andBlack Hills cHamBer music society

present the

2018J. laiten Weed

HONORSORCHESTRA

Dr. Jungho Kim conducting

Saturday, February 24, 2018

First Congregational Church

Rapid City, SD

7:30 p.m.

Underwr i t ten by

Lucy Palermo Weed String Competition

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1201 MARQUETTE AVENUE SOUTH SUITE 150 MINNEAPOLIS, MN 55403800.279.4323 612.375.0708 WWW.GIVENSVIOLINS.COM

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Student applications due April 6, 2018 - Scholarships Available!Learn more & Apply at www.RushmoreMusicFestival.org/MusicAcademy

July 1 — 16, 2018

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WELCOME!

Tonight marks the 31st concert by the J. Laiten Weed Honors Orchestra. The first was held in February of 1987.

In addition to Laiten and Lucy Weed, who provided the

impetus and wherewithal to start the orchestra, we recognize

the hard work of the members of the South Dakota String

Teachers Association who have kept it going over three

decades, and the commitment of the schools and businesses

who provide a large portion of our funding through their ad

purchases. Special thanks to Katherine Peterson for provid-

ing the excellent program notes for this year’s concert.

BowsConBrio@triotel .net

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www.nwciowa.edu/music

Chamber Orchestraat Northwestern College

• Scholarships available• Open to students from all majors• Several performances each year• Opportunities to perform in other ensembles• Excellent facilities for performance and rehearsal• Outstanding faculty• Integration of faith and learning

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About the J. Laiten Weed Honors Orchestra

Twenty-two of the high-school string students who achieved the top scores in auditions for South Dakota All-State Orchestra compose each year's J. Laiten Weed Honors Orchestra. They begin preparing Honors Orchestra music individually in December and arrive on the Thursday evening before the Saturday concert to audition for solo assignments and placement within the group. An intense two days of rehearsals follow, culminating in a performance that invariably proves to be polished, refined and exhilarating. Conductors for the group have been top music educators from South Dakota and around the country, including the late Dr. Weed.

J. Laiten Weed was one of the first professional string teachers in South Dakota. Director of the Yankton College Conservatory of Music, he was a charter member of the South Dakota String Teachers Association. An Honors Orchestra to showcase the state's top string students—and to provide them with a unique musical learning experience—was a goal that Laiten shared with other string teachers for several years. In 1986, SDSTA president Raymond Sidoti secured initial funding for a state Honors Orchestra from the American String Teachers Association and the SD Arts Council. The next February, during one of Laiten Weed's several terms as president of SDSTA, the Honors Orchestra became a reality.

When his wife, Lucy, died in 1986, Laiten established a string scholarship fund in her name. The fund soon evolved into the Lucy Palermo Weed String Competition. The generous bequest received fol-lowing Laiten Weed's death in 1989 enabled the competition to provide financial sponsorship of the Honors Orchestra. Hence the orchestra is dedicated to the legacy and the memory of J. Laiten Weed—gentleman, consummate teacher and professional musician. Through his vision and provision for the future, SDSTA has both the Lucy Palermo Weed String Competition and the J. Laiten Weed Honors Orchestra to promote and reward excellence in string music.

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4Schedule your own visit at usiouxfalls.edu/admissions.

(605) 331-6600 || usiouxfalls.edu

4 Register for the workshop at usiouxfalls.edu/fa-workshop.

4Friday, March 9 4Friday, April 20

Upcoming Scholarship Audition Workshop and Campus Preview Days

fine arts performance scholarships awarded annually.

More than11o

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About the Conductor Dr. Jungho Kim

Over the past fourteen years of his conducting career, Dr. Jungho Kim has established an outstanding reputation for superb musicality and leadership on the podium. He has conducted the Savaria Symphony Orchestra and Dohnanyi Orchest ra Buda fok in Hungar y, National Arts Centre Orchestra in Canada, Northwest Iowa Symphony Orchestra, Omaha Symphony Orchestra, as well as Rochester Philharmonic and Buffalo Philharmonic in New York State. After successfully leading the Augustana University Orchestra to a musical high point, expanding both its size and quality for the past two years, Kim was recently named Director of Orchestra of the Glauser School of Music at Kent State University in Ohio.

Music Director Xian Zhang took Kim as Associate Conductor of the Sioux City Symphony Orchestra, where he conducted classical, Holiday, pops, and educational concerts that reached more than 6,000 public school students in NW Iowa over three years. Collaborations with Phil Smith (for-mer principal trumpet, New York Philharmonic) and Huang Ruo (resident composer, Het Concertgebouw Amsterdam) are highlights from this time.

Kim completed his Doctor of Musical Arts degree at the presti-gious Eastman School of Music. He served as assistant conductor of the Rochester Philharmonic and was awarded the Walter Hagen Conducting Prize during his doctoral studies. He is proud of his opportunities to study with world famous artists such as Kurt Masur and Pinchas Zukerman, as well as comments received from orchestral musicians he has worked with. One evaluation sheet from a professional orchestra simply said, “Hire him.” His ability to bring out the best in the people he works with has led to many lasting friendships and memories that speak to his humility, character and musicality.

—excerpted from the Kent State website, at Dr. Kim’s request

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MUSIC AT DORDTMUSICAL EXCELLENCE FOR THE GLORY OF GOD

MUSIC SCHOLARSHIPS OF UP TO $6,000 PER YEAR offered in all performance areas! All-State participants are guaranteed a minimum $3,000 award.SCHOLARSHIP AUDITION DAY on campus: Friday, January 25, 2019. Those unable to attend the Audition Day are encouraged to submit application materials by January 15 for priority consideration.

MAJORS: Church Music, Performance and Pedagogy, Music Management, Elementary and Secondary Music Education, General MusicMINORS: Music Performance, General Music

DORDT COLLEGE498 4th Ave NE | Sioux Center, Iowa 51250-16061-800-343-6738www.dordt.edu/music | www.facebook.com/dordtmusic

4CHOIRS 4BANDS 2ORCHESTRAS

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2018 Honors Orchestra TeachersSchool Music Teachers: Karla Chiarello, Mario Chiarello, William

Evans, Bruce Knowles, Curtis PeacockPrivate Teachers: Elizabeth Benusis, Doosook Kim, Bruce Knowles,

Carol Knowles, Elizabeth Knowles, Meghan Knowles, Yi Chun Lin, Karren Melik-Stepanov, Curtis Peacock, Maria Peters, Martha Robinson, Sharon Rodgers, Anthony Ross, Charlie Savot, Ray Sidoti, Sue Sidoti, Amanda Swartz

2018 Honors Orchestra Personnel(Alphabetically within sections)

Ingrid Anderson. . . . . . . . . . . . Rapid City StevensAnnika Graber. . . . . . . . . . . . . Sioux Falls LincolnCalvin Moehlman . . . . . . . . . . Rapid City CentralElizabeth Nesland . . . . . . . . . . Rapid City StevensJamie St. Clair-Linde . . . . . . . . Rapid City CentralBenjamin Wentzel . . . . . . . . . . Sioux Falls Lincoln

Isabelle Bogue . . . . . . . . . . . . . Sioux Falls LincolnWill Raymond . . . . . . . . . . . . . . St. Thomas MoreCarmen Richardson. . . . . . . . . Rapid City StevensRadiana Simeonova . . . . . . . . . Sioux Falls LincolnFaith Stevens . . . . . . . . . . . . . . Rapid City CentralYoungeun Yang . . . . . . . . . . . . Rapid City Stevens

Brigit Blote. . . . . . . . . . . . . . . . . St. Thomas More Abbey Falconer . . . . . . . . . . . . Sioux Falls LincolnTaylor St. Clair-Linde . . . . . . . Rapid City CentralMaycee Wieczorek . . . . . . . . . . Rapid City Stevens

Alec Doyle . . . . . . . . . . . . . . . . Rapid City CentralMaximus Gurath . . . . . . . Sioux Falls WashingtonEthan Jensen . . . . . . . . . . Sioux Falls WashingtonReagan Larson . . . . . . . . . . . . . Rapid City Stevens

Nic Benson . . . . . . . . . . . . . . . Rapid City CentralEllie Stone . . . . . . . . . . . . . . . . Rapid City Stevens

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For information about the SDSU-Civic Symphony, contact the symphony director, Dr. John Brawand,at john.brawand@sdstate.edu or the SDSU School of Performing Arts at 605-688-5187 or visitwww.sdstate.edu/music/sdsucivic-symphony.

SDSU-CivicSymphonyOpen to all interested students, majors or non-majors

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J. Laiten Weed Honors Orchestra

2018 ProgramDr. Jungho Kim, conducting

Holberg Suite. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edvard Grieg

Praeludium (Allegro vivace) (1843-1907)

Sarabande (Andante)

Gavotte (Allegretto)

Air (Andante religioso)

Rigaudon (Allegro con brio)

intermission

Introduction and Allegro, Op. 47. . . . . . . . . . . . . . . . . . Edward Elgar

(1857-1934)

Libertango . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Astor Piazzola

arr. Diego Marani (1921-1992)

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The three composers represented in this evening’s concert are each considered quintessential representatives of the music of their native countries: Edvard Grieg (1843-1907) from Norway, Edward Elgar (1857-1934) from England, and Astor Piazzola (1921-1992) from Argentina. Their compositions presented in this concert also share some interesting characteristics. Grieg and Elgar represent the late-Romantic era of the late 19th and early 20th century. Yet in their compositions featured this evening, both composers draw upon compositional forms of the Baroque era. Likewise, Piazzola’s music is inspired by a musical style from an ear-lier century. In another comparison, Grieg and Piazzola both model their compositions on dance forms of an earlier period. Taken together, all three composers start with a musical structure from the past and imbue it with their individual, contemporary inspiration.

Holberg Suite. . . . . . . . . . . . . . . . . . . . . . . . . . Edvard GriegIn the musical realm, the name Edvard Grieg is synonymous with

Norway. Born in Bergen, Norway, in 1843, Grieg’s involvement in music began early, with piano lessons at age six from his mother. When he was 15 he met the renowned Norwegian violinist Ole Bull, a family friend and relative-by-marriage. Bull was impressed with the young man’s musi-cal talent and encouraged Grieg’s parents to send him to the Leipzig Conservatory for continued study. There, Grieg’s focus was piano perfor-mance; he began his career as a concert pianist in 1861, at the age of 18.

In 1884, Bergen was preparing celebrations in honor of the 200th anniversary of another native son, Ludvig Holberg, one of Scandinavia’s outstanding literary figures. Grieg wrote a suite for piano as his personal tribute to Holberg; he first performed it in December, 1884 at the Bergen Holberg celebration. The piece was so well received that the next year Grieg arranged it for string orchestra, the form in which it is best known today.

Though commonly referred to as the Holberg Suite, the full name of the composition is From Holberg’s Time: a suite in olden style. Grieg took his inspiration from the traditional forms of the Baroque dance suite, an homage to the period of Holberg. The Suite opens with a Praeludium, that establishes an elegant, yet energetic introduction. The Sarabande which follows maintains the graceful, stately nature of

Continued on p. 15

About the Music

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The Black Hills String Retreat, since 1990, has offered string students in grades 4-12 intensive classes in orchestra, all-state, chamber ensemble, and individual instruction under the direction of an outstanding guest faculty. There are lots of recreational opportunities too, including a rock-climbing wall and zip line, ice-cream making and bowling. The Back Hills String Retreat is held at Cedar Canyon Wesleyan Camp in Rapid City.

Day Camp is available for Suzuki students, ages 4-9. Overnight accom-modations at camp are not generally available for day camp families. There may, however, be space for tents and small RV’s or campers. Direct inquiries to Cedar Canyon Wesleyan Camp.

Find more information and download an application after March 1, at http://blackhillsstringretreat.wikispaces.com or contact: Deb Knowles • (605) 718-9653 • debknowles1000@gmail.com Charlie Savot • (605) 721-9052 • charlieviola@rushmore.com

July 30-August 3, 2018

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About the Music (continued)that court dance in triple meter. The Sarabande is descended from an Arabian-influenced Spanish dance form. The Gavotte had its origins as a folk dance in southeastern France. The Gavotte became a very popular dance in the French court of Louis XIV, and was one of the most consis-tently used movements in Baroque dance suites. The Gavotte has a three-part (ABA) structure, with a middle, contrasting section. As was often done in the Baroque, Grieg wrote a Musette for the middle portion. The Musette, named for a small French bagpipe, is characterized by a drone in the lower instruments. While the outer Gavottes illustrate courtly dignity, the inner Musette provides a more folk-like atmosphere.

Grieg designates the tempo of the next movement, Air, as Andante religioso. Here is an example of the lyricism often associated with Grieg. The Air is among his most beautiful songs. The suite closes with a vigor-ous Rigaudon. This is also a folk dance from the south of France. Grieg’s Rigaudon introduces a Norwegian folk fiddle tune, perhaps honoring a fellow celebrated Bergen native, Ole Bull.

A significant part of the charm and strength of this Suite is the jux-taposition Grieg achieves between the “olden style” Baroque dance forms and his own, Romantic musical palette.

Introduction and Allegro, Op. 47. . . . . . . . . .Edward Elgar Many first hear the name Elgar when they attend or participate

in a graduation; Edward Elgar is the composer of the Pomp and Circumstance march so frequently used for those occasions. In actu-ality, Elgar composed five sets of marches with the title Pomp and Circumstance between 1901 and 1930. The familiar Pomp and Circumstance march captures the solemn dignity and expansive orches-tral color characteristic of much of Elgar’s music.

In 1904, a friend suggested that Elgar provide a piece in recognition of the recent establishment of the London Symphony Orchestra. Elgar responded with Introduction and Allegro for String Quartet and String Orchestra, op. 47. The composition celebrates the creation of the new orchestra by challenging the virtuosic abilities of its string section. Elgar conducted his Introduction and Allegro on March 8, 1905, in an all-Elgar concert at Queen’s Hall, London.

Continued on p. 17

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About the Music (continued)As a framework for his piece, Elgar selected a popular Baroque form,

the concerto grosso. In the Classic and Romantic periods the concept of the concerto had narrowed to a single solo instrument with orchestral accom-paniment. The Baroque concerto grosso featured a small group of soloists, the concertino, contrasting with the fuller orchestra, the ripieno. In Elgar’s adaptation of the Baroque form, the concertino is a string quartet, two violins, viola, and cello, against the background of a string orchestra.

One of the most delightful aspects of a concerto grosso is the oppor-tunity to alternately feature just one of the groups, concertino or ripieno, to feature a single member of the concertino, to have the musical material exchanged between them, or have them join forces in an ensemble. Elgar explores all of these possibilities, and adds some variants of his own. On occasion, a single a section of the orchestra actually assumes the soloist role and the solo quartet appears as the accompanying partner.

Elgar maintained sketchbooks in which he notated melodic themes as they came to him, themes which he would later incorporate in his compositions. The Introduction and Allegro contains such a theme that Elgar referred to as the ‘Welsh tune.’ This melody came to Elgar in August 1901, while he and his wife were on holiday in Wales; it was remi-niscent to him of a Welsh folk melody he had heard from a distance. The ‘Welsh tune’ makes its first appearance in the solo viola of the quartet and returns several times throughout the piece, culminating in a restatement with the full forces of both quartet and orchestra near the conclusion.

Another intriguing element of the Allegro is the fugue Elgar tucks into its center. As an iteration of the ‘Welsh tune’ seems about to estab-lish a calm repose, a sprightly, almost playful fugue theme is introduced in the second violins, moving to the firsts, then the celli, and finally the violas. The string orchestra seems determined to keep the intricacies of the fugue to themselves. In a letter to the same friend who suggested the project, Elgar described this section as a “devil of a fugue.”

When the quartet joins back into the fray, the various themes of the piece reoccur in varied combinations of joint and echoed participation. As the Introduction and Allegro builds in intensity, it reaches a full-throated, satisfying penultimate chord, then an unexpected conclusion.

Continued on p. 19

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Study with

Dr. Peter J. Folliard!Director, The Augustana Orchestra

We are thrilled to introduce Dr. Folliard as our new Director of Orchestras. He joins us following a year as a visitingassistant professor at the Crane School ofMusic at the State University of New York at Potsdam. Folliard also greatly enjoysworking with aspiring conductors at Juilliard Pre-College.

Born and raised in Northern New Jersey,Folliard began his studies in music at age four and aspired to be a conductor from the very beginning. With studies in the violin,piano, organ, voice, flute, trumpet, tromboneand euphonium Folliard received hisundergraduate degrees in music educationand instrumental performance from theUniversity of North Texas, master’s degreesin instrumental performance and conductingat the Peabody Institute of the Johns HopkinsUniversity, and Doctor of Musical Arts degreein orchestral conducting at the Eastman Schoolof Music.

Dr. Folliard has held professional conductingpositions with both the RochesterPhilharmonic and The United States Air ForceBand and Symphony Orchestra in WashingtonDC. He is a sought after recording producer,with over twenty years of experience andfifteen commercially available albums. Mostrecently, Folliard was asked to produce arecording session with the international operasuperstar Renée Fleming, and has been the go-to producer for the Eastman School ofMusic’s orchestral recordings.

www.augie.edu/music

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Libertango . . . . . . . . . . . . . . . . . . . . . . . . . . . Astor Piazzola The tango is an Argentinian dance born in the 1880’s, in the region of

Rio de la Plata, the natural border between Argentina and Uruguay. Astor Piazzola, whose name has become synonymous with Tango, was also born in Mar del Plata, in March, 1921.

When he was four, Piazzola’s family moved to New York City. Often on his own while his parents worked, Piazzola spent hours listening to his father’s collection of tango orchestra records, but also absorbed jazz and clas-sical music, including Bach. When his father found a bandoneon in a pawn shop, Piazzola began to play the small accordion. Twelve-year old Piazzola soon composed his first tango, and began lessons with a classical pianist.

While Piazzola became known as a bandoneon player and composer dur-ing the 1930’s and early 1940’s, he was also developing robust connections with preeminent figures of early-twentieth-century classical music. It was pianist Arthur Rubinstein who suggested that Piazzola begin working with Argentinian composer Alberto Ginastera, with whom he studied compos-ers such as Stravinsky, Bartók, and Ravel; and mastered orchestration. He won a grant to study with the legendary Nadia Boulanger at Fontainebleau, in France. Piazzola did not immediately share his tangos with Boulanger. When he finally did so, she encouraged him to pursue the dance form because that is where his unique talent would enrich the musical world.

Ultimately, Piazzola moved away from classical tango to develop his own style, nuevo tango. His personal touch was to blend elements of Clas-sical music with the traditional tango. In Milan in 1974, Piazzola recorded and published Libertango. The title is a fusion of the Spanish libertad, freedom, with tango. Since its inception, Libertango has been arranged for numerous ensembles of various sizes by Piazzola and others. In what-ever configuration, Libertango maintains three identifiable elements: the driving tango rhythm; an infectious, rhythmic and melodic ostinato that persists in either foreground or background; and beautifully soar-ing melody. In Libertango Piazzola seems to issue a double challenge to the audience: Can you experience this music sitting passively in your seat without your body wanting to move with its rhythmic impetus? Can you leave a performance of Libertango without subconsciously humming a melody or feeling that tango rhythm?

—Program notes by Katherine Peterson

About the Music (continued)

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Sixth Annual Season Concert Wednesday, May 23rd, 2018

7:00 PMT.F. Riggs Theatre

Pierre, South DakotaFree will donation.

P.O. Box 7214 Pierre, SD 57501 605-771-9847 www.facebook.com/pierreyouthorchestra

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MUSICwww.usd.edu/music

Contact:Dr. David Holdhusen, ChairDepartment of MusicDavid.Holdhusen@usd.edu605-677-5274

USD J Laiten Weed ad_2016.indd 1 1/25/16 10:14 AM

REGISTER TO AUDITION AT WWW.SDSYMPHONY.ORG/SDSYO

Contact the SDSYO Administrator with questions Office: (605) 335-7933 Ext. 14Email : sdsymphony@sdsymphony.org

The SDSYO is an educational program comprised of four student orchestras, ranging from a beginner string orchestra to an advanced symphonic orchestra. Members are given the tools and training to pursue their artistic passions, and concerts allow students to showcase their talents and perform in a professional environment.

The SDSYO is designed to enhance young musicians’ talents in an inspiring and educational group setting. Students build leadership skils, develop musical talents, and create lasting friendships.

SDSYO 2018-2019

MAY 18 - 21, 2018 REGISTER NOW!

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