the
great composer and music critic Robert Schumann
published his famous article “Neue Bahnen” (‘New
Pathways’) in his periodical Neue Zeitschrift für
Musik (‘New Journal for Music’). The following is
an excerpt:
Many new and remarkable talents have made
their appearance, and a fresh musical power
seemed about to reveal itself among the many
aspiring artists of the day, even though their compositions were known
only to the few. I thought to follow with interest the pathway of these
elect; there would, there must, after such promise, suddenly appear
one who should utter the highest ideal expression of his time, who
should claim the Mastership by no gradual development, but burst
upon us fully equipped, as Minerva sprang from the brain of Jupiter.
And he has come, this chosen youth, over whose cradle the Graces
and Heroes seem to have kept watch. His name is Johannes Brahms.
Johannes Brahms
Brahms kept the world waiting for twenty-three years. He produced
some sketches for the First Symphony in the late 1850s, and showed
a piano version of the first movement to a colleague in 1862. Brahms'
lack of confidence in producing a great symphony lead him to first
compose two Serenades for Orchestra and the Variations on a Theme by
Haydn. Some historians suggest that these were actually trial works (less
integrated orchestral pieces than a symphony) in which Brahms could
hone and try out orchestrational techniques before applying them to
the symphony.
In spite of a very long gestation period, and with many doubts and fears
on the part of the composer, the First Symphony turned out to be a
huge triumph for Brahms, when in November 1876 it finally premiered
in Karlsruhe, and then in immediate subsequent performances in
Mannheim, Munich, and Vienna. The important late nineteenth-century
Viennese music critic Eduard Hanslick wrote, “from this work it should
be completely clear to every musician the close spiritual relationship
between Brahms and Beethoven.” From that point on, Brahms never
seemed to have any more debilitating fears concerning the composition
of symphonies.
— Jeffrey Prater
ERIC MCINTYRE
Eric McIntyre is now is his eighth season as music
director of the Central Iowa Symphony. He has
previously served as music director of the Fort
Dodge Area Symphony, Ottumwa Symphony
Orchestra, and the new music ensemble AURA,
and he continues to perform as a guest conductor
including recent performances with the Nanjing
University Symphony Orchestra in Nanjing,
China. He has directed the brass ensembles of
the Swakopmunder Musikwoche in Namibia since
2011.
Eric McIntyre
McIntyre is Professor of Music at Grinnell College, where he teaches music
composition courses and directs the Grinnell Symphony Orchestra. He
also contributes to Grinnell’s Liberal Arts in Prison Program, for which he
has presented lectures, taught credit-bearing courses, and conducted
several orchestral performances. His current research involves the
teaching of music listening skills among incarcerated populations.
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. Equally adept as a hornist, McIntyre was a
member of the Houston Ballet and Houston Grand Opera Orchestras
and has performed with the Houston Symphony, Des Moines Symphony
and Orchestra Iowa. Also skilled as a natural hornist, McIntyre performs
recitals on the classical horn and has appeared as a conceråto soloist
with orchestras throughout Iowa.
McIntyre is an alumnus of Indiana University, where he received B.M. and
M.M. degrees in music performance and was awarded the Performer’s
Certificate. He holds a D.M.A. in music composition from the University
of Houston Moores School of Music.
In addition to his musical activities, McIntyre and his family raise dairy
goats, chickens, and turkeys and grow much of their own food on their
farms outside Grinnell.
MUSICIANS
VIOLIN 1
Will Samorey,
concertmaster
Kathryn Penning
Carol Weber
Ashley Hanson
David Baegley
Amelia Fiscus
Amber Ringgenburg
VIOLIN 2
Donald Sieberns*
Ruth Fiscus
Maggie Glasscock
Beth Martin
Suzanna Gilbert
CRESCENDO! 2015-16 PATRONS
B A S S Donita McCoy*
Cara Stone
Chriss Dieckman
FLUTE
Shon Stephenson*
Marianne
Malinowski Chair
Rachel Lowry
Heather Imhoff
PICCOLO
Heather Imhoff
OBOE
Kevin Schilling*
VIOLA
Janet Dixon
Mary Kay Polashek* Louis Banitt
Anna Petterson
Rachel Keske
Andrew Weihrauch
Jennifer Powers
ENGLISH
HORN
CELLO
Janet Dixon
Alan Henson*
Amy Andreotti
CLARINET
Christian Roettger Charles Bogner*
Kay Nelson
Noah Torstenson
BASSOON
Janet Baldwin*
Noelle Fultz
Phillip Dixon
Jason Paull
T I M PA N I
Dan Krumm*
PERCUSSION
Aaron Fultz
Andrew Chatman
CONTRABASSOON
Phillip Dixon
* Denotes section
principal
HORN
Pam Schwab*
Stephani Scherbart
Gale Webb
Brian Bunn
TRUMPET
Jason Kirke*
David Stephenson
Kevin Muelenthaler
PERSONNEL
MANAGER
Jennifer Powers
ORCHESTRA
LIBRARIAN
Mary Kay Polashek
TROMBONE
Brad Harris*
Theresa Presley
Michael Albarracin
TUBA
Jim Kilmer
CRESCENDO! 2016-17 PATRONS
SPONSORS
$1000-$2499
PAT R O N S $300-$499
FRIENDS
$50-$149
Kay & Roger Berger
Joan E. Welch
Cheryl Lawson & Sam
Wormley
Carol & Robert Deppe
Carin & Andrew Forbes
Linda Hansen
Margaret Johnson
B E N E FA C T O R S
$500-$999
SUPPORTERS
$150-$299
Martha Anderson &
George Burnet
Cinian & Paul Durbin
Deborah & A.M. Fink
Cornelia & Jan Flora
Jack Mauldin
Pam & Chuck Schwab
Sara & Gerald Chase
Jane Frerichs
Marge Gowdy
Jane Johnson
Nancy Marks
Kathryn & John Miller
Katharine Outka
Katherine & Herbert
Fromm
Etha Hutchcroft
Kay Nelson
Frankie & Jim Oleson
In Memory of William
Nelson
Lee Anne & Stephen
Willson
PROGRAMS
Pioneer Communications,
Inc.
MAESTRO’S CIRCLE SUPPORTERS
$2500+
$150-$299
Janet & Erv Klaas
SPONSORS
$1000-$2499
Alben F. Bates & Clara G.
Bates Foundation
Kay & Roger Berger
Martha Anderson &
George Burnet
Jean Earle Felix
In Memory of Martha
Felix Nebgen
Jean Earle Felix
In Honor of Pamela
Schwab
Carol & Eric Weber
Joan E. Welch
Cheryl Lawson & Sam
Wormley
B E N E FA C T O R S
$500-$999
Deborah & A.M. Fink
Cornelia & Jan Flora
In Memory of Carroll &
May Fleming Butler
Natalie Howell
Wayne Maak
In Memory of Karen
Sandra & George
McJimsey
Helen F. McRoberts
In Memory of Liz Keys
Pam & Chuck Schwab
PAT R O N S $300-$499
Janet & Leonard Bond
Carol & Robert Deppe
In Honor of Mary Kay
Polashek
Carin & Andrew Forbes
Linda Hansen
In Memory of Larry
Hansen
Peg Johnson
Evelyn & Dick Shibles
Ames Golf & Country
Club
Beverly Baum
Charles Orngard Financial
Management
Sara & Gerald Chase
Gladys & Peter Colwell
In Memory of Wayne
Davis
Jane Frerichs
Noelle & Aaron Fultz
Marge Gowdy
In Memory of Mike
Gowdy
Robert Gregory
Jean & Vincent
Hassebrock
Willa & Dave Holger
Judy & Tom Jackson
Dee & Jim Kilmer
Julienne & Frank
Krennrich
Nancy Marks
Donita & Dick McCoy
Kathryn & John Miller
Pat & Louis Banitt Fund
Mary Kay & Emil
Polashek
Ruth & Clayton Swenson
Sostrini String Quartet:
Esther Lee
Tiffany Loe
Joanna Held
Fox Henson
Klier String Quartet:
Jana Kim
Olivia Wong
Beau Henson
Grace Kim
FRIENDS
$50-$149
Carol & Ted Bailey
Betty & Tom Barton
Cathy & David Carlyle
Peggy & Greg Dieter
Janet & Philip Dixon
Gina Folsom
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Ruth & Jake Graves
Barbara & Karl Gwiasda
Jane Johnson
Jay Lohnes
Beth & Peter Martin
Kay Nelson
Mary Lois Nelson
Frankie & Jim Oleson
K.L. Outka
Pam Sibbel Music Studio
In Honor of Dick &
Donita McCoy
Mary Jane Pearson
Jeri Prescott
Dorothy & Robert Rust
Phyllis Seim
Mary Anne & Steiner
Silence
Janet & David
Stephenson
Deanne & Bob
Summerfelt
Kay & Donald Wall
Marlene Weisshaar
Jonathan Wendel
Chris & Jeff White
Lee Anne & Stephen
Willson
MARIANNE
MALINOWSKI
NAMED CHAIR
Janet & Erv Klaas
RON FUCHS
NAMED CHAIR
Alben F. Bates & Clara G.
Bates Foundation
PROGRAMS
Pioneer Communications,
Inc.
CRESCENDO!
A NOTE FROM THE CIS BOARD
Crescendo! is our donor recognition program. Did you know that nearly
60 percent of our concert funding comes from individual donors like
you?
It takes a community of dedicated musicians and lovers of live music to
support an orchestra. Your generous support is deeply appreciated!
For more information on the sponsor level benefits, please visit
www.cisymphony.org/donations.
Sponsor Levels:
Student (K-12)
Friend
Supporter/Gala Sponsor
Patron
Benefactor
Sponsor
Maestro’s Circle
$20 +
$50 +
$150 +
$300 +
$500 +
$1,000 +
$2,500 +
Name(s) as you wish it to appear in the program:
I would like to contribute to the following named chairs:
When you think of classical music in Ames and Central Iowa, you know
that the Central Iowa Symphony consistently brings you entertainment
from some of Central Iowa’s finest musicians.
Throughout the year, we bring you high-quality performances of some
of your favorite pieces of musical literature. In addition, Central Iowa
Symphony helps you to expand your musical horizon by introducing you
to some of the newest pieces of music and novel musical collaborations.
Without your consistent support, we would not be able to bring you
the high-quality performances you have come to expect. Gifts in the
amounts of $150, $300, $500, $1000, or $2500 can significantly help
us achieve our goal of fostering superb performances, offering satisfying
musical experiences, and nurturing educational and cultural growth in
Central Iowa. As a 501(c)(3) non-profit organization, your donations are
tax deductible. We sincerely hope you consider Central Iowa Symphony
in your planned giving.
Sincerely,
The Board of the Central Iowa Symphony
FRIENDS OF CIS (FOCIS)
Amount:
Dear Central Iowa Symphony patron,
£ Marianne Malinowski Chair
Friends of the Central Iowa Symphony (FOCIS) is an auxiliary formed to
support the orchestra. FOCIS will facilitate concert related activities like
receptions and will recruit ushers. CIS wishes to thank tonight’s ushers.
£ Ron Fuchs Chair
We welcome your involvement too!
I would like to name my gift in honor/in memory of (circle one):
Please let us know if you would like to support the orchestra and become
a member of FOCIS.
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