symphonies of song - Central Iowa Symphony

SYMPHONIES OF SONG
October 10th, 2015
GUEST CONDUCTOR
Jacob Harrison
ORCHESTRA STAFF
Eric L. McIntyre, Conductor & Music Director
Jennifer Powers, Personnel Manager
Mary Kay Polashek, Librarian
BOARD MEMBERS
Sam Wormley, President
Aaron Fultz, Secretary
Andrew Forbes, Treasurer
Gina Folsom
Alan Henson
Jeffrey Prater
Stan Rabe
OTHER CONTRIBUTORS
Dawn Budd, Artistic Designer
Noelle Fultz, Standing Ovation Liaison
Friends of Central Iowa Symphony (FOCIS)
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.
OCTOBER 10 TH , 7:30 P.M.
AMES CITY AUDITORIUM
JACOB HARRISON
Guest Conductor
SYMPHONIES OF SONG
OVERTURE TO LA FORZA DEL DESTINO
Giuseppe Verdi
SONGS OF A WAYFARER
Gustav Mahler
Mary Creswell, mezzo soprano
INTERMISSION
SYMPHONY NO. 8 IN G MAJOR, OP. 88
Antonin Dvorák
JACOB HARRISON
Jacob Harrison serves as the Director of Orchestral Activities and Associate Professor of Music at Iowa
State University. In addition to
conducting the ISU Symphony and
Chamber Orchestras, Dr. Harrison
teaches beginning and advanced
undergraduate conducting. In 2014,
Dr. Harrison received two awards for
his teaching at ISU. At the university
level, he was awarded the Early Achievement in Teaching. Additionally, he
was named the 2014 Shakeshaft Master Teacher by the College of Liberal
Arts and Sciences.
Dr. Harrison is an articulate and committed advocate for the performance of
the great symphonic repertoire, opera and musical theater, and the music of
chamber orchestras. He is also a passionate supporter of music that is created for our time, and has commissioned and premiered numerous musical
works for orchestras, wind groups, and a wide variety of chamber ensembles.
A sought after conductor, clinician, and educator, Dr. Harrison is a regular
guest conductor with professional orchestras, honor ensembles, and music
festivals throughout the country. In recent years, he has worked with orchestras in Kentucky, Illinois, Indiana, Michigan, Missouri, Nebraska, New Mexico,
Tennessee, and Texas. Before moving to Iowa, Dr. Harrison lived in Phoenix,
where he served as Music Director of the North Valley Chamber Orchestra
and was a cover conductor for the Phoenix Symphony. Additionally, he has
guest conducted such groups as the Arizona State University Symphony,
Chamber, and Sinfonietta Orchestras, the Crossing 32nd Street Contemporary Music Ensemble, the Mill Avenue Chamber Players, the Scottsdale
Community Orchestra, and the Arizona Repertory Orchestra.
Dr. Harrison holds both the Doctoral of Musical Arts degree in Orchestral
Conducting and the Master of Music Education degree from Arizona State
University. At ASU, he was a teaching assistant for the orchestra program
and was the Director of the ASU Sinfonietta Orchestra. He studied orchestral and opera conducting with Timothy Russell and William Reber. He
earned the Bachelor of Music Performance degree from the University of
Texas at Austin.
Jacob and his wife, Kathleen, reside in Ames, Iowa with their son.
MARY CRESWELL
Mezzo-soprano
Mary Creswell
appears
throughout the United States in opera, oratorio,
and chamber music. Her active and varied performing schedule includes the operatic roles of
Dorabella, Rosina, and Carmen. Her rich mezzo
sound has been heard on the concert stage with
the Detroit Symphony, Grand Rapids Symphony,
Manchester Symphony, Des Moines Symphony,
Austin Symphony, South Carolina Philharmonic,
Chattanooga Symphony, and regularly with orchestras at the Interlochen Center for the Arts.
The orchestrated songs of Mahler, Verdi’s Requiem, and Jeremiah Symphony by Bernstein are
gems in her repertoire. She is a frequent guest
soloist with the American Chamber Players and is engaged with them in
prestigious concert series spanning the country.
Lauded for her extremely versatile voice, Ms. Creswell effortlessly makes the
transition from opera house and orchestra hall to chamber music and song
recital. She has been described as having an inner pliability on stage, which
transcends all boundaries. Her programs flow from Brahms and Ravel to folk
songs and humor without missing a beat. She has also been a champion of
new music and featured on several recordings under the Albany Label.
She received her early training at the University of Michigan where she was
the recipient of the Elisabeth Schwarzkopf-Walter Legge Scholarship for
graduate study. Her teachers at Michigan were Beverley Rinaldi and Eugene
Bossart. The Metropolitan Opera chose her as a regional finalist, and she
has been a guest performer in New York City’s Avery Fisher Hall. Recent
performances include the roles of Jade Boucher in Jake Heggie’s Dead Man
Walking, Rychtářka in Janáćek’s Jenůfa with the Des Moines Metro Opera, and
Brahms songs with the Front Range Chamber Players, Colorado.
An enthusiastic teacher of singing, Ms. Creswell served on the faculty of the
Interlochen Summer Arts Camp for twenty seasons. She is now Associate
Professor of Music at Iowa State University where she teaches voice and
directs opera. Her students have been finalists in The Metropolitan Opera
Auditions and are heard on Broadway stages and in opera houses throughout the country and Europe.
PROGRAM NOTES
Between 1839 and 1893 Giuseppe Verdi (1813-1901) composed twenty-eight Italian grand operas. His fame as an operatic composer has never been equalled, and he shares with
Richard Wagner the honor of being one of the two most
important composers for the stage in the late nineteenth
century. Verdi’s operas, especially those from his middle period onward (roughly from 1850), have never been out of Giuseppe Verdi
the mainstream of the operatic repertoire. His highly popular middle-period
works such as Rigoletto, Il Trovatore, La Traviata and La Forza del Destino are
some of the most regularly performed works in virtually all the great international opera houses.
The first version of La Forza del Destino (‘The Force of Destiny’) was
completed in 1861 on commission from the Russian Imperial Theater, and
the premiere took place in St. Petersburg in November 1862. Verdi, however,
was not happy with the original version and completely revised it for an 1869
performance at La Scala in Milan. In the process of revision, Verdi composed
a new overture that included a number of the major melodies used within the
opera.
The tragic plot of the opera (Milan version) revolves around two starcrossed lovers (Leonora and Don Alvaro) who are forced to separate by Alvaro’s accidental killing of Leonora’s father. Leonora runs away to live alone in
a cave and Don Alvaro enters a monastery. Leonora’s brother, Carlo, bent on
avenging his father’s death, finds Alvaro and the two men duel. In a strange
twist of destiny, the duel takes place outside Leonora’s cave. Carlo is fatally
wounded by Alvaro, but when Leonora comes out to aid her brother, Carlo
stabs her in revenge and both die. This leaves Alvaro alone seeking redemption.
The overture opens with the brass section playing the “fate” motive
(the pitch ‘E’ played six times). Then the strings enter with agitated motives
that recur in many places and in various guises throughout the entire overture. The piece also features a troubling theme taken from the Act III duet
between Alvaro and Carlo, Leonora’s prayer theme from Act II, and a theme
from Act II when Leonora is about to enter the cave, intending to spend the
rest of her life there as a hermit. A bright coda employing the previous themes
brings the piece to a close. Although the overture was intended to be a prologue to the opera, it is a strong piece in its own rite, and is often performed
alone as a concert piece.
In the early 1880s, the young apprentice conductor and
composer Gustav Mahler (1860-1911) first became acquainted with a book of German folk poetry entitled Des
Knaben Wunderhorn: Alte deutsche Lieder (‘The Boy’s Magic
Horn: old German songs’). This book, first published in Heidelberg (1805), contained song texts dealing with the pain of
Gustav Mahler
youth and love, soldiers’ lives, and stories of wanderers and
children. This poetry became extremely popular in German-speaking lands
during the nineteenth century, and was praised and revered by such great
Romantic-era literaries as Goethe. Mahler’s discovery of these old texts had a
major influence on his compositional life for more than a decade.
The Mahler four-song cycle Lieder eines fahrenden Gesellen, often
translated ‘Songs of a Wayfarer’ (probably more accurately ‘Songs of a Travelling Journeyman’), contained the composer’s first musical settings of ‘Wunderhorn-inspired’ texts (the texts Mahler employed in Lieder eines fahrenden
Gesellen were actually his own adaptations). It is likely he started work on the
original songs for voice and piano as early as 1884, but then spent several
more years editing and revising them. In the early 1890s Mahler orchestrated
the piano accompaniments, producing the orchestral songs we will hear this
evening. This orchestral version was first performed in 1896 and published
in 1897. Two of the Mahler melodies composed for Lieder eines fahrenden
Gesellen also appear in his Symphony No.1, and the ‘Wunderhorn’ texts had a
great influence on Mahler’s composition of his first four symphonies.
— Text-Translation —
I. “Wenn mein Schatz Hochzeit macht” (‘When my sweetheart marries’)
Wenn mein Schatz Hochzeit macht
Fröhliche Hochzeit macht,
Hab’ ich meinen traurigen Tag!
Geh’ ich in mein Kämmerlein,
Dunkles Kämmerlein,
Weine, wein’ um meinen Schatz,
Um meinen lieben Schatz!
When my sweetheart has her wedding,
Her joyful wedding,
I will have my day of sorrow!
I will go to my little room,
Dark little room,
Weep, weep over my sweetheart
Over my dear sweetheart!
Blümlein blau! Verdorre nicht!
Vöglein süß!
Du singst auf grüner Heide.
Ach, wie ist die Welt so schön!
“Ziküth! Ziküth!”
Little blue flower! Don’t wilt!
Sweet little bird!
You sing on the green heath.
O, how the world is so beautiful!
“Chirp! Chirp!”
Singet nicht! Blühet nicht!
Lenz ist ja vorbei!
Alles Singen ist nun aus!
Des Abends, wenn ich schlafen geh’,
Denk’ich an mein Leide!
An mein Leide!
Don’t sing! Don’t bloom!
Springtime is certainly past!
All singing has stopped now!
In the evening, when I go to sleep,
I think on my sorrow!
On my sorrow!
II. “Ging heut’ Morgen übers Feld” (‘I walked across the field this morning’)
Ging heut’ Morgen übers Feld,
Tau noch auf den Gräsern hing;
Sprach zu mir der lust’ge Fink:
“Ei du! Gelt? Guten Morgen! Ei gelt?
Du! Wird’s nicht eine schöne Welt?
‘Zink! Zink!’ Schön und flink!
Wie mir doch die Welt gefällt!”
I walked across the field this morning,
Dew still hung on the grass;
A merry finch spoke to me:
“Hey, is that you? Good Morning! Hey, isn’t it?
You! Isn’t it a beautiful world?
‘Chirp! Chirp! Fair and brisk!
How the world simply delights me!”
Auch die Glockenblum’ am Feld
Hat mir lustig, guter Ding’,
Mit den Glöckchen, klinge, kling,
Ihren Morgengruß geschellt:
“Wird’s nicht eine schöne Welt?
Kling, kling! Schönes Ding!
Wie mir doch die Welt gefällt! Heia!”
Also the bluebells in the field
Joyfully (such a good thing),
With their little bells, ‘ding, ding’,
Rang out their morning greetings to me:
Isn’t it a beautiful world?
‘Ding, ding!’ A beautiful thing!
How the world simply delights me! Wahoo!”
Und da fing im Sonnenschein
Gleich die Welt zu funkeln an;
Alles Ton und Farbe gewann
Im Sonnenschein!
Blum’ und Vogel, groß und Klein!
“Guten Tag,
ist’s nicht eine schöne Welt?
Ei du, gelt? Schöne Welt!”
And there in the sunlight
The world started to glitter;
Everything became sound and color
In the sunlight!
Flowers and birds, great and small!
“Good day,
Isn’t it a beautiful world?
Hey you, isn’t it? A beautiful world!”
Nun fängt auch mein Glück wohl an?
Nein, nein, das ich mein’,
Mir nimmer blühen kann!
Now will my good fortune begin?
No, no, the good fortune I seek,
Can never bloom for me!
III. “Ich hab’ ein glühend Messer” (‘I have a glowing knife’)
Ich hab’ein glühend Messer,
Ein Messer in meiner Brust,
O weh! Das schneid’t so tief
in jede Freud’ und jede Lust.
Ach, was ist das für ein böser Gast!
Nimmer hält er Ruh’,
nimmer hält er Rast,
Nicht bei Tag, noch bei Nacht,
wenn ich schlief!
O weh!
I have a glowing knife,
A knife in my breast,
The pain! It cuts so deep
Into every joy and every delight.
O, what an evil guest!
It never stops for a moment’s peace,
It never stops for a moment’s rest,
Neither by day or night,
Even when I sleep!
The pain!
Wenn ich den Himmel seh’,
Seh’ich zwei blaue Augen stehn!
O weh! Wenn ich im gelben Felde geh’,
Seh’ich von fern das blonde Haar
Im Winde weh’n!
O weh! If I look into the heavens,
I see two blue eyes there!
The pain! If I go into a yellow field,
I see blonde hair in the distance,
Waving in the wind!
The pain!
Wenn ich aus dem Traum auffahr’
Und höre klingen ihr silbern Lachen,
O weh!
Ich wollt’, ich läg auf der
Schwarzen Bahr’,
Könnt’ nimmer die Augen aufmachen!
When I am startled awake from a dream,
And hear the sound of her silver laugh,
The pain!
I would that I might lay on a
Black bier,
And never open my eyes again!
PROGRAM NOTES
IV. “Die zwei blauen Augen” (‘The two blue eyes’)
Die zwei blauen Augen
von meinem Schatz,
Die haben mich in die
weite Welt geschickt.
Da mußt ich Abschied nehmen vom allerliebsten Platz!
O Augen blau,
warum habt ihr mich angeblickt?
Nun hab’ ich ewig Leid und Grämen!
The two blue eyes,
Of my sweetheart,
They have sent me
Into the wide world.
There must I say farewell
to this best of all places!
O blue eyes,
Why did they gaze upon me?
Now I have eternal sorrow and grief!
Ich bin ausgegangen
in stiller Nacht
wohl über die dunkle Heide.
Hat mir niemand Ade gesagt
Ade!
Mein Gesell’ war Lieb und Leide!
I went out
In the still night,
Far across the dark heath.
No one bade me adieu,
Adieu!
My companion was love and sorrow!
Auf der Straße steht ein Lindenbaum,
Da hab’ ich zum ersten Mal
im Schlaf geruht!
Unter dem Lindenbaum,
Der hat seine Blüten
über mich geschneit,
Da wußt’ ich nicht, wie das Leben tut,
War alles, alles wieder gut!
Alles! Alles, Lieb und Leid
Und Welt und Traum!
On the road stands a linden tree,
There for the first time
I slept in peace!
Under the linden tree
Whose blossoms
Snowed over me,
I didn’t know how life could go on,
But everything, everything was good again!
Everything! everything, love and sorrow,
And world and dream!
PROGRAM NOTES
The great Czech composer Antonín Dvořák (1841-1904)
wrote his Symphony No.8, op.88 in only two and a half
months during the summer and fall of 1889. The work was
dedicated to the Bohemian Academy of Science, Literature
and the Arts to which Dvořák had been recently elected.
The premiere took place in Prague in February 1890 with
the composer conducting. The Eighth Symphony is basically Antonín Dvořák
a cheerful and optimistic work with its roots in the Bohemian
folk music that Dvořák loved, and it has long been a favorite with audiences
and performers alike.
The work is in the standard four symphonic movements. Some commentators have written, however, that the work is less a traditional symphony than
a work that belongs with the composer’s tone poems or Slavonic Rhapsodies
because of its strong reliance on Bohemian folk-like themes. In addition, these
themes, especially those in the first movement, are not developed traditionally. Louis Biancolli quotes an unnamed Czech biographer who puts it this
way — “This symphony is not profound, . . . it awakens no echo of conflict or
passion. It is a simple lyric singing of the beauty of our country for the artist’s
consolation. It is a lovable expression of a genius who can rejoice with the
idyllicism of his own forebears.”
— Jeffrey Prater
MUSICIANS
VIOLIN 1
Kevin Amidon,
concertmaster
Kathryn Penning
Carol Weber
Laura Norman
Donald Sieberns
Ashley Hanson
Amelia Fiscus
Beau Henson
VIOLIN 2
Sarah Goplin*
Carin Forbes
Kate Orngard
Maggie Glasscock
Ruth Fiscus
Beth Martin
Suzanna Gilbert
Olivia Wong
FLUTE
Shon Stephenson *
Marianne
Malinowski Chair
Alexis Hall
Heather Imhoff
OBOE
Kevin Schilling*
Janet Dixon
ENGLISH
HORN
Janet Dixon
CLARINET
Charles Bogner*
Michael Van
Ommeren
BASSOON
VIOLA
Janet Baldwin*
Mary Kay
Noelle Fultz
Polashek*
Jennifer Powers
Andrew Weihrauch
Julienne Krennrich
CELLO
Alan Henson*
Amy Andreotti
Christian Roettger
Kay Nelson
Kevin Deitzel
Fox Henson
B A S S Gerald Johnson
Cara Stone
Daniel Andreotti
H A R P Kristin Maahs
FRENCH HORN PERSONNEL
Pam Schwab *
MANAGER
Stephani Scherbart Jennifer Powers
Gale Webb
Brian Bunn
ORCHESTRA
LIBRARIAN
TRUMPET
Mary Kay Polashek
Jason Kirke*
Bion Pierson
* Denotes section
TROMBONE
principal
Bradley Harris*
Clayton Murphy
Michael Albarracin
TUBA
James Kilmer*
T I M PA N I
Dan Krumm*
PERCUSSION
Aaron Fultz
Ryan Pearson
A special Thanks to Everts for the
flower arrangements.
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$150-$299
$2500+
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In Memory of Susan
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Walters
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Mushel
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2015-16 SEASON PATRONS
MAESTRO’S CIRCLE SUPPORTERS
$2500+
$150-$299
FRIENDS
$50-$149
Ames Golf & Country Club
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Management
$1000-$2499
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PAT R O N S $300-$499
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Named Chair
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Contact us today!
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CRESCENDO!
Crescendo! is our donor rewards 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!
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Central Iowa Symphony is a 501(c)(3) non-profit organization.
All donations are tax deductible to the extent allowed by law.
Dear Central Iowa Symphony patron,
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 quality
performances, offering satisfying musical experiences, and nurturing educational and cultural growth in Central Iowa. As a
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Sincerely,
The Board of the Central Iowa Symphony
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. We welcome your involvement too! Please let
us know if you would like to support the orchestra and
become a member of FOCIS.
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