Monte Perkins, Conductor
presents
“GOING FOR BAROQUE”
January 29, 2017 3:00 PM
Pabst Theater | 144 E. Wells
PROGR A M
Toccata and Fugue in D Minor..........................................................................Johann Sebastian Bach
Arr. Leopold Stokowski
Adagio for Strings..............................................................................................................Tomaso Albinoni
Arr. Edward Doemland
Concerto for Two Trumpets and Orchestra in D Major.................................. Francesco Manfredini
I. Allegro.
II. Largo.
III. Allegro.
Gerry Keene; Joe Burzinski, trumpets
Intermission
Prelude, Chorale and Fugue...............................................................................Johann Sebastian Bach
I. Prelude
Arr. J. J. Abert
II. Chorale (by J J. Abert)
III. Fugue
Music for the Royal Fireworks........................................................................... George Frideric Handel
I. Overture
Arr. Sir Charles Mackerras
II. Bourree
III. La Paix (“The Peace”)
IV. La Rejouissance (“The Rejoicing”)
V. Minuet
Going for Baroque
1
FCS SPECIAL GUESTS
SUPER READERS–children who have earned free tickets for
themselves and their families by participating in Milwaukee
Public Library’s SUPER READERS program.
CIVIC MUSIC ASSOCIATION SCHOLARSHIP COMPETITION
PARTICIPANTS–high school students participating in this
competition are invited, along with their families, to be the
guests of FCS at one of its “Symphony Sundays” concerts.
PAJAMA JAMBOREE FANS–families who attend our children’s
“pops” concerts and earn an opportunity to ‘sample’ one of our
“Symphony Sundays” programs.
***Festival City Symphony is a member organization of Association of Wisconsin
Symphony Orchestras, the Creative Alliance, VISIT Milwaukee, an affiliate member
of UPAF, and a program partner at the Milwaukee Youth Arts Center. FCS made the
Business Journal’s “Book of Lists” 2002 – 2007, 2010, and 2012.***
T H A N K S TO O U R S P O N S O R S
Festival City Symphony would like to take this opportunity to thank its sponsors,
without whom these programs would not take place.
Greater Milwaukee Foundation’s
Franklyn and Barbara Esenberg Fund
through in-kind contribution
for operational expenses
in-kind for the Pajama Jamborees
F E S T I VA L C I T Y S Y M P H O N Y
Chief Executive Officer................................................................................................ Franklyn Esenberg
Conductor/Artistic Director................................................................................................Monte Perkins
Executive Director.................................................................................................................. Linda E. Jones
Education Director.................................................................................................................. Jayne Perkins
Librarian...................................................................................................................................Christine Treter
Assistant Librarians....................................................................................... Robert and Martha Kriefall
Board of Directors
Franklyn Esenberg, Chairman of the Board
Theodore Zimmer, Secretary/ Treasurer
2
Festival City Symphony
JoAnn Norris
Charlane O’Rourke
Julio Pabon
C O N D U C TO R ’ S N O T E S “G O I N G F O R B A R O Q U E ”
Good afternoon and welcome to our first
concert for the new year. Today we will play pieces
by well known composers whose works are seldom
heard in the concert hall of the modern symphony
orchestra. And, frankly, we will be presenting them
in a way never envisioned by the composers.
The period of roughly 1575 - 1750 is referred
to in music as the Baroque Era. Music was highly
ornate and embellished with improvisational
ability greatly admired in performers much as in
jazz music today. Ensembles were quite small by
Photo by Joseph A. Haertle
our standards. A group of 15 or 20 was quite large.
Strings dominated with the addition of a few winds. Horns and trumpets had no valves,
bassoons and oboes only a few keys, clarinets hadn’t been invented. Compositions were
short and often based on dance forms. If you wanted a longer piece, you wrote several
short movements and played them consecutively.
Today’s concert will present a variety of Baroque works rearranged to utilize the full
resources of the modern symphony orchestra. We will start with music of the composer
often considered the greatest of all time, Johann Sebastian Bach (1685 – 1750). Also
a brilliant organist, Bach wrote his Toccata and Fugue in d minor for the Church of St.
Thomas in Leipzig. It is one of the most recognizable of all keyboard works. In the 1920s
the famous conductor of the Philadelphia Orchestra, Leopold Stokowski, (1882 – 1977)
orchestrated several Bach organ works. It is very fitting to begin our concert with this
prodigious Toccata and Fugue.
Tomaso Albinoni (1671 – 1751) was well known and respected in his lifetime, but has
become known to us for his Adagio for Strings, written around 1708. It has been used in
many movies and television shows and arranged for a wide variety of ensembles. In 1991
I wanted to play a full orchestra version and, oddly, none was published. I mentioned
it to Edward Doemland, a Milwaukee composer and arranger and longtime member of
Festival City Symphony. A few weeks later, I had it. It is wonderful to be able to play Ed’s
wonderful arrangement again for you.
Our next work will be played in the version done by its composer, Francesco
Manfredini (1684 – 1762). Manfredini was a composer, violinist and church musician in
Bologna and Ferrara who left a large number of both sacred and secular works. One of
his most popular is the Concerto for Two Trumpets in D Major. We are extremely happy to
feature as soloists today two members of Festival City, Gerry Keene and Joe Burzinski.
After intermission we return to Bach with a performance of a Prelude, Chorale and
Fugue as arranged by J.J. Abert (1832 – 1915). The Prelude is taken from Bach’s Well
Tempered Clavier, the chorale is by Mr. Abert, and the Fugue is Bach’s twelfth organ fugue.
On July 17, 1717, a London newspaper reported, “On Wednesday evening the King
took Water at Whitehall in an open Barge…. And went up the River towards Chelsea.
Many other barges with Persons of Quality attended….. A City Company’s Barge was
employ’d for Music, wherein were 50 Instruments of all sorts who played…. The finest
Symphonies, compos’d express for this Occasion by Mr. Handel.” George I loved festivals
and specified for this fireworks trip that George Friderich Handel (1685 -1759) write for
wind instruments only. The Music for the Royal Fireworks became one of the monuments
of Baroque music. We will perform it in a version for full orchestra by noted English
conductor Sir Charles Mackerras.
I hope you enjoy the sonority that a full symphony orchestra can bring to Baroque
music. Original instrument versions are delightful and quite beautiful, but so is the sound
of great music brought into our time.
Going for Baroque
3
M E E T TO DA Y ’ S S O L O I S T S
Dear “Symphony Sundays” audience,
In the paragraphs below, Festival City Symphony
trumpeters Gerry Keene and Joe Burzinski share
experiences and information about trumpets and
trumpet playing. Please enjoy this as an introduction to
their wonderful performance!
~Linda Jones,
Executive Director, Festival City Symphony
How long have you played in FCS?
Gerry Keene, Principal Trumpet: 15 years
Joe Burzinski, Second Trumpet: 11 years
Describe the difference between playing
Principal trumpet and playing 2nd or 3rd trumpet.
Gerry: As Principal trumpet you try to “lead” the section.
As 2nd or 3rd trumpet, you try to pick up on the Principal’s
lead and match their style and volume. Playing 2nd or 3rd part in a way that makes the 1st
player (and section) sound their best is a true skill.
Joe: When I play one of the inner parts of the section, my thought process is very different
from when I play a lead part. Intonation is paramount, but beyond that I’m primarily
focused on blending in both tone color and style of the principal player, rather than
projecting my own sound. Essentially, I’m there to make the principal sound better. Gerry
and I have been playing together for years, so I kind of have a sense of what I need to do
before doing it.
***In the next seven entries Principal Trumpet
Gerry Keene answers some questions about
the history of the trumpet and about the
composition that he and Joe are going to play
today:
Piston Valve C Trumpet
Tell us how many different kinds of
trumpets there are that are still being
played today.
There are trumpets in the key of Bb, C, D, Eb, F, G,
and piccolo trumpets in the key of A and Bb.
What are their different uses?
Rotary Valve C Trumpet
4
Festival City Symphony
The Bb trumpet is the most common trumpet
used today in concert bands and jazz ensembles.
In orchestra trumpets in higher keys are often
used. The C trumpet is the “standard” trumpet
for most orchestra players. Smaller trumpets
(in even higher keys like D,Eb,F,G and piccolo
trumpets in Bb and A) are used to make the
higher parts easier to play lightly and accurately.
There are two types of valves used on modern
trumpets: piston and rotary. Piston valves are
M E E T TO DA Y ’ S S O L O I S T S
c o n t.
Natural Trumpet
Piccolo Trumpet
standard in the U.S. and rotary valves (like on a French horn) are common in Germany.
Many U.S orchestra players like to use rotary valve trumpets on pieces by German
Classical and Romantic composers like Beethoven, Brahms, and Wagner. The sound of
rotary valve trumpets seems to fit really well in Classical German music.
Which trumpets will you be playing for the Manfredini?
On the Manfredini Concerto for 2 Trumpets, we will be playing modern piston valve
piccolo trumpets in the key of A made by Schilke. My piccolo was made in 1973, is unique
in that it was previously owned by the great trumpet soloist (and now conductor) Gerard
Schwarz.
Please tell us what you know about Manfredini’s composition and how it
relates to his other works and works of other composers of his era.
Manfredini was an Italian Baroque composer who was roughly contemporary with Bach
and Handel. He was a student of Torelli who was famous for his trumpet compositions
and is considered to have helped invent
the musical form of the concerto. Most of
Manfredini’s compositions did not survive.
Fortunately, the manuscript for the Concerto
for 2 Trumpets did! It is a great example of
an Italian Baroque Concerto for trumpets.
Would the trumpets of Manfredini’s
day been any different from the
trumpets most commonly played
today?
In Manfredini’s day a very different trumpet
would have been used. The valve was not
invented until 1814 (about 100 years after
the Concerto was written). The natural
(valveless) trumpet was a 7-8 foot long brass
tube with a flared “bell” on one end and a
mouthpiece on the other. This long tube
was coiled once to make it easier to hold.
Without the benefit of valves, it was up to
the skill of the player to pick out the right
note with their lip and air. How trumpeters
in the Baroque era managed to do this is still
a bit of a mystery.
A Valentine Concert
The Chris Hanson
Swing Band
Saturday,
Feb. 11
7 p.m.
$20
School Sisters of St. Francis - Outreach
1501 S. Layton Blvd., Milwaukee, WI 53215
(27th St. @ Greenfield Ave.)
414-385-5272 or [email protected]
Going for Baroque
5
M E E T TO DA Y ’ S S O L O I S T S
c o n t.
***More from Gerry and Joe about what it is like to be a trumpet player:
Are you playing any different trumpets in the other pieces on the program?
On today’s concert Joe and I will be playing Piccolo trumpets on the Manfredini Concerto
and Handel Music for the Royal Fireworks, and piston valve C trumpets for everything
else.
What adjustments do you have to make to go from one kind of trumpet
to another?
The piccolo trumpet uses a little less air flow and a little more “closed” lip position. The
basic technique is pretty much the same.
Tell us something about what it requires to stay in shape for a professional
trumpet player and what you did to prepare for today’s performance.
Gerry: To stay on shape as a brass player I think it takes a minimum of 45 minutes a day
of practice (every day). If you play in several groups and teach private students, it is
probably more of a danger to play too much. Before a concert using piccolo trumpet, I
would add a bit more piccolo trumpet practice than usual.
Joe: Playing any kind of wind instrument requires a good strong source of air. I try to
stay in shape with some type of aerobic exercise at least three days a week, with my
preference being cross country skiing. Playing the smaller trumpets takes a little less
air than the bigger horns and requires a different type of diaphragm support. I think of
the support for playing piccolo trumpet coming more from my upper chest rather than
lower in my abdomen as it would when playing our large orchestral instruments. It takes
a couple weeks to get that feel back, so I like to alternate days of practice on my piccolo
trumpet with my larger instruments starting about a month before rehearsals begin.
What other classical symphony orchestras do you play in?
Gerry: I also often play in the Racine and Kenosha Symphonies.
Joe: I also play 2nd trumpet in the Wisconsin Philharmonic.
Do you play in any chamber groups?
Gerry and Joe: The Festival City Symphony Brass Quintet.
Do you play styles of music other than classical?
Gerry: I mainly play “classical”, but am also familiar with various other styles.
When did you decide to pursue the trumpet over other instruments and
why?
Gerry: I started the trumpet in 7th grade. Before that I played the French Horn and
Baritone. I really liked the sound of the trumpet when I finally tried it. I suppose the
portability compared to the Baritone was also a selling point.
Do you play any other instruments?
Gerry: Trumpet is my main instrument, but I also play and teach all of the other Brass
instruments.
Joe: I tell people that I only have three “smart” fingers, so I’m only suited for the trumpet.
However, I have threatened my wife that I plan to take up the bagpipes when I retire.
6
Festival City Symphony
M E E T TO DA Y ’ S S O L O I S T S
c o n t.
Do you come from a musical family?
Gerry: Not really. Some extended family members are musicians. My mom always had
some orchestral recordings, and my dad had Jazz recordings.
Joe: My mother was a general music teacher in the public school system for years, so
music was part of our lives growing up. My siblings and I all studied musical instruments,
but I’m the only one who still plays as an adult.
Talk about your most influential learning situation or teachers.
Gerry: I have been lucky to have had great teachers. The ones I studied with for the
longest time were Gene Young, Richard Metzger, William Scarlett and Charlie Geyer.
Joe: I was fortunate to have studied at the Curtis Institute of Music in Philadelphia, PA.
While there I was exposed to some great musical talent. Imagine what it would be like to
show up for your first orchestral rehearsal and have Zubin Mehta on the podium. Wow!
S
UPCOMING PROGR A MS
ymphony
undays
CLASSICAL MUSIC FOR ALL AGES
PABST THEATER 144 E. WELLS
MARCH 26, 2017 3:00 PM
Children’s Program Notes 2:45 pm
ADMISSION: $14, Adult $8, child, student, senior
“INSPIRED BY THE BARD”
Festival City joins the international arts community in acknowledging the 400th
anniversary of the death of William Shakespeare. We begin with Otto Nicolai’s tuneful
and joyful “Overture to The Merry Wives of Windsor”. Tchaikovsky wrote several works
based on Shakespeare including his romantic but brooding symphonic poem “The
Tempest”. “Romeo and Juliet” has inspired artists for paintings, poems, operas, ballets,
and orchestral works. We’ve chosen to play a suite from Sergei Prokofieff’s 1935 ballet
that includes love music, death music, and character dances.
festivalcitysymphony.org | 414-365-8861
[email protected]
Going for Baroque
7
PERSONNEL
FIRST VIOLIN
Robin Petzold
Concertmaster
Pamela Simmons
Ass’t Concertmaster
Cathy Bush
JoAnn Haasler
Linda Binder
Kris Hurlebaus
Mary Stryck
Katie Brooks
Al Bartosik
John Emanuelson
Carol Christensen
SECOND VIOLIN
Ellen Scott
Principal
Juanita Groff
Ruth Bryskier
Laurie Asch
Melissa Mann
Nancy Maio
Cheryl Ann Fuchs
Tassia Hughes
Shannon Iler
VIOLA
Christine Treter
Principal
Olga Tuzhilkov
Lynne Fields
Jenna Dick
Mary Pat Michels
Korinthia Klein
Harriet Briski
CELLO
Tom Smith
Principal
April Dannelly-Schenck
Sacia Jerome
Beth Alvarez
Martha Kriefall
Carol Wittig
Melissa Honigman
8
Festival City Symphony
BASS
Kathryn Krueger
Principal
Barry Paul Clark
Steve Rindt
Larry Tresp
Charles Grosz
FLUTE
Kristen Fenske
Principal
Heidi Knudsen
Carol Meves
PICCOLO
Carol Meves
OBOE
Bonnie Cohen
Principal
Suzanne Swenson
HORN
Brandon Yahn
Principal
Nancy Cline
Kathryn Krubsack
Charles Payette
TRUMPET
Gerry Keene
Principal
Joe Burzinski
William Dick
Tom Schlueter
TROMBONE
Jacob Tomasiyck
Principal
Mark Hoelscher
BASS TROMBONE
Tiffany Heindl
ENGLISH HORN
Suzanne Geoffrey
TUBA
Dan Neesley
CLARINET
Christopher Zello
Principal
Linda E. Jones
TIMPANI
Robert Koszewski
BASS CLARINET
Orlando Pimentel
BASSOON
Lori Babinec
Principal
Steven Whitney
CONTRA BASSOON
Carol Rosing
PERCUSSION
Robert Kriefall
Principal
Ken Marchand
Colin O’Day
CELESTE
Ruben Piirainen
HARP
Kelsey Molinari