Ensemble Concert:
2005-02-27 -- University of Iowa Philharmonia Orchestra
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SUNDAY, FEBRUARY 27, 2005, 3 p.m.
CLAPP RECITAL HALL
University of Iowa Philharmonia Orchestra
Dr. William LaRue Jones, Director ef Orchestral Studies
conductors:
Valdir Claudina
Jason Hooper
Enaldo Oliveira
l Jeremy Starr
THE fi.m
UN!VERSl1Y DIVISION OF PERFORMING ARTS
Of lowA COLLEGE OF LIBERAL ARTS & SCIENCES
ensemble CONCERT
conductors: FEBRUARY 27, 2005, 3 p .m. CLAPP RECITAL HALL
Valdir Claudina
Jason Hooper
Enaldo Oliveira
Jeremy Starr
PROGRAM
Symphony no. 8, D. 759 B minor "Urpnished" Franz Schubert
Allegro moderato (1797-1828)
Andante con moto
Enaldo Oliveira, conductor
INTERMISSION
Dance Rhythms, Op. 58 Wallingford Riegger ( 18 8 5-1961)
Jason Hooper, conductor
Emperor Waltzes, Op. 437 Johann Strauss Jr. (1825-1899)
Valdir Claudina, conductor
West Side Story selection for orchestra Leonard Bernstein ( 1918- 1990)
Jeremy Starr, conductor Arr. Jack Mason
This concert is being presented by Valdir Clavdino, Jason Hooper, and Jeremy Starr as partial fulfillment for
the Master of Musical Arts Degree in Orchestral Conducting. All student conductors are from the studio of
Dr. William LaRue Jones. (Series #87)
UNIVERSITY OF IOWA PHILHARMONIA ORCHESTRA
Violin 1 Flute Baritone Saxophone Percussion
Lauren Trolley Megan Luljak 1 Marc Graham Virginia Armstrong
Rachel Peale JenniferTangeman 2
Brody Ross
Cassandre Ruby Anne Grobstich 3 Horn Christopher Sande
Skye Carrasco Amanda Maas 4 Alissa Coussens 124
Chi-Wai G. Mak Emily Slattery 3
Harp
Violin 2 Jason Hooper Pam Weest-Carrasco
Anita Kaimal * Oboe Justin Miller
Thanhmai Dotran Stuart Breczinski 1
* Principal player
Jeffrey Tyler John McCauley 2 1 first for Schubert
Ryan Gardner Jessica Lorens 3 Trumpet 2 first for R.iegger
Chalinda Giang Mark Duncan 4 Christopher Verdoorn 1
3 first for Strauss
Daniel Terrell 2 4 4 first for Bernstein
Viola English horn Meagan Gugliano 3
Quentin Oliver * Stuart Breczinski
Christian T. Williams Enaldo Oliveira, manager
Jessica LaVoie Clarinet Trombone Jeremy Starr & Jeffrey
Kyle Beals Jennifer Heacock * Timothy Reilly Bieber, librarians
Jenna Spiering Lauren Silverman Deanna Suschena
Cello Bassoon Bass trombone
Wendy Enters * Rosalind Buda 1
Zackary Morton
Laura Savage Mallory Sharp 2 4
Ursula Dial Tim Storhoff 3 Tuba
Karl Zelle
Bass Alto Saxophone
Kevin Franc;a * Andrew Brobston * Timpani
John Stanford Lindsey Loyd Matthew Nanke
Angela Peck
Ruthie Lucas Tenor Saxophone
Robert Domsic
PROGRAM NOTES
written by the Valdir Claudino, Jason Hooper, Enaldo Oliveira, and Jeremy Starr
Symphony no. 8, D. 759 B minor "Unfinished"
Franz Schubert (1797-1828)
Schubert's Symphony 8 is famous as the composer's "Unfinished" symphony. In the New Grove
Dictionary, Schubert's catalogue shows that five other symphonies were left incomplete. The sketches
of the symphony no. 7 D. 729 were actually completed and published in two edited versions, one by
Felix Weingartner and other by Brian N ewbould. By November 18 2 2, Schubert completed two
movements and sketched the third of the Symphony no. 8 (D. 7 59). The first two movements were
orchestrated in full score. For a third movement, 129 measures were found in sketches and 9 of them
were fully orchestrated .
The scholars has been discussing whether the Symphony no. 8 was left unfinished of if the composer
w anted a two movement work. The discussion is motivated by the fact that, in 1823, the composer
sent the two movements to his friend Anselm Huttenbrenner. Schubert sent them as gift, for his
acceptance as member of the Styrian Musikverein, the musical society in Graz . Their main discussion
is that scholars do not believe Schubert would have sent the work if he did not consider it completed .
The conductor, Johann Herbeck, was the first to conduct the symphony in 1865 and since then, it has
been one of Schubert's most programmed symphonies.
Dance Rhythms, Op. 58
Wallinaford Riegger ( 1 8 8 5 - 1961 )
After a career as a cellist, vocal coach, and conductor, Wallingford Riegger began his career as a composer
in 1919 while in residence at Drake University in Des Moines, Iowa. Several of his early works won
awards including the Paderewski Prize and the Coolidge Prize, which ironically, was the first time this
award had been given to an American. After the Second World War, Riegger's works were widely
performed as he was one of the first American composers support his family solely from commissions,
arrangements, and editorial work.
With compositions for Martha Graham and Hanya Holm dance companies, Riegger's music made a
major impact on modern dance in America. Later in his career, he began to write chamber and symphonic
music in the same style, that he described as music fitting a "non-dissonant, Impressionist, feeling."
Riegger premiered Dance Rhythms in Albany Georgia, his place of birth, in the summer of 1954 . Various
facets of his personality can be seen in this work with quirky rhythms and unusual cadences that brings
out his sense of humor.
Kaiser-Walzer, Op. 437 (Emperor Waltzes)
Johann Strauss Jr. (1825 - 1899)
The eldest son of Johann Straus, was born in Vienna on 25 October 1825. His father did not intend for
Johann Straus Jr. to pursue a carrer in music, Johann Straus the younger neverthless estabhshed an
unrivaled reputation throughout the second half of the 19th century as a composer and purveyor of
light Viennese music. His two younger brothers, Joseph and Eduard, were also involved in the
management and direction of dance orchestras tha performed both in Viena and abroad.
Strauss, like his father, was extremely prolific as a composer, writing several hundred dances in
various forms. Dance music from the pen of the younger Johann Strauss includes waltzes, poplkas,
quadrilles,and marches. Among these the most famihas are "Ander schonen, blauen Donau" (The
Blue Danube), "Tales from the Vienna Woods", and of course, The Emperor Waltz. The Emperor
waltzes were dedicated to Kiser Franz Joseph. They include an expanded introduction using a binary
form . Duple meter leads into the first waltz, which is still in a slow tempo until the second theme is
presented instead in a faster waltz tempo. Like in many of his works, Sttrauss makes use of a solo cello.
In this work the cello is used in both the introduction and the coda to bring unity to the four waltzes.
Each waltz is preceded by four measures of introduction in a slow tempo to contrast the faster dance-
like tempo for the waltz.
As a man who summed up the end of an era so well, it is fitting that he did not quite live into the
twentieth century Johann Straus II died in Vienna on 3 June 1899 .
Continued on next page ... .
"West Side Story" Selection for Orchestra
Leonard Bernstein (1918 - 1990)
Arr.Jack Mason
Perhaps the most important American in the 20th century classical world, Leonard Bernstein established
an incomparable career in performing, conducting, and composition. He admired Richard Rodgers
and Oscar Hammerstein and firmly believed the musical to be the American opera of the twentieth
century. Consequently, for years he discussed the idea of adapting the Romeo and Juliet story using
youthful gang rivalry in New York City as a backdrop, with colleagues Stephen Sondheim and
choreographer, Jerome Robbins. The result, West Side Story, brought groundbreaking results in musical
theatre with a prevailing tragic tone, full integration of dance and the tritone interval unifying the
musical material.
Following its initial release, several arrangements were made of its lively, rhythmic music. Perhaps
their most challenging task was condensing the lavish score into something useable for orchestras.
Jack Mason's medley of seven of the sung numbers manages to hold a healthy balance between musical
flow and Bernstein's original orchestration. After a stirring but brief introduction, he moves swiftly to
the lighthearted "I Feel Pretty." Relaxing into an almost full rendition of the richly melodic "Maria," he
then abruptly switches pace with the anxious "Something's Coming". "Tonight" shows off some latin
sensitivity, contrasting rhythmic accompaniment with lyrical lines and, following a brass fanfare, we
are prepared for the intimate "One Hand, One Heart" . The poignant innocence created finds no rest
with a rude awakening from the brass and woodwinds, signaling the arrival of "Cool." It's nervous
rhythms and use of the tritone is resolved through an upbeat "America," taking us to a rousing full
orchestra coda and conclusion.
BIOGRAPHIES
VALDIR CLAUDINO is a double bass player from Brazil. He received his
MA degree in music from the University oflowa (May 2000), and his B.A.
from the University of Belo Horizonte, Brazil (1995). In 2003, he returned
to University of Iowa to pursue his doctorate in double bass with Volkan
Orhon and a master's degree in conducting with Dr. William LaRue Jones.
As a bass player, Claudino has been principal with the UFMG Symphony
Orchestra, the Ouro Preto Chamber Orchestra, and the Sesiminas String
Orchestra. He also served as conductor and arranger for the Sesiminas high
school orchestra in 1987. Since 2000, Claudino has been invited as a teacher
and soloist by The Brazilian Association of Bassists and the Campos dos
Goitacazes music festival.
JASON HOOPER is completing his first year at the University of Iowa
after transferring from the School of Music at Oklahoma State University.
There, he studied conducting with Dr. Richard Prior while teaching lessons
in the horn studio, teaching undergraduate music theory, and serving as the
associate conductor of the Oklahoma State University Symphony Orchestra.
Jason also headed the student chamber recitals and conducted ensembles in
the student composers' concert. He received his B.M.A. in horn
performance from Oklahoma State while studying with Michelle Johnson
in 2003 and played principal horn in the orchestra. Jason is pleased to be
studying with Dr. William LaRue Jones as he pursues an M.A. in orchestral
conducting. ·
This program is supported in part by The Elizabeth M. Stanley Performance Fund.
ENALDO OLIVEIRA completed his BMA in Violin Performance at Santa
Marcelina College ( 1989) in Sao Paulo, Brazil, where he studied violin
with Maria Vischnia and viola with Marcelo Jaffe . He later completed his
MA at Sao Paulo University (1998) . Mr. Oliveira was a member of the Sao
Caetano do Sul Art Foundation String Quartet . He served as string
coordinator at Tom Jobim School of Music (1996) and as pedagogical
coordinator of the Guri Project (from 1997) for the Cultural State Secretary
of Sao Paulo. As coordinator, Mr. Oliveira created several different music
centers in socio-economically and underprivileged communities . Mr.
Oliveira is a doctor of music arts candidate in orchestral conducting at the
University of Iowa with Dr. William LaRue Jones. Since 2003, he has been
manager of the University of Iowa Orchestras and co-director of the All-
University String Orchestra. He recently became music director of the Saint
Ambrose University Community Symphony Orchestra and music director
for the Greater Cedar Rapids Youth Symphony Orchestras.
JEREMY STARR comes to the University of Iowa orchestra department
following his second summer conducting an all-community string orchestra
in his native town of Emporia, Kansas . He received his B.M . from Brigham
Young University, where he studied violin with Vesna and Igor Gruppman
and served as concertmaster of the Philharmonic Orchestra. While in Utah,
he played in the first violin section of the Orchestra at Temple Square, the
volunteer performing and recording orchestra for the Church of Jesus Christ
of Latter-day Saints and, consequently, the Mormon Tabernacle Choir. During
the summers of 2002 and 2003, he led the Idyllwild Festival Orchestra as
concertmaster and spent the last year playing in the Wichita Symphony. He
is studying with Dr. William LaRue Jones in the MA orchestral conducting
program.
THE llNIVER511Y
OFlOWA
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