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MUSIC DIRECTOREric McIntyre
ORCHESTRA STAFF Eric L. McIntyre, Conductor & Music Director
Jennifer Powers, Personnel Manager Mary Kay Polashek, Librarian
BOARD MEMBERS Sam Wormley, President Aaron Fultz, Secretary
Andrew Forbes, TreasurerRoger Berger, Emeritus
Gina Folsom Alan Henson
Charles Orngard Jeffrey Prater
Stan Rabe
OTHER CONTRIBUTORSDawn Budd, Artistic Designer
Noelle Fultz, Standing Ovation LiaisonFriends of Central Iowa Symphony (FOCIS)
REFLECTIONS OF BEAUTYMay 1, 2016, 3:00 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.
Concert Conversations with Music Director,Eric McIntyre at 2:15 PM
Reception following the concert
ERIC MCINTYRE Music Director
MAY 1, 2016, 3:00 PMAMES CITY AUDITORIUM
PEOPLE WHO LIVE IN GLASS HOUSESJohn Philip Sousa (1854-1932)
I. The ChampagnesIV. The Whiskies – Scotch, Irish, Bourbon ,and RyeV. Convention of the Cordials, Wines, Whiskies, and White Rock
CLARINET CONCERTO (1948) Aaron Copland (1900-1990)
Gregory Oakes, clarinet
INTERMISSION
...IN DARKNESS AND DISTANCE (WORLD PREMIERE)Eric L. McIntyre (b. 1970)
THREE BLACK KINGSEdward Kennedy "Duke" Ellington (1899-1974)
I. King of the MagiII. King SolomonIII. Martin Luther King
Mark Laver, alto and soprano saxophone
REFLECTIONS OF BEAUTY
Eric McIntyre is now is his seventh season as music director of the Central Iowa Symphony. He has previously served as music director of the Fort Dodge Area Symphony, Ottumwa Symphony Orchestra, and the new music ensemble AURA, and he continues to perform as a guest conductor including recent performances with the Nanjing University Symphony Orchestra in Nanjing, China and directing the brass ensembles of the Swakopmunder Musikwoche in Swakopmund, Namibia. McIntyre’s original compositions have been performed around the world by an array of performers and received support and awards from ASCAP, the Iowa Arts Council, the American Music Center, and the National Endowment for the Arts. Equally adept as a hornist, McIntyre was a member of the Houston Ballet and Houston Grand Opera Orchestras and has performed with the Houston Symphony, Des Moines Symphony and Orchestra Iowa. Also skilled as a natural hornist, McIntyre performs recitals on the classical horn and has appeared as a concerto soloist with orchestras throughout Iowa.McIntyre is a Professor of Music at Grinnell College, where he teaches music composition courses and directs the Grinnell Symphony Orchestra. He also contributes to Grinnell’s Liberal Arts in Prison Program, for which he has presented lectures, taught credit-bearing courses, and conducted several orchestral performances. His current research involves the teaching of music listening skills among incarcerated populations.McIntyre is an alumnus of Indiana University, where he received B.M. and M.M. degrees in music performance and was awarded the prestigious Performer’s Certificate. He holds a D.M.A. in music composition from the University of Houston Moores School of Music.In addition to his musical activities, McIntyre and his family raise dairy goats, chickens, and turkeys and grow much of their own food on their farms outside Grinnell.
ERIC MCINTYRE
Eric McIntyre
MARK LAVERMark Laver, an Assistant Professor of Music at Grinnell College, is one of Canada’s most versatile alto saxophonists, and is highly in-demand in the Toronto jazz scene. As a jazz musician and creative improviser, Laver has performed with premier international artists including Lee Konitz, Seamus Blake, Kurt Elling, Eddie Prévost, Hugh Fraser, Dong-Won Kim, NEXUS, William Parker, Nicole Mitchell, and Phil Nimmons. As a classical saxophonist, he won the gold medal for
woodwind performance for the Royal Conservatory of Music’s ARCT exam in 2001, and has been a featured soloist with the Kingston Symphony Orchestra, the Guelph Symphony Orchestra, and the Royal Conservatory Orchestra. His lengthy discography includes recordings with celebrated Canadian indie acts The Minotaurs, Muskox, The See Through Trio, Steamboat, and Feuermusik, and with his own group, The Earthtones. Laver is also a widely published author. His book, Jazz Sells: Music, Marketing, and Meaning (Routledge 2015), explores the use of jazz music in advertising, and his co-edited collection of essays, Beyond the Classroom: Improvisation and Music Education (Routledge, 2016, with Ajay Heble) offers compelling new perspectives on the revolutionary potential of improvisation pedagogy. Laver is an alumnus of the Faculty of Music at the University of Toronto (2011), and of the Banff International Workshop in Jazz and Creative Music (2005).
GREGORY OAKES Gregory Oakes is one of the most exciting and energetic clarinetists of his generation. From his Carnegie Hall debut with members of Ensemble Intercontemporain and Pierre Boulez to his performances as a member of the Colorado Symphony Orchestra, Oakes has been praised by critics for his “outstanding performance” (New York Times) and “jazzy flourishes” (Denver Post). His performance highlights include a concerto with the Colorado Symphony Orchestra, the Telluride Jazz Festival with Grammy® Award-winner Terence Blanchard, a concert at Amsterdam’s venerable new music hall De IJsbreker, and a solo feature at Berlin’s prestigious MaerzMusik festival. Oakes has performed at multiple International Clarinet Association ClarinetFests, the University of Oklahoma Clarinet Symposium, and the International Computer Music Conference. He has performed throughout the United States, Brazil, Germany, Italy, the Netherlands, and Thailand. He has held residencies at Princeton, Harvard, Dartmouth, Aspen, and Amsterdam's STEIM. His solo CD New Dialects appears on the Centaur Records label. His recordings appear on Bridge, CRI, Gothic, Karnatic Lab Records, and Naxos and broadcasts on National Public Radio. Oakes is on the faculty of Iowa State University and is principal clarinet of the Des Moines Symphony Orchestra. He is a Buffet Group USA and Vandoren Performing Artist.
Mark Laver Gregory Oakes
PROGRAM NOTESNicknamed the “American March King,” composer and conductor, John Philip Sousa (1854-1932) is best known world-wide for his 137 military marches, composed while directing the U.S. Marine Corps Band (“President’s Own”) or while leading his civilian Sousa Band. However, he was also a prolific composer in other musical genres, as well. Although not performed nearly as often as the marches, his catalog also includes 15 operettas, 5 overtures, 11 suites, 24 dances, 28
fantasies, and 322 band arrangements of symphonic works. Sousa’s suite People Who Live in Glass Houses, originally written for band, was composed in 1909, directly before the composer-conductor embarked on a world tour with the Sousa Band. However, this suite was later rescored for orchestra, when the composer decided to employ it as ballet music to be included in the revival of his operetta The Bride Elect. Later still, Sousa transcribed the suite as a separate work for orchestra. A geographical tour concerning various categories of alcoholic beverages, Sousa subtitled the work: A Bacchanal Suite in Four Movements. The composer, who apparently did not participate in “temperance” during Prohibition, entitled the movements: I. “The Champagnes;” II. “The Rhein Wines;” III. “The Whiskies - Scotch, Irish, Bourbon, and Rye;” and IV. “Convention of the Cordials.” Each movement reflects the country or region of origin associated with each beverage type, and the work is constructed so that it can be performed either in its entirety, as stand-alone movements, or in various combinations of individual movements.
PROGRAM NOTESOften called the “Dean of American Composers,” Aaron Copland (1900-1990) is best known for his expansive “Americana-style” orchestral works written during the 1930s and 40s. His ballet scores (and the suites extracted from them) Rodeo, Billy the Kid, and Appalachian Spring, as well as the iconic Fanfare for the Common Man are among the Copland pieces most often performed and enjoyed by concert audiences here and abroad. Less known to most audiences, but also one of his great works from the 1940s, is the Clarinet Concerto, considered by some to be the finest twentieth-century concerto for that instrument.Copland’s Clarinet Concerto was written in 1947-48 on commission from the famous clarinettist and band leader, Benny Goodman. Goodman, one of the pioneers of big-band radio broadcasting in the 1930s, was an incredibly versatile musician. He not only played some of the best popular music of the time, but also performed and recorded the great classical clarinet concerti with major symphonies. Concerning the commission, Goodman made no specific demands on the composer about what to write, leaving style and content completely up to Copland. The clarinettist paid the composer $2,000 for the commission, a large sum of money in those days. Copland finished work on the Clarinet Concerto in December 1948, but Goodman did not perform it for several years after its completion. In fact, there is some doubt whether Goodman actually played the live-performance world premiere. However, he did perform the work for the very first time in early November 1950 on a radio broadcast with the NBC Symphony Orchestra, conducted by Fritz Reiner. Shortly after, Goodman gave the live-performance New York premiere. Goodman played the concerto numerous times with Copland conducting, and they produced two recordings together.The Clarinet Concerto by Aaron Copland has become a staple of the clarinet repertoire, and has been performed and recorded by many of the greatest clarinettists and orchestras of the world.
John Philip Sousa Aaron Copland
PROGRAM NOTES
— Jeffrey Prater
We have been privileged to hear several of conductor Eric McIntyre’s own compositions in recent past seasons, and this evening we will hear the world premiere of another of his orchestral works, entitled . . . in darkness and distance. This piece is an orchestrated version of a movement called “Ebb and Flow” that is part of a work for solo piano composed in 2002 entitled Five Scenes for Piano. The composer describes . . . in darkness and distance as follows:
Ever since the premiere I’ve felt that it needed to be an orchestral piece; I felt I couldn’t really get the power I wanted, no matter how intensely the pianist played. The titles of both versions are similar in that both are aquatic in nature and deal with images that slip away. The orchestral title comes from the final sentence of Mary Shelley’s ‘Frankenstein,’ when the monster announces his intention to immolate himself and fades away on an ice raft: “He was soon borne away by the waves and lost in darkness and distance.”
PROGRAM NOTESGreat jazz pianist, band-leader, and composer, Edward Kennedy (“Duke”) Ellington (1899-1974) was one of the most influential jazz musicians and song writers of the early twentieth century. His songs “Satin Doll,” “Sophisticated Lady,” “Mood Indigo,” “Don’t Get Around Much Anymore,” and “It Don’t Mean a Thing (If It Ain’t Got That Swing)” are just a few of his pieces that have become jazz standards, and which have been arranged, performed and recorded by innumerable artists over the years. Ellington’s work was not limited to songs and jazz compositions, however. He was also no stranger to writing for the symphony orchestra, as is attested by his excellent orchestral suites Black Brown and Beige, and Harlem.Ellington’s Three Black Kings was one of his very last works. He was commissioned by the Dance Theater of Harlem to compose a symphonic ballet, and in 1973 he produced a condensed score of Three Black Kings that he presented to his friend, arranger Luther Henderson. Ellington asked Henderson to orchestrate his three-movement short score into a work for symphony and jazz band. However, the ballet project failed to materialize. After Duke’s death in 1974, Ellington’s son Mercer again approached Henderson to orchestrate the piece, and this time the planned work for symphony and jazz band was successfully completed. Later, the work was revised, dropping the jazz band and substituting a solo saxophonist —the version we will hear this evening.The individual movements of Three Black Kings musically represent important Black individuals from the past. The first movement is a musical study of Balthazar, one of the three kings in the biblical account of the birth of Jesus. The second movement depicts King Solomon of Israel, and the third portrays the late Dr. Martin Luther King, Jr., who had been a personal friend of Ellington.
A special thanks to Everts for the flower arrangements.
Eric McIntyre Duke Ellington
V I O L I N 1Kevin Amidon, concertmaster
Kathryn PenningAmber Ringgenberg David Baegley Amelia Fiscus Hannah Pinnt V I O L I N 2Ruth Fiscus*Carrie ForbesMargaret GlasscockKate OrngardBeth MartinBeau HensonSuzanna Gilbert
V I O L A Mary Kay Polashek*Donald SiebernsJulienne KrennrichJennifer Powers
MUSICIANSC E L LO Alan Henson*Amy AndreottiSusan CramerKay NelsonFox Henson
BA S S Gerald JohnsonDonita McCoyCara Stone
JA Z Z BA S SSteve Charlson
H A R PSuzanne Sontag
P I A N OCarol Weber
F LU T EShon Stephenson*
Marianne Malinowski Chair
Rachel LowryHeather Imhoff
O B O EKevin Schilling*Janet DixonRachel Keske
E N G L I S H H O R NJanet Dixon
C L A R I N E TCharles Bogner*Michael VanOmmeren
Chris Conner
BA S S O O NJanet Baldwin*Noelle Fultz
H O R NPam Schwab*Stephani ScherbartGale WebbBrian Bunn
T R U M P E TJason Kirke*Eric LaydenDavid StephensonLauren Schwab
T RO M B O N EBrad Harris*Michael AlbarracinBurton Hable
T U BAJim Kilmer
T I M PA N IDan Krumm*
P E RC U S S I O NAaron Fultz
* 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 AL I B R A R I A NMary Kay Polashek
CRESCENDO! 2015-16 PATRONSM A E S T RO ’ S C I RC L E $ 2 5 0 0 +Janet & Erv Klaas
S P O N S O R S $1000-$2499Alben F. Bates & Clara G. Bates Foundation
Kay & Roger BergerMartha Anderson &George Burnet
Jean Earle FelixIn Memory of MarthaFelix Nebgen
Jean Earle FelixIn Honor of Pamela Schwab
Carol & Eric WeberJoan E. WelchCheryl Lawson & Sam Wormley
B E N E FAC TO R S $500-$999Deborah & A.M. FinkCornelia & Jan FloraIn Memory of Carroll & May Fleming Butler
Natalie HowellWayne MaakIn Memory of Karen
Sandra & GeorgeMcJimsey
Helen F. McRobertsIn Memory of Liz Keys
Pam & Chuck Schwab
PAT RO N S $300-$499Janet & Leonard BondCarol & Robert DeppeIn Honor of Mary Kay Polashek
Carin & Andrew ForbesLinda HansenIn Memory of Larry Hansen
Peg JohnsonEvelyn & Dick Shibles
S U P P O RT E R S $150-$299Ames Golf & CountryClub
Beverly BaumCharles Orngard Financial Management
Sara & Gerald ChaseGladys & Peter ColwellIn Memory of Wayne Davis
Jane FrerichsNoelle & Aaron FultzMarge GowdyIn Memory of Mike Gowdy
Robert GregoryJean & Vincent Hassebrock
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Nancy MarksDonita & Dick McCoyKathryn & John MillerPat & Louis Banitt FundMary Kay & EmilPolashek
Ruth & Clayton SwensonSostrini String Quartet: Esther Lee Tiffany Loe Joanna Held Fox HensonKlier String Quartet: Jana Kim Olivia Wong Beau Henson Grace Kim
F R I E N D S $50-$149Carol & Ted BaileyBetty & Tom BartonCathy & David CarlylePeggy & Greg DieterJanet & Philip DixonGina Folsom
Mary L. FrahmPaula ForrestRuth & Jake GravesBarbara & Karl GwiasdaJane JohnsonJay LohnesBeth & Peter MartinKay NelsonMary Lois NelsonFrankie & Jim OlesonK.L. OutkaPam Sibbel Music StudioIn Honor of Dick & Donita McCoy
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Deanne & BobSummerfelt
Kay & Donald WallMarlene WeisshaarJonathan WendelChris & Jeff WhiteLee Anne & Stephen Willson
M A R I A N N E M A L I N OWS K I N A M E D C H A I RJanet & Erv Klaas
RO N F U C H S N A M E D C H A I RAlben F. Bates & Clara G. Bates Foundation
P RO G R A M SPioneer Communications, Inc.
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
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 sup-port 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 +
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Central Iowa Symphony is a 501(c)(3) non-profit organization.All donations are tax deductible to the extent allowed by law.
£ 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)
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