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SEASON PREMIERE
Featuring MYSO’s acclaimed Chamber Orchestra in the first performance of the season.

Carter Simmons, Music Director

Wednesday, October 19, 2022 | 7:00 pm

Schwan Concert Hall; Wisconsin Lutheran College

PROGRAM

Ralph Vaughan Williams (1872-1958)

Five Variants of Dives and Lazarus for Strings & Harp

Edward Elgar (1857-1934)

Chanson de Nuit, Op. 15, No. 1

Chanson de Matin, Op. 15, No. 2

Franz Joseph Haydn (1732-1809)

Symphony No. 101, in D, Hob. I: 101 “The Clock”

    1. Adagio-Presto
    2. Andante
    3. Menuet and Trio: Allegretto
    4. Finale: Vivace
MUSICIANS

FIRST VIOLINS

Clark Snavely

Sofia Castanho-Bollinger

Jasmine Storck

Henry Snavely

Hans Hemann

Emilia Sato

Brynn Nelson

Jennifer Hong

Trinity Schrotenboer

Tamara Avdeev

SECOND VIOLINS

Caleb Endres

Titus Veldhouse

Ben Christiaansen

Rosy Kojis

Rebecca Brojanac

Madison Koo

Mark Stein

Suraksha Kodgi

Lexi Mabini

VIOLAS

Sonya Wilhelm

Katelynn Lesinski

Benjamin Hruska

Rem Toth

Brae Bigelow

CELLOS

Noor Salameh

William Larsen

Gabrielle Peck

Gunnar Conine

Maryveth Ochoa

Adela Ramirez

BASSES

Isabella McGinley

Dmitriy Levit

HARP

Maydine Bellot

FLUTES

Marisa Lehner

Zackary Muñoz

OBOES

Lydia Morency

Elisabeth Young

CLARINETS

Lilly Beane

Aaron Srok

BASSOONS

Ben Beumler

Neil DuJardin

HORNS

Shaurya Bansal

Mina Gates

TRUMPETS

Sarah Downes

Hudson Simmons

TIMPANI

Logan DeWaide

PROGRAM NOTES

by Roger Ruggeri © 2022


Ralph Vaughan Williams

b. October 12, 1872; Down Ampney | d. August 26, 1958; London

Five Variants of Dives and Lazarus

Deeply rooted in English folksong, Vaughan Williams’ music is often a seamless blend of folk sources and his personal expression. How profoundly that folk music affected him is evident in this recollection of first hearing the folk song Dives and Lazarus in 1893, at the age of 21: “I had that sense of recognition—‘here’s something which I have known all my life, only I didn’t know it!’”

Over the years, Vaughan Williams collected other regional versions of this folk tune, using five of them to create this flowing work for strings and harps in response to a commission from the 1939 World’s Fair in New York City. Sir Adrian Boult led the first performance in Carnegie Hall in June of 1939. Boult later recalled that the premiere took place during a heat wave; the temperature in that un-air-conditioned hall was nearly 90˚F.

On his score, Vaughan Williams wrote: “These variants are not replicas of traditional tunes, but rather reminiscences of various versions in my own collection and those of others.”

Dives and Lazarus, also known as “The Rich Man and the Beggar” (“Dives” being a Latin word for “rich” or “talented”), is a narrative attributed to Jesus (Luke 16:19-31).

The New International Version recounts the story in this manner:

There was a rich man who was dressed in purple and fine linen and lived in luxury every day. At his gate was laid a beggar named Lazarus, covered with sores and longing to eat what fell from the rich man’s table. Even the dogs came and licked his sores. The time came when the beggar died, and the angels carried him to Abraham’s side. The rich man also died and was buried. In Hell, where he was in torment, he looked up and saw Abraham far away, with Lazarus by his side. So, he called to him, “Father Abraham, have pity on me and send Lazarus to dip the tip of his finger in water and cool my tongue, because I am in agony in this fire.” But Abraham replied, “Son, remember that in your lifetime you received your good things, while Lazarus received bad things, but now he is comforted here, and you are in agony. And besides all this, between us and you a great chasm has been fixed, so that those who want to go from here to you cannot, nor can anyone cross over from there to us.” He answered, “Then I beg you, father, send Lazarus to my father’s house, for I have five brothers. Let him warn them, so that they will not also come to this place of torment.” Abraham replied, “They have Moses and the Prophets; let them listen to them.” “No, Father Abraham,” he said, “but if someone from the dead goes to them, they will repent.” He said to him, “If they do not listen to Moses and the Prophets, they will not be convinced even if someone rises from the dead.”

The folksong that tells this story is believed to be among the oldest known English tunes, documented from 1557. The Dives and Lazarus (Introduction and Theme) association merely dates from the 19th century, so there was plenty of opportunity for the tune to become allied with other lyrics. Perhaps best known is the Irish one entitled (I) The Star of the County Down; Scotland had its (II) Gilderoy; there was also (III) The Thresher and (IV) Cold blows the wind; and finally, (V) The Murder of Maria Martin, telling of a notorious 1827 case in Norfolk. (This is also the order in which Vaughan Williams deploys his variants.)

Edward Elgar

b. June 2, 1857; Broadheath | d. February 23, 1934; Worcester

Chanson de Nuit, Opus 15, No. 1

Chanson de Matin, Opus 15, No. 2

Well before hitting his stride with such large-scale works as “Enigma” Variations (1898-99), Elgar composed in smaller forms, often for violin and piano. His authoritative biographer, Diana McVeagh, characterizes these charming works, often performed by the composer himself, as having “grace and fluency and a nice balance of sentiment and display.”

Only a year before setting to work on his “Enigma” Variations, Elgar wrote these Night and Morning “songs” for violin and piano, then subsequently rescored them for small orchestra. Chanson de Nuit bears a tempo indication of Andante, while Chanson de Matin has a more sprightly marking of Allegretto.

Franz Joseph Haydn

b. March 31, 1732; Rohrau, Lower Austria | d. May 31, 1809; Vienna

Symphony No. 101 in D major (“The Clock”)

Upon returning for his second Salomon series in London on February 4, 1794, Haydn carried mere sketches and fragments of his last five symphonies. With a confidence derived from the completion of more than one hundred works in this form, Haydn planned to complete his new symphonies as needed. Haydn’s late arrival in London caused some scheduling changes in his concert series, but his appearance was so eagerly anticipated that no objections were recorded. A sense of that Haydn enthusiasm can be gleaned from the following report in the London Morning Chronicle of his second concert (March 3, 1794), at which the present D-major symphony (then known as an “Overture”) was first played:

“As usual the most delicious part of the entertainment was a new grand overture by HAYDN; the inexhaustible, the wonderful, the sublime HAYDN! The first two movements were encored; and the character that pervaded the whole composition was heartfelt joy. Every new overture he writes, we fear, till it is heard, he can only repeat himself; and we are every time mistaken. Nothing can be more original than the subject of the first movement; and having found a happy subject, no man knows like HAYDN how to produce incessant variety, without once departing from it. The management of the accompaniments of the Andante, though perfectly simple, was masterly; and we never heard a more charming effect that was produced by the trio to the minuet. It was HAYDN; what can we--what need we--say more?”

The work was reprogrammed for the following week’s concert, and again, its individual movements were encored. A particular favorite was the second movement Andante, whose ticking accompaniment ultimately won for this work its famed sobriquet, “The Clock.”

This title seems especially appropriate, but for an entirely different reason. Haydn had earlier made a setting of this Menuet movement for a musical clock built by his colleague, Father Primitivius Niemecz. Prince Esterhazy’s librarian, Niemecz was noted for building clever mechanical musical devices, or Flötenuhren (because some had flute-like organ pipes attached to them). It is believed that Haydn wrote this movement in Vienna during 1793 and shortly thereafter used it as a basis for one (H. XIX:3) of the twelve short pieces that he contributed to the clock’s repertoire before the device was presented to the prince.

Haydn’s importance in the history of the symphony is not merely a matter of volume–after all, Christoph Graupner (1683-1760) wrote 113 works in this form–rather, it was the way in which Haydn refined his technique and expression through the format of the symphony. In his consideration of Haydn’s symphonies, Irving Kolodin singles out the present work as an example of this development:

“One could search out and summarize an infinity of ways in which, detail by detail, movement by movement, Haydn had added, in the first eight-dozen or so symphonies, the arts and resources which stand fully revealed as ‘The Symphony’ only in the last half-dozen. But one detail will have to suffice. Are you an aficionado of the Clock (No. 101), in all its ticktackänliche (as the German annotator for the Jochum version of DG has it) fantasy, particularly the vivacious finale with its scampering string passages in a flashing detaché pattern? Haydn began writing such passages as early as Symphony No. 31, and reverted to them again in No. 53 (both, it should be noted, are in D major). There are extensions and expansions of the device in No. 66 and in such other symphonies as Nos. 77, 87, and 90. At first the pacing strings race in unison. Would there not be more resonance with the seconds doubling the firsts an octave below? He tries that. How about intensifying both brilliance and sonority with passages in sixths and thirds, in contrary motion, and with double stops, thus broadening, from four to eight, the total of vibrating tones from firsts, seconds, violas, and cellos? All these refinements of the original idea can be found along the way. Now, 70 symphonies after No. 31, he has it all in hand for another D Major symphony, to dispose as he chooses and to utilize as and when he deems appropriate, up to and including a final chord split nine ways among the four sources of string sound!”

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Image for SEASON PREMIERE
SEASON PREMIERE
Featuring MYSO’s acclaimed Chamber Orchestra in the first performance of the season.

Carter Simmons, Music Director

Wednesday, October 19, 2022 | 7:00 pm

Schwan Concert Hall; Wisconsin Lutheran College

PROGRAM

Ralph Vaughan Williams (1872-1958)

Five Variants of Dives and Lazarus for Strings & Harp

Edward Elgar (1857-1934)

Chanson de Nuit, Op. 15, No. 1

Chanson de Matin, Op. 15, No. 2

Franz Joseph Haydn (1732-1809)

Symphony No. 101, in D, Hob. I: 101 “The Clock”

    1. Adagio-Presto
    2. Andante
    3. Menuet and Trio: Allegretto
    4. Finale: Vivace
MUSICIANS

FIRST VIOLINS

Clark Snavely

Sofia Castanho-Bollinger

Jasmine Storck

Henry Snavely

Hans Hemann

Emilia Sato

Brynn Nelson

Jennifer Hong

Trinity Schrotenboer

Tamara Avdeev

SECOND VIOLINS

Caleb Endres

Titus Veldhouse

Ben Christiaansen

Rosy Kojis

Rebecca Brojanac

Madison Koo

Mark Stein

Suraksha Kodgi

Lexi Mabini

VIOLAS

Sonya Wilhelm

Katelynn Lesinski

Benjamin Hruska

Rem Toth

Brae Bigelow

CELLOS

Noor Salameh

William Larsen

Gabrielle Peck

Gunnar Conine

Maryveth Ochoa

Adela Ramirez

BASSES

Isabella McGinley

Dmitriy Levit

HARP

Maydine Bellot

FLUTES

Marisa Lehner

Zackary Muñoz

OBOES

Lydia Morency

Elisabeth Young

CLARINETS

Lilly Beane

Aaron Srok

BASSOONS

Ben Beumler

Neil DuJardin

HORNS

Shaurya Bansal

Mina Gates

TRUMPETS

Sarah Downes

Hudson Simmons

TIMPANI

Logan DeWaide

PROGRAM NOTES

by Roger Ruggeri © 2022


Ralph Vaughan Williams

b. October 12, 1872; Down Ampney | d. August 26, 1958; London

Five Variants of Dives and Lazarus

Deeply rooted in English folksong, Vaughan Williams’ music is often a seamless blend of folk sources and his personal expression. How profoundly that folk music affected him is evident in this recollection of first hearing the folk song Dives and Lazarus in 1893, at the age of 21: “I had that sense of recognition—‘here’s something which I have known all my life, only I didn’t know it!’”

Over the years, Vaughan Williams collected other regional versions of this folk tune, using five of them to create this flowing work for strings and harps in response to a commission from the 1939 World’s Fair in New York City. Sir Adrian Boult led the first performance in Carnegie Hall in June of 1939. Boult later recalled that the premiere took place during a heat wave; the temperature in that un-air-conditioned hall was nearly 90˚F.

On his score, Vaughan Williams wrote: “These variants are not replicas of traditional tunes, but rather reminiscences of various versions in my own collection and those of others.”

Dives and Lazarus, also known as “The Rich Man and the Beggar” (“Dives” being a Latin word for “rich” or “talented”), is a narrative attributed to Jesus (Luke 16:19-31).

The New International Version recounts the story in this manner:

There was a rich man who was dressed in purple and fine linen and lived in luxury every day. At his gate was laid a beggar named Lazarus, covered with sores and longing to eat what fell from the rich man’s table. Even the dogs came and licked his sores. The time came when the beggar died, and the angels carried him to Abraham’s side. The rich man also died and was buried. In Hell, where he was in torment, he looked up and saw Abraham far away, with Lazarus by his side. So, he called to him, “Father Abraham, have pity on me and send Lazarus to dip the tip of his finger in water and cool my tongue, because I am in agony in this fire.” But Abraham replied, “Son, remember that in your lifetime you received your good things, while Lazarus received bad things, but now he is comforted here, and you are in agony. And besides all this, between us and you a great chasm has been fixed, so that those who want to go from here to you cannot, nor can anyone cross over from there to us.” He answered, “Then I beg you, father, send Lazarus to my father’s house, for I have five brothers. Let him warn them, so that they will not also come to this place of torment.” Abraham replied, “They have Moses and the Prophets; let them listen to them.” “No, Father Abraham,” he said, “but if someone from the dead goes to them, they will repent.” He said to him, “If they do not listen to Moses and the Prophets, they will not be convinced even if someone rises from the dead.”

The folksong that tells this story is believed to be among the oldest known English tunes, documented from 1557. The Dives and Lazarus (Introduction and Theme) association merely dates from the 19th century, so there was plenty of opportunity for the tune to become allied with other lyrics. Perhaps best known is the Irish one entitled (I) The Star of the County Down; Scotland had its (II) Gilderoy; there was also (III) The Thresher and (IV) Cold blows the wind; and finally, (V) The Murder of Maria Martin, telling of a notorious 1827 case in Norfolk. (This is also the order in which Vaughan Williams deploys his variants.)

Edward Elgar

b. June 2, 1857; Broadheath | d. February 23, 1934; Worcester

Chanson de Nuit, Opus 15, No. 1

Chanson de Matin, Opus 15, No. 2

Well before hitting his stride with such large-scale works as “Enigma” Variations (1898-99), Elgar composed in smaller forms, often for violin and piano. His authoritative biographer, Diana McVeagh, characterizes these charming works, often performed by the composer himself, as having “grace and fluency and a nice balance of sentiment and display.”

Only a year before setting to work on his “Enigma” Variations, Elgar wrote these Night and Morning “songs” for violin and piano, then subsequently rescored them for small orchestra. Chanson de Nuit bears a tempo indication of Andante, while Chanson de Matin has a more sprightly marking of Allegretto.

Franz Joseph Haydn

b. March 31, 1732; Rohrau, Lower Austria | d. May 31, 1809; Vienna

Symphony No. 101 in D major (“The Clock”)

Upon returning for his second Salomon series in London on February 4, 1794, Haydn carried mere sketches and fragments of his last five symphonies. With a confidence derived from the completion of more than one hundred works in this form, Haydn planned to complete his new symphonies as needed. Haydn’s late arrival in London caused some scheduling changes in his concert series, but his appearance was so eagerly anticipated that no objections were recorded. A sense of that Haydn enthusiasm can be gleaned from the following report in the London Morning Chronicle of his second concert (March 3, 1794), at which the present D-major symphony (then known as an “Overture”) was first played:

“As usual the most delicious part of the entertainment was a new grand overture by HAYDN; the inexhaustible, the wonderful, the sublime HAYDN! The first two movements were encored; and the character that pervaded the whole composition was heartfelt joy. Every new overture he writes, we fear, till it is heard, he can only repeat himself; and we are every time mistaken. Nothing can be more original than the subject of the first movement; and having found a happy subject, no man knows like HAYDN how to produce incessant variety, without once departing from it. The management of the accompaniments of the Andante, though perfectly simple, was masterly; and we never heard a more charming effect that was produced by the trio to the minuet. It was HAYDN; what can we--what need we--say more?”

The work was reprogrammed for the following week’s concert, and again, its individual movements were encored. A particular favorite was the second movement Andante, whose ticking accompaniment ultimately won for this work its famed sobriquet, “The Clock.”

This title seems especially appropriate, but for an entirely different reason. Haydn had earlier made a setting of this Menuet movement for a musical clock built by his colleague, Father Primitivius Niemecz. Prince Esterhazy’s librarian, Niemecz was noted for building clever mechanical musical devices, or Flötenuhren (because some had flute-like organ pipes attached to them). It is believed that Haydn wrote this movement in Vienna during 1793 and shortly thereafter used it as a basis for one (H. XIX:3) of the twelve short pieces that he contributed to the clock’s repertoire before the device was presented to the prince.

Haydn’s importance in the history of the symphony is not merely a matter of volume–after all, Christoph Graupner (1683-1760) wrote 113 works in this form–rather, it was the way in which Haydn refined his technique and expression through the format of the symphony. In his consideration of Haydn’s symphonies, Irving Kolodin singles out the present work as an example of this development:

“One could search out and summarize an infinity of ways in which, detail by detail, movement by movement, Haydn had added, in the first eight-dozen or so symphonies, the arts and resources which stand fully revealed as ‘The Symphony’ only in the last half-dozen. But one detail will have to suffice. Are you an aficionado of the Clock (No. 101), in all its ticktackänliche (as the German annotator for the Jochum version of DG has it) fantasy, particularly the vivacious finale with its scampering string passages in a flashing detaché pattern? Haydn began writing such passages as early as Symphony No. 31, and reverted to them again in No. 53 (both, it should be noted, are in D major). There are extensions and expansions of the device in No. 66 and in such other symphonies as Nos. 77, 87, and 90. At first the pacing strings race in unison. Would there not be more resonance with the seconds doubling the firsts an octave below? He tries that. How about intensifying both brilliance and sonority with passages in sixths and thirds, in contrary motion, and with double stops, thus broadening, from four to eight, the total of vibrating tones from firsts, seconds, violas, and cellos? All these refinements of the original idea can be found along the way. Now, 70 symphonies after No. 31, he has it all in hand for another D Major symphony, to dispose as he chooses and to utilize as and when he deems appropriate, up to and including a final chord split nine ways among the four sources of string sound!”

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