RAPTURE, RAGE, AND REVELRY December 2, 2017, 7:30 · PDF filePlease join us for Concert Conversations 45 minutes prior to ... The Magic Flute, ... now the largest band in Iowa

Standing OVATION 2017–2018 SEASON

GUEST CONDUCTORBernard McDonald

MUSIC DIRECTOREric McIntyre

ORCHESTRA STAFF Jennifer Powers, Personnel Manager

Mary Kay Polashek, Librarian

BOARD MEMBERS Sam Wormley, President Aaron Fultz, Secretary

Andrew Forbes, TreasurerRoger BergerGina Folsom

DeLores HawkinsAlan HensonJeffrey Prater

Stan RabeDon Withers

OTHER CONTRIBUTORSDawn Budd, Artistic Designer

Noelle Fultz, Program Layout & Standing Ovation LiaisonFriends of Central Iowa Symphony (FOCIS)

RAPTURE, RAGE, AND REVELRYDecember 2, 2017, 7:30 PM

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.

Please join us for Concert Conversations 45 minutes prior to each performance as well as for a reception afterwards

[email protected]


BERNARD McDONALD Guest Conductor

DECEMBER 2, 2017, 7:30 PMAMES CITY AUDITORIUM

The Land of the Mountain and the Flood OvertureHamish MacCunn (1868-1916)

Symphony No. 35 in D major, K.385 “Haffner” Wolfgang Amadè Mozart (1756-1791)

Allegro con spirito AndanteMenuettoPresto

INTERMISSION

La Tregenda from Le VilliGiacomo Puccini (1858-1924)

Intermezzo from Manon LescautGiacomo Puccini (1858-1924)

An Orkney Wedding with SunrisePeter Maxwell Davies (1934-2016)

Rob Clower, Highland bagpipes

RAPTURE, RAGE, AND REVELRY

Bernard McDonald is the G. Dewey and M. Maine Larsen Chair of Opera at Simpson College. He also maintains a busy professional career as a conductor, vocal coach, and collaborative pianist.

Upcoming engagements as conductor include Carmen (Opera Kelowna, British Columbia) and La Bohème (Mobile Opera, Alabama). Recent engagements include La Bohème, Die Zauberflöte, Le Nozze di Figaro (Opera Kelowna), Suor Angelica and Gianni Schicchi (Mobile Opera), The Merry Widow, The Magic Flute, Montemezzi’s L’incantesimo (US staged première), Gianni Schicchi, and Le Nozze di Figaro (Opera Theater of Pittsburgh); Cavalli’s Ormindo (Pittsburgh Opera); Don Giovanni and La Cenerentola (Bay View Music Festival, Michigan); Così fan tutte at the Royal Scottish Academy of Music and Drama (RSAMD) in Glasgow; Bizet’s Le docteur Miracle and La tragédie de Carmen (for the Dutch National Opera Academy) in Amsterdam and The Hague. His début at the Kennedy Center in Washington, DC, was on piano, in recital with mezzo-soprano Marietta Simpson and tenor John Aler.

McDonald garnered wide-ranging experience as a vocal coach, assistant conductor, and chorus master with major opera companies in America, Europe and Far East, before embarking on a freelance career as conductor and vocal coach. Professional training at the Merola Program of the San Francisco Opera led directly to an invitation to join the music staff of the New York City Opera. He was subsequently Head of Music and Chorus Master at the Florida Grand Opera in Miami. As Chorus Master at Glyndebourne, he prepared over twenty-five productions to great critical acclaim for a host of internationally renowned conductors: highlights include Idomeneo with Sir Simon Rattle, Die Zauberflöte with Sir Charles Mackerras and Otello with Vladimir Jurowski.

He has also worked with, among others, the Aspen Music Festival and School, the New National Theatre Tokyo, the Netherlands Opera, the Netherlands Radio Choir, and the Indianapolis Symphonic Choir. He has been on the faculty of the RSAMD and the University of Cincinnati College-Conservatory of Music (CCM).

A native of Dumbarton, Scotland, his studies include piano performance at the RSAMD; opera at the Guildhall School of Music and Drama, London, and CCM; musicology at the University of Glasgow; and a doctorate in conducting from Indiana University.

BERNARD McDONALD

Bernard McDonald


BERNARD McDONALD Guest Conductor

DECEMBER 2, 2017, 7:30 PMAMES CITY AUDITORIUM

The Land of the Mountain and the Flood OvertureHamish MacCunn (1868-1916)

Symphony No. 35 in D major, K.385 “Haffner” Wolfgang Amadè Mozart (1756-1791)

Allegro con spirito AndanteMenuettoPresto

INTERMISSION

La Tregenda from Le VilliGiacomo Puccini (1858-1924)

Intermezzo from Manon LescautGiacomo Puccini (1858-1924)

An Orkney Wedding with SunrisePeter Maxwell Davies (1934-2016)

Rob Clower, Highland bagpipes

RAPTURE, RAGE, AND REVELRY

Bernard McDonald is the G. Dewey and M. Maine Larsen Chair of Opera at Simpson College. He also maintains a busy professional career as a conductor, vocal coach, and collaborative pianist.

Upcoming engagements as conductor include Carmen (Opera Kelowna, British Columbia) and La Bohème (Mobile Opera, Alabama). Recent engagements include La Bohème, Die Zauberflöte, Le Nozze di Figaro (Opera Kelowna), Suor Angelica and Gianni Schicchi (Mobile Opera), The Merry Widow, The Magic Flute, Montemezzi’s L’incantesimo (US staged première), Gianni Schicchi, and Le Nozze di Figaro (Opera Theater of Pittsburgh); Cavalli’s Ormindo (Pittsburgh Opera); Don Giovanni and La Cenerentola (Bay View Music Festival, Michigan); Così fan tutte at the Royal Scottish Academy of Music and Drama (RSAMD) in Glasgow; Bizet’s Le docteur Miracle and La tragédie de Carmen (for the Dutch National Opera Academy) in Amsterdam and The Hague. His début at the Kennedy Center in Washington, DC, was on piano, in recital with mezzo-soprano Marietta Simpson and tenor John Aler.

McDonald garnered wide-ranging experience as a vocal coach, assistant conductor, and chorus master with major opera companies in America, Europe and Far East, before embarking on a freelance career as conductor and vocal coach. Professional training at the Merola Program of the San Francisco Opera led directly to an invitation to join the music staff of the New York City Opera. He was subsequently Head of Music and Chorus Master at the Florida Grand Opera in Miami. As Chorus Master at Glyndebourne, he prepared over twenty-five productions to great critical acclaim for a host of internationally renowned conductors: highlights include Idomeneo with Sir Simon Rattle, Die Zauberflöte with Sir Charles Mackerras and Otello with Vladimir Jurowski.

He has also worked with, among others, the Aspen Music Festival and School, the New National Theatre Tokyo, the Netherlands Opera, the Netherlands Radio Choir, and the Indianapolis Symphonic Choir. He has been on the faculty of the RSAMD and the University of Cincinnati College-Conservatory of Music (CCM).

A native of Dumbarton, Scotland, his studies include piano performance at the RSAMD; opera at the Guildhall School of Music and Drama, London, and CCM; musicology at the University of Glasgow; and a doctorate in conducting from Indiana University.

BERNARD McDONALD

Bernard McDonald


PROGRAM NOTESROB CLOWER, HIGHLAND BAGPIPESRob Clower has been teaching Highland bagpipes for more than 40 years and has been teaching lessons at Grinnell College since 2011. His students play in pipe bands throughout the U.S. and abroad, many also competing successfully as soloists.

Clower began piping in North Carolina at age nine under the instruction of John Kiely, an Edinburgh native and formerly a piper with the Royal Scots Regiment. He has played

with several bands, and served as pipe sergeant and pipe major of the Iowa Scottish Pipes and Drums.

In 2007, Rob founded Turlach Ur, now the largest band in Iowa. Under his direction, Turlach Ur enjoyed a highly successful Midwest competition season in 2015; the band won the Grade 5 Midwest Championships in Chicago as well as the aggregate season championship, resulting in promotion to Grade 4. In 2016, Turlach Ur competed successfully in Los Angeles, San Diego, and Chicago, as well as the World Championships in Glasgow, Scotland. The band capped its 2017 competition season by winning the Grade 4 Midwest Championships.

Scottish composer Hamish MacCunn (1868-1916) was born in Greenock, the son of a ship owner. His talent was recognized early, and he received advanced musical education at the Royal College of Music in London. He composed The Land of the Mountain and the Flood Overture in his late teens while still a student, and it was premiered in London's Crystal Palace in 1887 when he was only nineteen. The first performance was arranged with the help and encouragement of Sir George Grove (founder of the famous multi-volume English-language Dictionary of Music and Musicians). MacCunn's overture was published soon after its first performance. His works, all infused with Scottish musical idioms and color, include seven pieces for orchestra, twelve choral and vocal works, two operas (his opera Diarmid was performed at Covent Garden in 1897), and an unfinished comic opera.

The inspiration for The Land of the Mountain and the Flood Overture comes from a stanza in Sir Walter Scott's epic poem The Lay of the Last Minstrel. In this stanza, Scott proclaims his great love for Scotland, which is echoed in MacCunn's orchestral overture:

Breathes there the man, with soul so dead,Who never to himself hath said,This is my own, my native land!Whose heart hath ne’er within him burn’d,As home his footsteps he hath turn’d,From wandering on a foreign strand!If such there breathe, go, mark him well;For him no Minstrel raptures swell …O Caledonia! stern and wild,Meet nurse for a poetic child!Land of brown heath and shaggy wood,Land of the mountain and the flood …

Rob Clower Hamish MacCunn


PROGRAM NOTESROB CLOWER, HIGHLAND BAGPIPESRob Clower has been teaching Highland bagpipes for more than 40 years and has been teaching lessons at Grinnell College since 2011. His students play in pipe bands throughout the U.S. and abroad, many also competing successfully as soloists.

Clower began piping in North Carolina at age nine under the instruction of John Kiely, an Edinburgh native and formerly a piper with the Royal Scots Regiment. He has played

with several bands, and served as pipe sergeant and pipe major of the Iowa Scottish Pipes and Drums.

In 2007, Rob founded Turlach Ur, now the largest band in Iowa. Under his direction, Turlach Ur enjoyed a highly successful Midwest competition season in 2015; the band won the Grade 5 Midwest Championships in Chicago as well as the aggregate season championship, resulting in promotion to Grade 4. In 2016, Turlach Ur competed successfully in Los Angeles, San Diego, and Chicago, as well as the World Championships in Glasgow, Scotland. The band capped its 2017 competition season by winning the Grade 4 Midwest Championships.

Scottish composer Hamish MacCunn (1868-1916) was born in Greenock, the son of a ship owner. His talent was recognized early, and he received advanced musical education at the Royal College of Music in London. He composed The Land of the Mountain and the Flood Overture in his late teens while still a student, and it was premiered in London's Crystal Palace in 1887 when he was only nineteen. The first performance was arranged with the help and encouragement of Sir George Grove (founder of the famous multi-volume English-language Dictionary of Music and Musicians). MacCunn's overture was published soon after its first performance. His works, all infused with Scottish musical idioms and color, include seven pieces for orchestra, twelve choral and vocal works, two operas (his opera Diarmid was performed at Covent Garden in 1897), and an unfinished comic opera.

The inspiration for The Land of the Mountain and the Flood Overture comes from a stanza in Sir Walter Scott's epic poem The Lay of the Last Minstrel. In this stanza, Scott proclaims his great love for Scotland, which is echoed in MacCunn's orchestral overture:

Breathes there the man, with soul so dead,Who never to himself hath said,This is my own, my native land!Whose heart hath ne’er within him burn’d,As home his footsteps he hath turn’d,From wandering on a foreign strand!If such there breathe, go, mark him well;For him no Minstrel raptures swell …O Caledonia! stern and wild,Meet nurse for a poetic child!Land of brown heath and shaggy wood,Land of the mountain and the flood …

Rob Clower Hamish MacCunn


PROGRAM NOTESIn his book Style and Idea, early twentieth-century Austrian composer Arnold Schönberg (developer of the twelve-tone method of composition) said the following:

Alas, human creators, if they be granted a vision, must travel the long path between vision and accomplishment; a hard road where, driven out of paradise, even geniuses must reap their harvest in the sweat of their brow.

Schönberg's statement certainly could be applied to the composition of what finally became the Haffner Symphony (K.385) by Wolfgang Amadè Mozart (1756-1791). The composer actually began work in July 1782 on an original serenade version. At that time Mozart was incredibly busy, writing at “white heat” for Vienna’s garden festivals and concerts with requests for new music coming in almost daily. In addition, he was trying to meet a crushing deadline for the revision of his opera The Abduction from the Seraglio, keeping up a busy teaching schedule, and proposing marriage to Constanze Weber (in the midst of much family intrigue). In the middle of all of this summer craziness, Mozart received a letter from his father desperately seeking him a new serenade for the ennoblement ceremony of one Sigmund Haffner back in Salzburg. Mozart had already composed a serenade, for which the wealthy Haffner family and paid handsomely. At first Mozart thought of refusing, but decided to take the commission in spite of everything. The composer somehow worked on the serenade in between his many other ‘brow-sweating’ obligations, and sent the score back to Salzburg piecemeal, a movement at a time. It is not even clear that the completed serenade was finished in time for the Haffner ceremony.

After the ceremony, Mozart asked his father to return the score to him, and in December 1782 he began the process of turning the serenade into a symphony. Mozart removed the serenade's original opening march and one of the two minuets, added two flutes and

PROGRAM NOTES

Giacomo Puccini (1858-1924) is best known for some of his verismo (true to life) operas including Manon Lescaut, La Bohème, Madama Butterfly, and Turandot. Puccini’s mature operas are mainstays of opera houses everywhere, and are among the most popular works in the operatic repertoire. However, his first full-length production (1884), a ballet-opera entitled Le Villi (The Fairies) is not frequently performed today with the exception of the orchestral intermezzo music. Le Villi is set in the Middle Ages, and is a love story gone wrong. The young Roberto must leave his fiancée Anna (to whom he pledges eternal faithfulness) in order to collect an inheritance in another city. Along the way he is seduced by a siren and forgets about Anna. Waiting for Roberto to return, Anna dies of a broken heart. As the legend of the Villi goes, when a woman dies of a broken heart, the fairies disguised as beautiful women cast a spell over the heart breaker and force him to dance himself to death — the fate that awaits Roberto. “La Tregenda” (The Spectre) is the second of two pieces that make up the orchestral intermezzo. In “La Tregenda,” Puccini employs a diabolical tarantella-like dance rhythm, and though somewhat less raucous in spirit it calls to mind “The Dance of the Witches Sabbath” from Hector Berlioz’ Symphony Fantastique.

two clarinets to the original woodwind complement (oboes and bassoons), and made a few small editorial changes in the score. Thus, Mozart's Haffner Symphony was born. It was premiered in Vienna’s Burgtheater in March of 1783 and is considered one of the finest of the composer’s later symphonies.

Wolfgang Amadè Mozart

Giacomo Puccini


PROGRAM NOTESIn his book Style and Idea, early twentieth-century Austrian composer Arnold Schönberg (developer of the twelve-tone method of composition) said the following:

Alas, human creators, if they be granted a vision, must travel the long path between vision and accomplishment; a hard road where, driven out of paradise, even geniuses must reap their harvest in the sweat of their brow.

Schönberg's statement certainly could be applied to the composition of what finally became the Haffner Symphony (K.385) by Wolfgang Amadè Mozart (1756-1791). The composer actually began work in July 1782 on an original serenade version. At that time Mozart was incredibly busy, writing at “white heat” for Vienna’s garden festivals and concerts with requests for new music coming in almost daily. In addition, he was trying to meet a crushing deadline for the revision of his opera The Abduction from the Seraglio, keeping up a busy teaching schedule, and proposing marriage to Constanze Weber (in the midst of much family intrigue). In the middle of all of this summer craziness, Mozart received a letter from his father desperately seeking him a new serenade for the ennoblement ceremony of one Sigmund Haffner back in Salzburg. Mozart had already composed a serenade, for which the wealthy Haffner family and paid handsomely. At first Mozart thought of refusing, but decided to take the commission in spite of everything. The composer somehow worked on the serenade in between his many other ‘brow-sweating’ obligations, and sent the score back to Salzburg piecemeal, a movement at a time. It is not even clear that the completed serenade was finished in time for the Haffner ceremony.

After the ceremony, Mozart asked his father to return the score to him, and in December 1782 he began the process of turning the serenade into a symphony. Mozart removed the serenade's original opening march and one of the two minuets, added two flutes and

PROGRAM NOTES

Giacomo Puccini (1858-1924) is best known for some of his verismo (true to life) operas including Manon Lescaut, La Bohème, Madama Butterfly, and Turandot. Puccini’s mature operas are mainstays of opera houses everywhere, and are among the most popular works in the operatic repertoire. However, his first full-length production (1884), a ballet-opera entitled Le Villi (The Fairies) is not frequently performed today with the exception of the orchestral intermezzo music. Le Villi is set in the Middle Ages, and is a love story gone wrong. The young Roberto must leave his fiancée Anna (to whom he pledges eternal faithfulness) in order to collect an inheritance in another city. Along the way he is seduced by a siren and forgets about Anna. Waiting for Roberto to return, Anna dies of a broken heart. As the legend of the Villi goes, when a woman dies of a broken heart, the fairies disguised as beautiful women cast a spell over the heart breaker and force him to dance himself to death — the fate that awaits Roberto. “La Tregenda” (The Spectre) is the second of two pieces that make up the orchestral intermezzo. In “La Tregenda,” Puccini employs a diabolical tarantella-like dance rhythm, and though somewhat less raucous in spirit it calls to mind “The Dance of the Witches Sabbath” from Hector Berlioz’ Symphony Fantastique.

two clarinets to the original woodwind complement (oboes and bassoons), and made a few small editorial changes in the score. Thus, Mozart's Haffner Symphony was born. It was premiered in Vienna’s Burgtheater in March of 1783 and is considered one of the finest of the composer’s later symphonies.

Wolfgang Amadè Mozart

Giacomo Puccini


PROGRAM NOTES PROGRAM NOTESManon Lescaut (1893) was Puccini's first major operatic success. The story concerns a doomed relationship between Manon and her lover Des Grieux. The lustful Geronte, who is captivated by Manon, abducts her and takes her to Paris. Des Grieux attempts to rescue her, but Geronte foils his plan, has Manon arrested and taken to Le Harve where she will be sent to America. Rather than portraying it within the dramatic action of the opera, the orchestral intermezzo between Acts II and III represents Manon's arrest and journey to Le Havre as well as Des Grieux's efforts to save her. It also foreshadows their coming tragic end.

Commentator Rachel Beaumont writes:

The lyric beauty of the intermezzo and its close musical relationship to the rest of the opera – and the fact that it takes place with the curtain down and without a note being sung – suggest what it is that makes Manon Lescaut so compelling. Rather than get caught up in details of the plot, Puccini obsesses us with these two people, and the love that destroys them.

English composer and conductor Sir Peter Maxwell Davies (1934-2016) is known for his wide-ranging catalog of compositions, which represent numerous varied styles and genres. Davies started on a path to become a professional composer at a very young age. When only fourteen, he received a performance on the BBC that did much to help launch his career. Davies studied at the Royal Manchester College of Music, and later, with assistance from Aaron Copland and Benjamin Britten, applied for and received a Harkness Fellowship at Princeton University. There he studied with several famous contemporary American composers such as Roger Sessions and Milton Babbit. After moving to Australia for a year in the mid-1960s, Davies returned to the UK and took up residence in the far-north Orkney Islands of Scotland. This move provided him with first-hand inspiration for An Orkney Wedding with Sunrise, as well as numerous other works, including his Third Symphony. For his national recognition as a composer, he was knighted in 1987, appointed as Master of the Queen's Music in 2004, and holds several honorary degrees, including an honorary doctorate from Oxford University. Davies composed An Orkney Wedding, with Sunrise in 1984. This piece was inspired by the wedding of one of his friends in the Orkney town of Hoy. Near the end of the work, the composer calls for an unusual orchestral effect — a solo highland bagpiper walks on stage while playing. Davies describes this twelve-minute programmatic work as follows:

The wedding party arrives at the hall out of violent weather. There follows a processional, after which the band tunes up for a wedding dance which builds to an inebriated climax. The guests leave the hall with echoes of the processional music in their ears, while the sun, personified by the full splendour of highland bagpipes, rises over Caithness."

— Jeffrey Prater

This Central Iowa Symphony concert will be rebroadcast on KHOI 89.1 FM in upcoming weeks.

KHOI is a local noncommercial radio station whose mission is to build community through communication. khoifm.org.

KHOI is proud to partner with CIS in providing excellent, locally-performed music to Central Iowa.

KHOI REBROADCAST

Peter Maxwell Davies


PROGRAM NOTES PROGRAM NOTESManon Lescaut (1893) was Puccini's first major operatic success. The story concerns a doomed relationship between Manon and her lover Des Grieux. The lustful Geronte, who is captivated by Manon, abducts her and takes her to Paris. Des Grieux attempts to rescue her, but Geronte foils his plan, has Manon arrested and taken to Le Harve where she will be sent to America. Rather than portraying it within the dramatic action of the opera, the orchestral intermezzo between Acts II and III represents Manon's arrest and journey to Le Havre as well as Des Grieux's efforts to save her. It also foreshadows their coming tragic end.

Commentator Rachel Beaumont writes:

The lyric beauty of the intermezzo and its close musical relationship to the rest of the opera – and the fact that it takes place with the curtain down and without a note being sung – suggest what it is that makes Manon Lescaut so compelling. Rather than get caught up in details of the plot, Puccini obsesses us with these two people, and the love that destroys them.

English composer and conductor Sir Peter Maxwell Davies (1934-2016) is known for his wide-ranging catalog of compositions, which represent numerous varied styles and genres. Davies started on a path to become a professional composer at a very young age. When only fourteen, he received a performance on the BBC that did much to help launch his career. Davies studied at the Royal Manchester College of Music, and later, with assistance from Aaron Copland and Benjamin Britten, applied for and received a Harkness Fellowship at Princeton University. There he studied with several famous contemporary American composers such as Roger Sessions and Milton Babbit. After moving to Australia for a year in the mid-1960s, Davies returned to the UK and took up residence in the far-north Orkney Islands of Scotland. This move provided him with first-hand inspiration for An Orkney Wedding with Sunrise, as well as numerous other works, including his Third Symphony. For his national recognition as a composer, he was knighted in 1987, appointed as Master of the Queen's Music in 2004, and holds several honorary degrees, including an honorary doctorate from Oxford University. Davies composed An Orkney Wedding, with Sunrise in 1984. This piece was inspired by the wedding of one of his friends in the Orkney town of Hoy. Near the end of the work, the composer calls for an unusual orchestral effect — a solo highland bagpiper walks on stage while playing. Davies describes this twelve-minute programmatic work as follows:

The wedding party arrives at the hall out of violent weather. There follows a processional, after which the band tunes up for a wedding dance which builds to an inebriated climax. The guests leave the hall with echoes of the processional music in their ears, while the sun, personified by the full splendour of highland bagpipes, rises over Caithness."

— Jeffrey Prater

This Central Iowa Symphony concert will be rebroadcast on KHOI 89.1 FM in upcoming weeks.

KHOI is a local noncommercial radio station whose mission is to build community through communication. khoifm.org.

KHOI is proud to partner with CIS in providing excellent, locally-performed music to Central Iowa.

KHOI REBROADCAST

Peter Maxwell Davies


MUSICIANSV I O L I N 1Kevin Amidon*concertmaster

David Beagley Ashley Hansen Carol Weber Ruth Fiscus Amelia Wosepka V I O L I N 2Benjamin Henson*

Carrie Forbes Maggie Glasscock Beth Martin Kate OrngardHeather Stafford Hannah Pinnt

V I O L A Anna Peterson*Annisija WallinJulienne Krennrich

Andrew Weihrauch

Jennifer Powers Nai-Ying Liao

C E L LO Alan Henson*Fox HensonAmy AndreottiJacob Warner Susan Cramer Kay Nelson

CIS SEASONBA S S Donita McCoy*Christopher Dieckman

F LU T EShon Stephenson*Marianne Malinowski Chair

Alexis HallHeather Imhoff

P I CCO LOHeather Imhoff

O B O EKevin Schilling*Janet DixonMelanie Spohnheimer

C L A R I N E TWendy Nutini*Matt Schutt

BA S S O O NJanet Baldwin*Phillip DixonNoelle Fultz

CONTRA-BA S S O O NPhillip Dixon

H O R NPam Schwab*Stephani Scherbart

Gale WebbKiva Forsmark

T R U M P E TJason Kirke*Jason Heeren Lauren SchwabLizzie Miller

T RO M B O N EBrad Harris*Burton Hable Michael Albarracin

T U BAJim Kilmer

T I M PA N IDan Krumm*

P E RC U S S I O NAaron FultzAndrew ChatmanMatt Nelson

H A R PKristin Maahs

* Denotes section principal

P E R S O N N E L M A N AG E RJennifer Powers

O RC H E S T R A L I B R A R I A NMary Kay Polashek

SUPPORT THE MUSIC YOU LOVE

Morning Masterpieces: every weekday from 8–10 am with hosts Hollis Monroe, Paul Hertz, and Roger Berger

Classical Sunday: all day with opera from 2–4 pm

Tune In and Become a Friend of KHOI 89.1 fm Live Streaming at khoifm.org

WORLDS LOST AND FOUND Saturday, 10/7/17, 7:30 PM

RAPTURE, RAGE, AND REVELRYSaturday, 12/2/17, 7:30 PM

YOUNG ARTISTS CONCERT Sunday, 3/4/18, 3:00 PM

VIRTUOSIC PANORAMASaturday, 5/5/18, 7:30 PM

Ames City Auditorium

Concert Conversations 45 minutes prior to each performanceSeason tickets available at cisymphony.org

A special thanks to Everts for the flower

arrangements.


MUSICIANSV I O L I N 1Kevin Amidon*concertmaster

David Beagley Ashley Hansen Carol Weber Ruth Fiscus Amelia Wosepka V I O L I N 2Benjamin Henson*

Carrie Forbes Maggie Glasscock Beth Martin Kate OrngardHeather Stafford Hannah Pinnt

V I O L A Anna Peterson*Annisija WallinJulienne Krennrich

Andrew Weihrauch

Jennifer Powers Nai-Ying Liao

C E L LO Alan Henson*Fox HensonAmy AndreottiJacob Warner Susan Cramer Kay Nelson

CIS SEASONBA S S Donita McCoy*Christopher Dieckman

F LU T EShon Stephenson*Marianne Malinowski Chair

Alexis HallHeather Imhoff

P I CCO LOHeather Imhoff

O B O EKevin Schilling*Janet DixonMelanie Spohnheimer

C L A R I N E TWendy Nutini*Matt Schutt

BA S S O O NJanet Baldwin*Phillip DixonNoelle Fultz

CONTRA-BA S S O O NPhillip Dixon

H O R NPam Schwab*Stephani Scherbart

Gale WebbKiva Forsmark

T R U M P E TJason Kirke*Jason Heeren Lauren SchwabLizzie Miller

T RO M B O N EBrad Harris*Burton Hable Michael Albarracin

T U BAJim Kilmer

T I M PA N IDan Krumm*

P E RC U S S I O NAaron FultzAndrew ChatmanMatt Nelson

H A R PKristin Maahs

* Denotes section principal

P E R S O N N E L M A N AG E RJennifer Powers

O RC H E S T R A L I B R A R I A NMary Kay Polashek

SUPPORT THE MUSIC YOU LOVE

Morning Masterpieces: every weekday from 8–10 am with hosts Hollis Monroe, Paul Hertz, and Roger Berger

Classical Sunday: all day with opera from 2–4 pm

Tune In and Become a Friend of KHOI 89.1 fm Live Streaming at khoifm.org

WORLDS LOST AND FOUND Saturday, 10/7/17, 7:30 PM

RAPTURE, RAGE, AND REVELRYSaturday, 12/2/17, 7:30 PM

YOUNG ARTISTS CONCERT Sunday, 3/4/18, 3:00 PM

VIRTUOSIC PANORAMASaturday, 5/5/18, 7:30 PM

Ames City Auditorium

Concert Conversations 45 minutes prior to each performanceSeason tickets available at cisymphony.org

A special thanks to Everts for the flower

arrangements.


CRESCENDO! 2016-17 PATRONSM A E S T RO ’ S C I RC L E $ 2 5 0 0 +Kay & Roger Berger

S P O N S O R S $1000-$2499 Alben F. Bates & Clara G. Bates FoundationJean Earle FelixIn Honor of Pamela Nebgen Schwab

Jean Earle FelixIn Memory of Martha Felix Nebgen

Janet & Erv KlaasCarol & Eric WeberJoan E. WelchCheryl Lawson & Sam Wormley

B E N E FAC TO R S $500-$999Martha Anderson &George Burnet

Cinian & Paul DurbinDeborah & A.M. FinkCornelia & Jan FloraWayne MaakIn Memory of Karen Maak

Jack MauldinMcCoy Music CenterSandra & George McJimsey

Helen McRobertsPam & Chuck SchwabThe CIS Bassoons:Janet BaldwinPhilip DixonNoelle FultzJason Paull

PAT RO N S $300-$499Kevin AmidonJanet & Leonard BondCarol & Robert DeppeCarin & Andrew Forbes

The Robert Gregory Family

Linda HansenMargaret JohnsonDeanna & James KilmerMary Kay & Emil Polashek

Evelyn & Richard ShiblesSuzanne Zaffarano

S U P P O RT E R S $150-$299Sara & Gerald ChasePeter & Gladys ColwellIn Memory of Jane Ringwald

Jane FrerichsMarge GowdyJane JohnsonJason KirkeNancy MarksKathryn & John MillerKatharine OutkaPatricia & Louis Banitt Fund

Pella Rollscreen Foundation

Schilling ReedsShon & Mark StephensonE. Marlene WeisshaarLee Anne & Stephen Willson

F R I E N D S $50-$149Betty & Tom BartonN. Laurence BurkhalterCathy & David CarlyleJames CornettePeggy & Greg DieterKatherine & HerbertFromm

Ruth & Jake GravesBarbara & Karl Gwiasda

Carole HorowitzIn Honor of Suzanne Zaffarano

Etha HutchcroftJudith & Thomas JacksonElaine JohnsonIn Honor of Sam Wormley

Kendal KlineJane LohnesBeth & Peter MartinMary & Joseph MerchantKay NelsonIn Memory of William Nelson

Donna Newborough & Leroy Bruchinal

Frankie & Jim OlesonJermaine PrescottTheresa & Wade Presley

R&A Hunter Charitable Fund

Martha & Jorgen Rasmussen

Dorothy & Robert RustPhyllis SeimMary Ann & Steiner Silence

Marcia & Jon SontagDonald WallC.K. WalkerBarbara WarmanKathleen & Jonathan Wendel

AnonymousIn Honor of Sam Wormley

P RO G R A M SPioneer Communications, Inc.

CRESCENDO! 2017-18 PATRONSM A E S T RO ’ S C I RC L E $ 2 5 0 0 +Cheryl Lawson & Sam Wormley*

S P O N S O R S $1000-$2499Jean Earle FelixIn Honor of Pamela Nebgen Schwab

Jean Earle Felix In Memory of Martha Felix Nebgen

Diane NealCarol & Eric Weber*Joan Welch

B E N E FAC TO R S $500-$999Kay & Roger Berger*Martha Anderson & George Burnet

Cinian & Paul DurbinMargaret Johnson*Wayne MaakIn Memory of Karen Maak

Helen McRobertsOpus MusicPam & Chuck Schwab*Evelyn & Richard Shibles

PAT RO N S $300-$499Carol & Robert DeppeIn Honor of Mary Kay Polashek

Deborah & A.M. Fink*Linda HansenIn Memory of Larry Hansen


Julienne & Frank Krennrich

Nancy MarksSchilling ReedsMarilu & V.V. Raman*Marlene Weisshaar*

S U P P O RT E R S $150-$299Sara & Gerald ChaseCarin & Andrew Forbes*Jane FrerichsNoelle & Aaron Fultz*Marjorie Gowdy Katherine GregoryIn Memory of Robert Gregory

DeLores & Vern HawkinsWilla & Dave Holger*Judy & Tom Jackson*Jason KirkeNancy Marks*McCoy's Music Center*Meade Computing*Eileen Mericle*In Memory of Morrie Mericle

Kathryn M. & John B. Miller

Katharine OutkaCynthia & John Paschen*Patricia & Louis Banitt Fund

Mary Kay & Emil Polashek*

Dorothy & Robert Rust*Shirley & Ken Shaw*Shon & Mark StephensonDeanne & Bob Summerfelt*

Chris & Jeff White*Don Withers*Suzanne ZaffaranoIn Memory of Daniel Zaffarano

F R I E N D S $50-$149Jan & George BeranCathy & David CarlyleJames CornettePeggy & Greg Dieter

Beth Douglass & Jere C. MadduxPaula ForrestSusan & Fritz FranzenKatherine FrommIn Memory of Morrie Mericle

Ann & Bob HeinJulie & Alan HensonEtha HutchcroftJudy & Pat KavanaughKaren & Wayne KlaiberIn Honor of Sam Wormley

Audrey & Stephen Marley

Elizabeth & Larry Middleton

Linda MurkenIn Honor of Sam Wormley

Kay NelsonIn Memory of William Nelson

Mary Lois NelsonFrankee & Jim OlesonMarlys PotterMary Anne & Steiner Silence

Marcia & Jon SontagJanet & David Stephenson

Lynne VanValinIn Memory of Rich VanValin

P RO G R A M SHeuss Printing, Inc.

R EC E P T I O N T R E AT SDowntown Fareway Lincoln Center Hy-Vee

* Denotes 2017 Gala Sponsors


CRESCENDO! 2016-17 PATRONSM A E S T RO ’ S C I RC L E $ 2 5 0 0 +Kay & Roger Berger

S P O N S O R S $1000-$2499 Alben F. Bates & Clara G. Bates FoundationJean Earle FelixIn Honor of Pamela Nebgen Schwab

Jean Earle FelixIn Memory of Martha Felix Nebgen

Janet & Erv KlaasCarol & Eric WeberJoan E. WelchCheryl Lawson & Sam Wormley

B E N E FAC TO R S $500-$999Martha Anderson &George Burnet

Cinian & Paul DurbinDeborah & A.M. FinkCornelia & Jan FloraWayne MaakIn Memory of Karen Maak

Jack MauldinMcCoy Music CenterSandra & George McJimsey

Helen McRobertsPam & Chuck SchwabThe CIS Bassoons:Janet BaldwinPhilip DixonNoelle FultzJason Paull

PAT RO N S $300-$499Kevin AmidonJanet & Leonard BondCarol & Robert DeppeCarin & Andrew Forbes

The Robert Gregory Family

Linda HansenMargaret JohnsonDeanna & James KilmerMary Kay & Emil Polashek

Evelyn & Richard ShiblesSuzanne Zaffarano

S U P P O RT E R S $150-$299Sara & Gerald ChasePeter & Gladys ColwellIn Memory of Jane Ringwald

Jane FrerichsMarge GowdyJane JohnsonJason KirkeNancy MarksKathryn & John MillerKatharine OutkaPatricia & Louis Banitt Fund

Pella Rollscreen Foundation

Schilling ReedsShon & Mark StephensonE. Marlene WeisshaarLee Anne & Stephen Willson

F R I E N D S $50-$149Betty & Tom BartonN. Laurence BurkhalterCathy & David CarlyleJames CornettePeggy & Greg DieterKatherine & HerbertFromm

Ruth & Jake GravesBarbara & Karl Gwiasda

Carole HorowitzIn Honor of Suzanne Zaffarano

Etha HutchcroftJudith & Thomas JacksonElaine JohnsonIn Honor of Sam Wormley

Kendal KlineJane LohnesBeth & Peter MartinMary & Joseph MerchantKay NelsonIn Memory of William Nelson

Donna Newborough & Leroy Bruchinal

Frankie & Jim OlesonJermaine PrescottTheresa & Wade Presley


Martha & Jorgen Rasmussen

Dorothy & Robert RustPhyllis SeimMary Ann & Steiner Silence

Marcia & Jon SontagDonald WallC.K. WalkerBarbara WarmanKathleen & Jonathan Wendel

AnonymousIn Honor of Sam Wormley

P RO G R A M SPioneer Communications, Inc.

CRESCENDO! 2017-18 PATRONSM A E S T RO ’ S C I RC L E $ 2 5 0 0 +Cheryl Lawson & Sam Wormley*

S P O N S O R S $1000-$2499Jean Earle FelixIn Honor of Pamela Nebgen Schwab

Jean Earle Felix In Memory of Martha Felix Nebgen

Diane NealCarol & Eric Weber*Joan Welch

B E N E FAC TO R S $500-$999Kay & Roger Berger*Martha Anderson & George Burnet

Cinian & Paul DurbinMargaret Johnson*Wayne MaakIn Memory of Karen Maak

Helen McRobertsOpus MusicPam & Chuck Schwab*Evelyn & Richard Shibles

PAT RO N S $300-$499Carol & Robert DeppeIn Honor of Mary Kay Polashek

Deborah & A.M. Fink*Linda HansenIn Memory of Larry Hansen


Julienne & Frank Krennrich

Nancy MarksSchilling ReedsMarilu & V.V. Raman*Marlene Weisshaar*

S U P P O RT E R S $150-$299Sara & Gerald ChaseCarin & Andrew Forbes*Jane FrerichsNoelle & Aaron Fultz*Marjorie Gowdy Katherine GregoryIn Memory of Robert Gregory

DeLores & Vern HawkinsWilla & Dave Holger*Judy & Tom Jackson*Jason KirkeNancy Marks*McCoy's Music Center*Meade Computing*Eileen Mericle*In Memory of Morrie Mericle

Kathryn M. & John B. Miller

Katharine OutkaCynthia & John Paschen*Patricia & Louis Banitt Fund

Mary Kay & Emil Polashek*

Dorothy & Robert Rust*Shirley & Ken Shaw*Shon & Mark StephensonDeanne & Bob Summerfelt*

Chris & Jeff White*Don Withers*Suzanne ZaffaranoIn Memory of Daniel Zaffarano

F R I E N D S $50-$149Jan & George BeranCathy & David CarlyleJames CornettePeggy & Greg Dieter

Beth Douglass & Jere C. MadduxPaula ForrestSusan & Fritz FranzenKatherine FrommIn Memory of Morrie Mericle

Ann & Bob HeinJulie & Alan HensonEtha HutchcroftJudy & Pat KavanaughKaren & Wayne KlaiberIn Honor of Sam Wormley

Audrey & Stephen Marley

Elizabeth & Larry Middleton

Linda MurkenIn Honor of Sam Wormley

Kay NelsonIn Memory of William Nelson

Mary Lois NelsonFrankee & Jim OlesonMarlys PotterMary Anne & Steiner Silence

Marcia & Jon SontagJanet & David Stephenson

Lynne VanValinIn Memory of Rich VanValin

P RO G R A M SHeuss Printing, Inc.

R EC E P T I O N T R E AT SDowntown Fareway Lincoln Center Hy-Vee

* Denotes 2017 Gala Sponsors


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.

CRESCENDO!

Student (K-12) $20 +Friend $50 +Supporter/Gala Sponsor $150 +Patron $300 +

Benefactor $500 +Sponsor $1,000 +Maestro’s Circle $2,500 +

Sponsor Levels:

Please make checks payable to: Central Iowa SymphonyPlease mail all contributions to: P.O. Box 1080 Ames, IA 50014

Central Iowa Symphony is a 501(c)(3) non-profit organization.All donations are tax deductible to the extent allowed by law.

Name(s) as you wish it to appear in the program:

Amount:

I would like to contribute to the following named chairs:

I would like to name my gift in honor/in memory of (circle one):

Address:

Email:

Daytime Phone:

£ Marianne Malinowski Chair£ Ron Fuchs Chair

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 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

A NOTE FROM THE CIS BOARD

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.

FRIENDS OF CIS (FOCIS)


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.

CRESCENDO!

Student (K-12) $20 +Friend $50 +Supporter/Gala Sponsor $150 +Patron $300 +

Benefactor $500 +Sponsor $1,000 +Maestro’s Circle $2,500 +

Sponsor Levels:

Please make checks payable to: Central Iowa SymphonyPlease mail all contributions to: P.O. Box 1080 Ames, IA 50014

Central Iowa Symphony is a 501(c)(3) non-profit organization.All donations are tax deductible to the extent allowed by law.

Name(s) as you wish it to appear in the program:

Amount:

I would like to contribute to the following named chairs:

I would like to name my gift in honor/in memory of (circle one):

Address:

Email:

Daytime Phone:

£ Marianne Malinowski Chair£ Ron Fuchs Chair

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 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

A NOTE FROM THE CIS BOARD

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.

FRIENDS OF CIS (FOCIS)


Visit us and meet local artists during the2017 Holiday Art Sale

Learn about our work and take home some original Ames art

Ceramics - watercolor - ink- mixed media - encaustics and more

Saturday, December 2 - 10:00 to 4:00PMSunday, December 3 - Noon to 4:00PM

[email protected]

130 S. Sheldon Suite 107, Ames, IA 50014 Also on Facebook • 515-292-3448

Creative artists’ Studios of AmesCreative artists’ Studios of AmesInterested in Advertising?

Standing Ovation distributes programs to over 30 of Central Iowa’s

leading dance, instrumental music, vocal music, theater companies, and

performance venues. Advertise in the Des Moines or Ames area.

Contact: Kimberly [email protected]

Documents

RAPTURE, RAGE, AND REVELRY December 2, 2017, 7:30 · PDF filePlease join us for Concert Conversations 45 minutes prior to ... The Magic Flute, ... now the largest band in Iowa