2001-2002 - 22nd Season of the RMCO
October 21, 3:00
pm, Fall Concert
Sanctuary,
Canterbury Methodist Church (871-4695)
Peter Warlock - Capriol Suite for strings
Mozart - Symphony #29 in A Major, K 201
Wanhal - Viola Concerto in F Major, with Michael
Kimber
Robert Wright of the University of Montevallo,
conducting
December 4,
5:30 pm, Christmas Tree Lighting Ceremony
Linn
Park, Birmingham City Center
Leroy Anderson - Sleigh Ride
Vaughan Williams - Fantasia on Greensleeves
Niels Gade - Christmas Suite
Todd Norton of Jefferson State Community
College, conducting
February 17, 3:00 pm, Whittington
Competition Winners
Hill
Hall, Birmingham-Southern College
The competition winners will solo with the
orchestra.
Thomas Gibbs of Birmingham Southern College, conducting
April 28, 3:00 pm, Spring
Concert
Hueytown Methodist
Church, 110 Sunset Drive, 491-3421
Handel - Concerto Grosso Opus 6, No. 11
Dvořák - Czech Suite
Howard Goldstein of Auburn University,
conducting
May 12, 3:00 pm, Mother's Day Concert
Ireland
Room, Birmingham Botanical Gardens
A concert of small ensemble works
June 23, 3:00 pm, Summer Solstice
Steiner Auditorium,
Birmingham Museum of Art
A concert of small ensemble works
--- As always, admission is free ---
Please sign our
registration book in the foyer so that we
may keep you informed of future RMCO
concerts. Thanks.
The
Division of Fine and Performing Arts
of
BIRMINGHAM-SOUTHERN COLLEGE
presents
with the
Winners
of the Frances
and
Dorsey Whittington
Competition
Hill Hall
Birmingham-Southern
College
Sunday afternoon, 3:00
pm
February 17, 2002
The Red Mountain Chamber Orchestra
The
Red Mountain Chamber Orchestra exists to educate and give pleasure to the
public by performing a repertoire of classical music not otherwise heard in
Birmingham, as well as to provide a musical outlet for skilled players,
conductors, and soloists, both professional and amateur, in the community. Because of our chamber orchestra size, we
are able to move about the area, playing in different venues each season,
thereby reaching a more diverse audience and addressing ourselves more clearly
to the needs and interests of the community.
Although completely independent as to policies, the RMCO has for about a
decade rehearsed and performed at Birmingham-Southern College. We are proud to be an adjunct of BSC's
Division of Fine and Performing Arts.
Founded
21 years ago, with the first concert on November 2, 1980, the orchestra has
always been based in Birmingham, although some of the players come in from
outlying communities and we perform at least once a season outside the
city. With ages ranging from 15 to 80,
the most veteran of us played in the Birmingham Civic Symphony, the youngest
are students. All of us are bound
together by a passion that leads us to work on concert materials well before
rehearsals for the sake of the music. Although we include many physicians, a
dentist, a physics professor, and several band teachers, most of us studied our
instruments seriously in university music departments and at conservatories
before finding other sources of daily income.
We
exist as a musical force because of the support of many who like what we
do. We would like to take this
opportunity to thank those who have, over the years, given us the tools we
needed to survive and flourish:
Birmingham-Southern College, Samford University, and the Unitarian
Church, all of whom have given the orchestra a home base across the years for
rehearsals and performances; the
Alabama State Council on the Arts, the Birmingham Regional Arts Council, and
the private donors who have provided financial support; area churches, libraries, and schools who
have allowed us rehearsal and performance space, especially the Birmingham
Botanical Gardens and the Birmingham Museum of Art; and all of the conductors, soloists, and players who have given
freely of their time and talents to work with this orchestra - and to you
our supporters, whose help makes all of these performances possible. Birmingham-Southern College is now the
sheltering organization for the RMCO.
RMCO
is honored to participate in this second annual presentation of the Winners of
Whittington Competition at Birmingham-Southern College, which provides for BSC
undergraduate music majors, chosen in a preliminary competition, the
opportunity to perform concertos and arias with orchestra. The competition is named for Frances and
Dorsey Whittington, whose profound influence as teachers became the musical
foundation for generations of Birmingham musicians. The Birmingham Conservatory of Music – now the Music Department at Birmingham-Southern College – was for
many years under their leadership.
Thanks
to the Fine Arts Council of Birmingham-Southern College for the reception in
the Blue Room following the performance and to members of the Alabama Symphony
Orchestra who have joined us for this concert.
THE RED MOUNTAIN
CHAMBER ORCHESTRA PLAYERS
First Violin Gwen
Knowlton Concertmaster Kimberly
Ferguson Heidi
Kapanka Godehard Oepen *Anne
Pandolfy *Olga
Shptko Second Violin *Jim
Pipkin Principal Katie Cruce Dawn
Grant David
Sherman Charles
Tharp Viola Suzanne
Beaudry *ASO Member |
Cello Jackie
McKinney Principal Daniel Hallmark Carol
Leitner Dorinda
Smith Diedre Vaughn Double Bass Kendall
Holman Principal *Michael
Bradt Harpsichord Suzanne
Beaudry Flute David
Agresti Don
Gilliland Piccolo Don
Gilliland |
Oboe Lisa
Buck Brian
Van Tine Clarinet Ron
Peters Barry
Jackson Bassoon Kevin
Chancellor Kristin
Timm Horn John
Greer Ginny
Carroll Trumpet Paul
Morton Dennis
Carroll Trombone Alan
Brooks |
RMCO Administration & Board
President Suzanne
Beaudry Vice
President
Barry Jackson Recording
Secretary
Peggy Brooks Corresponding
Secretary Gwen Knowlton Treasurer Kendall
Holman Librarian Kimberly
Ferguson Programs David
Agresti Historian Rita
Salzberg Founder Robert
Markush |
Consultants Leslie Fillmer, Oliver Roosevelt Stage
Managers, Web Masters
Charles Tharp, Daniel
Hallmark Personnel Winds John
Greer Strings Godehard
Oepen Members-at-Large Linda
Mahan, Heidi Kapanka |
Did you enjoy today's program?
Contributions
are much needed by the Red Mountaineers
for the purchase/rental of music and other expenses. A cash contribution would be appreciated. If you have questions, call Suzanne Beaudry
at 254-3774. We qualify as a non-profit
organization under Chapter 401-C.
Please
visit our web site at http://www.rmco.org/
Today's Conductor
Thomas Gibbs
has been a member of Birmingham-Southern's faculty of music since 1970,
teaching a wide variety of courses in music history, music literature, church
music, and conducting. He also served
for eight years as chair of Birmingham-Southern's Division of Fine and
Performing Arts.
At Birmingham-Southern Dr. Gibbs has
conducted more than fifteen productions for the Opera Workshop and the College
Theatre, most recently the world premiere of Daphne at Sea, by Charles Norman Mason and Sally Gall. His
experience in opera also includes extensive work for Opera Memphis, Birmingham
Civic Opera, and Cincinnati Opera. He
was Birmingham Summerfest's first music director, conducting some twenty-five
Summerfest musical productions.
Dr. Gibbs served for ten years as the
conductor of the Birmingham Concert Chorale and choral director for the Alabama
Symphony Orchestra. As Master of the
Cathedral Choir at Birmingham's Episcopal Cathedral of the Advent, Dr. Gibbs
led the Choir in performances of major church works, oratorios, masses, and a
number of newly commissioned compositions.
He also conducted the Choir in three performing tours of England. He is currently serving as organist and
choirmaster at Grace Episcopal Church, Woodlawn.
Dr. Gibbs is active as a choral
clinician, adjudicator, and conducting teacher, and he appears regularly as a
conductor of the Red Mountain Chamber Orchestra.
Today's
Soloists
Joshua South is a senior Vocal
Performance major from Birmingham. He
is the winner of the Birmingham Music Club Competition, Music Teachers National
Association for the State of Alabama, and two-time winner of the regional NATS
competition. Mr. South is also the
recipient of the Presser Music Scholar award, given to rising seniors. He plans on attending graduate school in New
York to pursue a professional career.
Nat Gunter is a Junior, Vocal
Performance Major from Tuscaloosa, Alabama.
He most recently won second place in the Alabama Federation of Music
Clubs Competition. Nat is also a two
time state NATS winner. This fall he
received a KC/ACTF Irene Ryan Nomination for his work in Hamlet the Musical. Nat
studies with Dr. Leary-Warsaw.
Daniel Seigel is a senior Theatre
major from Birmingham. Alongside his
theatre productions he has pursued an increased interest in music at BSC. This is his second Whittington appearance,
and he will appear this May as Marcello in Puccini's La Boheme. Daniel hopes to
find some sort of career in opera or theatre.
Myron D. Brown is from Birmingham
and a freshman majoring in piano performance.
Now a student of William DeVan, he previously studied with Nancy Wingard
at the BSC Conservatory of Fine and Performing Arts. He is a four-time recipient of the Conservatory's Hugh Thomas
Scholarship, and he currently holds the Sarah and Robert Flemister Scholarship
at BSC.
Thomas Gibbs,
Conductor
Program
Symphony
No. 5, in B-flat Major Franz Schubert
Allegro 1797-1828
Andante con moto
Menuet - Trio
Allegro vivace
~~~~~~~~~~~~~~~~~~~
Quia
fecit mihi magnam, Johann Sebastian Bach
from Magnificat 1685-1750
Ombra
mai fu George Frederick Handel
from Xerxes 1685-1759
Joshua
South, Baritone
Non
più andrai Wolfgang Amadeus Mozart
from Le nozze di Figaro 1756-1791
Nathanael
Gunter, Baritone
Votre
toast, je peux vous le rendre Georges Bizet
Toreador Song, from Carmen 1838-1875
Daniel
Seigel, Baritone
Piano
Concerto No. 3, in C minor Ludwig
van Beethoven
Allegro 1770-1827
Myron
Brown, Pianist
Please join us in the Blue Room
for a reception following the concert
Schubert -
Symphony No. 5, in B-Flat Major
The
Schubert work you hear this afternoon is sometimes called "The Symphony
Without Trumpets and Drums" for obvious" reasons. Schubert was only 19 when he penned it, but
he was already a master of the form.
When
you leave Hill Hall, though, it will not be structure that will remain in your
mind, but the graceful melodies in all four of its movements. From the first theme, four whispered
measures into the work, to the finale's Haydnesque, spontaneous, and joyful
rondo tune, this is indelibly the product of the greatest melodist of all time.
He
wrote it for an orchestra even smaller than the Red Mountain Chamber
Orchestra. The group evolved from the
string quartet that used to meet in Schubert's home. Thus expanded, it was conducted by Otto Hatwig, a composer and
violinist in the Burgtheater. The
premiere of the Fifth Symphony, at Hatwig's house, was the only performance
Schubert heard of it.
This
music is far from that of Beethoven, his contemporary in Vienna. Shortly before he started it, Schubert
described Beethoven's influence as "that eccentricity which joins and
confuses the tragic with the comic, the agreeable with the repulsive, heroism with
howlings, and the holiest with harlequinades, without distinction, so as to
goad people to madness instead of dissolving them in love, to incite them to
laughter instead of lifting them to God."
Notes by Oliver Roosevelt
Beethoven -
Piano Concerto No. 3 (Allegro)
The
key of this Concerto had a special significance for Beethoven: C minor was his
key of "Sturm and Drang." The
opening movement of this Concerto has all the drama of the period. Beethoven follows the tradition of
presenting his thematic material in a long orchestral exposition before the
solo piano is heard.
The
principal theme, a bold figure built around the C-minor triad, opens the
movement in the strings in an ominous whisper.
This is echoed in the woodwinds, then taken up by a full orchestral
tutti with shifting harmonies. A
gracefully flowing second theme, hovering between major and minor, supplies the
traditional contrast. The piano enters
alone with three furious C-minor scales leading up to a statement of the
principal theme. The last two notes of
that theme and their sharp rhythm play a vital part in the development section
and again in the coda. There is a
reprise of the opening themes, a cadenza for the solo piano and an imaginative
coda, full of harmonic surprises.
Song
Texts (partial - see extra sheet for full text)
Quia fecit mihi
magnam, from Magnificat
For he who is mighty
has done great things to me; and holy is his name.
Ombra mai fu,
from Xerxes
Tender and beautiful
branches
Of my beloved plane
tree,
For you fate brightly
shines;
Thunder, lightning and
storms
Never disturb your
majestic calm,
Rapacious winds do not
reach out to defile you!
Never was there a
shadow
Of branches
Sweeter, more
refreshing,
Or more gentle
Non più andrai,
from Le nozze di Figaro
Non
più andrai, farfallone amoroso, You won't go any more, amorous
butterfly,
Notte
e giorno d'intorno girando, Fluttering around inside night and day,
Delle
belle turbando il riposo, Disturbing
the sleep of beauties,
Narcisetto,
Adoncino d'amor. A little
Narcissus and Adonis of love.
Non più avrai questi
bei penacchini, You
won't have those fine feathers any more,
Quel
cappello leggiero e galante,
That light and jaunty hat,
Quella
chioma, quell'aria brillante, That hair, that
shining aspect,
Quel
vermiglio donnesco color!
That womanish red color [in
your face]!
Votre toast, je
peux vous le rendre
(Toreador Song),
from Carmen
Votre
toast, je peux vous le rendre, Your toast, I can give it to you
Senor,
senors car avec les soldats Sirs, sirs, for along with the soldiers
Oui,
les Toreros, peuvent s'entendre; Yes, the Toreros, can understand;
Pour
plaisirs, pour plaisirs, For pleasures, for pleasures
Ils
ont les combats! They have combats!
Le
cirque est plein, c'est jour de fete! The arena is full, it is the feast day!
Le
cirque est plein du haut en bas; The arena is full, from top to bottom;
Les
spectateurs, perdant la tete, The spectators, losing their heads,
Les
spectateurs s'interpellent The spectators began a big fracas!
Apostrophes,
cris et tapage Apostrophes,
cries, and uproar
Pousses
jusques a la fureur! Grow to a furor!
Car
c'est la fete du courage! Because
it is a celebration of courage!
C'est
la fete des gens de co It is the celebration of people
with heart!
Allons!
en garde! Allons! Allons! ah! Let’s
go, on guard! Let’s go! Let’s go! Ah!
Toreador, en garde!
Toreador, Toreador! Toreador,
on guard! Toreador, Toreador!