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~ President’s Notes ~ Welcome to the Muscatine Symphony’s 2018-2019 Season!! On behalf of the Board of Directors of the Muscatine Symphony Orchestra Association (MSOA), as a fresh and energetic new board president, and as a passionate violin player in the symphony, I welcome you to our new season. We are excited to present to you more variety of music based on our recent audience survey and also to be able to communicate with you more effectively through our newly redesigned website. Additionally, the Board is busy implementing our two year Strategic Plan, which includes focusing on audience building and expanding our donor base while maintaining a high level of performance. So, lean back, relax, and let us take you away from all other distractions. Experience the joy of our creator’s heavenly music and let those sounds speak to your souls. As Albert Einstein so eloquently put it, “...I often think in music. I live my daydreams in music.” So let yourself dream and be transformed. We’re so very glad you are here. Thank you for attending. Please help us spread the news of today’s concert and our entire season throughout our “Pearl of the Mississippi” community! The MSO succeeds because of your generous continued financial support and recommendations to your family and many friends. Help us #savethemusicinmusca. Cheers! It’s going to be a GREAT Season! Carmen Bugay President of the Board “Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything” – Plato.


Good evening and welcome to our first concert of the 2018-19 MasterWorks concert season. This season is going to be full of fantastic performances. We have great collaborations, talented guest artists, a world premier, and much more for you, your family, and friends to enjoy. To kick off this season, I am pleased to bring back a fan favorite (and my personal favorite) guest artist, my wife, Rei Hotoda. Since her last performance with us, I have received numerous questions and requests as to when she will be coming back. Tonight, you will get to see her reprise her original performance with us as conductor and pianist! She will be performing Bach’s first keyboard concerto which is being paired with two other “first” pieces. At the ripe old age of eleven years old, Mozart wrote his first true opera Apollo et Hyacinthus and the symphony will present its overture this evening. Culminating the night of firsts is Mendelssohn’s Symphony No. 1 which he wrote at just fifteen years of age! These men were amazing prodigies. I know you will be delighted by this evening’s performance as well as the entire season. Be sure to get your season tickets tonight to take advantage of the Symphonic Pearl of the Mississippi—your Muscatine Symphony Orchestra!


Brian Dollinger

Music Director & Conductor

Board of Directors Officers Carmen Bugay…………………………………....President

MasterWorks I Concert October 13, 2018

Stephanie Romagnoli...….……….…...…….Vice President

“A Night of Firsts”

Sandi Eversmeyer….………...……….………….Secretary Gary Meerdink.…….…………………………….Treasurer Richard Sessler………………….Finance Committee Chair Kathy Kuhl………………………………....Publicity Chair Directors Carolyn Airola Morse Burington Larry Hetzler Denise Kemper Dennis Tripp Brian Dollinger, ex-officio, Music Director & Conductor Julie Plummer, ex-officio, Librarian Kathleen Schippers, ex-officio, Personnel Manager

Overture to Apollo et Hyacinthus, K. 39…….….Wolfgang A. Mozart Concerto No. 1 for Keyboard in D minor, BWV 1052….....J. S. Bach I.

Allegro

II.

Adagio

III.

Allegro Rei Hotoda, piano and conductor INTERMISSION

Symphony No. 1 in C minor, op. 11………….…..Felix Mendelssohn

Advisors Jan Collinson Shelley Frost Deborah Penner

Kristine Conlon Shelley Lawson

I.

Allegro di molto

II.

Andante

III.

Menuetto—Trio

IV.

Allegro con fuoco


Muscatine Symphony Orchestra 2018-2019 First MasterWorks Concert—October 13, 2018

“A Night of Firsts” Overture to Apollo et Hyacinthus, K. 39…....Wolfgang A. Mozart Written in 1767 when Mozart was only eleven years old, Apollo et Hyacinthus is Mozart’s first true opera. It is based upon Greek mythology as told by Roman poet Ovid in his masterwork Metamorphoses. In the original story, Apollo accidentally kills his lover with one of his stray discus throws. This throw was encouraged by Apollo’s rival Zephyr who was jealous of his affair with Hyacinth. A grief stricken Apollo then causes a gorgeous flower to bloom from Hyacinth’s grave. The opening performance was a great success but only performed once during the composer’s lifetime.

Concerto No. 1 for Keyboard in D minor, BWV 1052...J. S. Bach During his lifetime, Johann Sebastian Bach was known not so much as a composer, but as the foremost organist of his day. Of course, the harpsichord was the instrument of choice for home musicmaking in Bach’s day. But in the early part of the eighteenth century, Bartolomeo Cristofori and other instrument makers were changing keyboard playing forever by introducing a hammered keyboard instrument which could be played loudly (forte) and softly (piano). Naturally, it was called a fortepiano. By the time Bach wrote his six canonical solo keyboard concerti BWV 1052-1057, the fortepiano had reached a respectable degree of maturity. There is no evidence that Bach owned one, but plenty of evidence that he played them. In the past, purists have disdained playing Bach’s music on a modern piano. But Bach’s music is of such pure content that it sounds good when played on any instrument, ranging from the banjo to the


Romantic-era pipe organ and everything in between. The date 1738 is assigned to No. 1 because there is a working draft in Bach’s own hand bearing that date. But Bach, like many composers, reused and reworked the same material many times. BWV 1052 was reworked from an organ concerto of 1728, movements of which appeared in two of Bach’s cantatas. The organ concerto is thought to have been based on an early violin concerto which, alas, has been lost. As in the his Brandenburg No. 5, Bach unselfconsciously demonstrates his debt to Vivaldi in structure, harmony, and virtuosity in this concerto. But, just as with the Brandenburg, this piece is pure, pure J.S. Bach.

Symphony No. 1 in C minor, op. 11………...Felix Mendelssohn In his childhood, Mendelssohn studied the piano with Ludwig Berger and theory and composition with Carl Friedrich Zelter. His talent for both performance and composition was prodigious, and his first surviving compositions date from 1820. His first symphony, which he wrote around the time of his fifteenth birthday, should be more precisely called his first orchestral symphony. He had already written thirteen symphonies for strings. It, along with the String Quartet in E-flat major and the Octet, written in 1825, are the first works in which Mendelssohn's genius and emerging original style can be clearly seen. Mendelssohn's music is most clearly influenced by Mozart and Beethoven, and his use of form and harmony is rooted in the classical period. His extensive education also brought him in contact with the work of Bach and Handel; their distant influence can be traced in his use of counterpoint. From around 1824 he developed a characteristic style of his own which places him clearly among the early romantic composers. His works are often programmatic in nature, with underlying literary sources, or descriptive of nature or emotions. The first symphony is built on a classical plan, very much on the model of Mozart, though with some of the drama of Beethoven thrown in. The two outer movements are fast and dramatic, and the


two contrasting inner movements are a lyrical andante and a minuet and trio.

The Symphony

Guild is made up of people who want to give

their time and energy to assist the orchestra in various ways such as helping at concerts and receptions, working in public relations, planning exciting and entertaining fund-raising events. You are invited to join the MSO’s Symphony Guild by calling 563.288.6195 ext. 1608 or visiting www.muscatinesymphony.org.

Members of the Guild

Leta Churchill Helen Colony Shirley Dillon Dave Hanson Dee Koch Cynthia Maeglin Dave Pusateri Paul Reed Mary Alice Sessler Dennis Tripp, Chair Barb Walker

Max Churchill Karen Direcks Shelley Frost Terri Hanson Shelley Lawson Deborah Penner Carol Reed Ingrid Rowe Maggie Tiecke Micki Tripp Wes Walker

The first movement is in sonata form and is constructed on a large scale. The musical material contrasts a dramatic stormy opening idea with a calmer, more lyrical second theme. The impetus of the music is never lost, and the movement surges on relentlessly to its dramatic ending. The slow movement is a simple and lyrical andante based on a flowing legato melody accompanied by a syncopated figure which is elaborated as it is passed round the orchestra. There is one declamatory outburst which only briefly disrupts the mood of tranquility. The third movement, a minuet and trio, makes one dramatic break with the past in that it is written in a compound time signature (6/4) which has two beats in the bar rather than the traditional three. Clearly Mendelssohn did not expect anyone to dance to it. The minuet is perhaps the most original movement of the symphony and has many elements of his mature style. It is based on a dramatic theme which has drive and energy and is immediately appealing to the listener. The trio is simpler and much gentler. It is linked back into the minuet with a short dramatic passage reminiscent of Beethoven. The final movement is in sonata form and is based on two contrasting ideas. The first has fast running semi-quavers and dramatic contrasts in dynamics. The second is begun by quiet pizzicato strings which are joined by the woodwinds playing a simple legato melody. The development section introduces a fugal idea that is built into a long and complex contrapuntal section. At the end of this the fugue subject is cleverly interleaved with the opening semi-quavers building to a climax that presages the blazing recapitulation. Mendelssohn’s short life was one of great fame and happiness. He gained an international reputation as both a pianist and composer, becoming particularly popular in England where he was entertained by Queen Victoria and Prince Albert. His marriage to CÊcile Jeanrenaud in 1837 was the beginning of a very happy partnership and a family of five children. He was an accomplished painter in watercolor, and a witty letter writer. Sadly his health was not


good and towards the end of his life he suffered from vascular problems. He died after a series of strokes in Leipzig on the November 4, 1847 at the tragically early age of 38.


Brian Dollinger

Music Director & Conductor

_________________________________ This season marks the fifteenth concert season for Maestro Dollinger as the Music Director and Conductor of the Muscatine Symphony Orchestra. In 2016, Maestro Dollinger was appointed the new Artistic Director and Conductor for the Hawaii-based Kamuela Philharmonic Orchestra. His charisma, energy, technical clarity, deep musical passion continues to inspire musicians and audiences alike across the country. He is also celebrating his twelfth season with the Clinton Symphony Orchestra as their Music Director and Conductor. Whether on the concert stage performing masterworks or pops or in the orchestra pit conducting opera and ballet, his personable approach combined with his clear conducting technique have come together to create a fun, inviting, energetic, and enriching atmosphere at each rehearsal and performance. He has conducted a variety of orchestras including the Georgia Symphony Orchestra, Kamuela Philharmonic Orchestra, Quad Cities Symphony Orchestra, Northwest Indiana Symphony Orchestra, Marion Philharmonic Orchestra, Idaho Falls Symphony Orchestra, and Muncie Symphony Orchestra. "There are many fine conductors in this country who really know what they're doing and those who work extremely well with artists and audiences. There are only a few who excel at not only both of those skills but who also get their orchestras to play to their best abilities... Brian Dollinger hits the trifecta and his ebullient personality and warmth on stage are simply bonuses that come with the package." Steve March-TormĂŠ, guest artist & entertainer


During the summer of 2014, Mr. Dollinger made his debut as conductor for the summer opera program of the Genesius Guild. He conducted numerous successful performances of the operetta Die Fledermaus by Johann Strauss. Mr. Dollinger returned to conduct the 2015 summer performances of Puccini’s Gianni Schicci at Lincoln Park in Rock Island, IL with great success. He has subsequently returned to conduct performances of Copland's The Tenderland and a trio of operatic gems: The Telephone, Old Maid and the Thief, and A Hand of Bridge. Maestro Dollinger has also conducted performances of numerous other staged productions including The Music Man, Showboat, My Fair Lady, Dido and Aeneas, and a world premier work orchestrated by award winning composer, Robert Sadin, Muscatine! The Musical. Maestro Dollinger has collaborated with various dance companies in standard and non-traditional performances. He has worked with small, local studios as well as larger regional companies like Peoria Ballet, Gateway Ballet, and the Quad Cities Ballet. In December of 2018, he will once again join forces with musicians from the Kamuela Philharmonic and dancers from he West Hawaii Dance Theatre in performances of Tchaikovsky’s The Nutcracker. Maestro Dollinger is a frequent conductor and clinician for various youth string festivals, competitions and workshops. He will be the guest conductor for the Illinois Music Educator's District Festival held on the campus of Western Illinois University in November of 2018. In March of 2019, he will be the featured wind ensemble conductor at the NUIC Music Conference Festival. "Maestro Dolinger reminded me of the days when Yoel Levi conducted the Atlanta Symphony Orchestra. For, Dollinger needed no score in front of him as he took to the podium. Every note and bit of instructional coding reposed in his head.... He’s a very impressive conductor who interacts very well with an audience." Robert Heller, Atlanta Arts Scene

For more information about our Maestro: www.briandollinger.com


Bassoon: Cheryl Neumann Janet Glass Horn: Kelly Heidel Wendy Hinman Trumpet: Mark Heidel Jim Hancock

Timpani: Josh Duffee Administration:

Kathleen Schippers, Personnel Mgr. Julie Plummer, Librarian Bob Bolton, Stage Manager Brian Dollinger, program layout Kristine Conlon, program editor Charles Potter, Concert Emcee * - denote MCC Music Student


Roster of Musicians Violins I: Heather Straley, Concertmaster

Sichterman, So, Thomsen and Tubandt Families Sponsored Chair

Carmen Bugay Jenna Ferdon Andrew Gentzsch Don Gentzsch Vlad Hontila Therese Slatter Rebekah Weber Yixue Zhang

Violin II: Aleese Baldwin, Principal Suzanne Benson Gae Ellyn Gentzsch William Gentzsch Luciana Hontila Kali Lange* Alana Rominger * Julie Scott Viola: Peter Calhoun, Principal

Merrill Hotel Sponsored Chair

Dominque Archambeau Andrew Calhoun Jennifer Hexom Daniel Salazar *

Cello: Gail Pusateri, Principal

Loryann Eis Sponsored Chair

Rhea Allen Ann Balderson Tracey Kramer Zoriada Oyola Scott Sund

Double Bass: Jonathan Thoma, Principal Dana Calhoun Lee Starovich Flute: Crystal Duffee

RETRO Innovations Sponsored Chair

Stephanie Romagnoli Victor Cardoza * Oboe: Matt Goulding Kathleen Schippers Clarinet: Julie Plummer Chuck Prill


Rei Hotoda, guest artist Rei Hotoda, the newly appointed Music Director of the Fresno Philharmonic in California, is rapidly becoming one of America’s most sought after and dynamic artists. She has appeared as a guest conductor with many of today’s leading ensembles including the Symphony Orchestras of Baltimore, Chicago, Dallas, Edmonton, Jacksonville, Utah, Toronto, and Winnipeg, as well as the Civic Orchestra of Chicago and the St. Louis Symphonies, among others. Rei’s inaugural season as Music Director of the Fresno Philharmonic in 2017-18 has ushered in a new era for the institution. With a focus on celebrating the orchestra and the local artistic riches, Rei has programmed works that explore and define the developing role of the orchestra in the twenty-first century. She has begun a new postconcert series at the FPO, Stay Tuned, that features guest soloists and musicians from the orchestra in engaging and off-the-cuff conversations. A consummate advocate of new music, Rei has conducted premieres of works by notable composers John Cage, Dai Fujikura, and Salvatore Sciarrino and has championed and recorded compositions by female composers including Vivian Fung and Jennifer Higdon. As a recording pianist, Ms. Hotoda released her solo piano CD Apparations, which is widely available. Ms. Hotoda is also an accomplished pianist. She is equally at home leading the orchestra from the piano as well as from the podium. She has appeared as soloist conducting from the piano with orchestras from Dallas, Edmonton, Utah, Winnipeg, as well as Clinton and Muscatine Symphony Orchestras. Prior to her appointment as Music Director of the Fresno Philharmonic, Ms. Hotoda served as assistant conductor at several of today’s leading orchestras and festivals, including the Utah, Dallas, and Winnipeg Symphony Orchestras and the Cabrillo Festival. Ms. Hotoda is the proud recipient of several prestigious awards including the 2006 Taki Concordia Conducting Fellowship, created by Marin Alsop to mentor women conductors.


Concert FAQ’s: I don’t know anything about classical music. What will I get out of a concert? The Muscatine Symphony’s audience includes many seasoned concertgoers who know music first-time listeners. Regardless of which group, they come to experience, enjoy a live performance, and to be entertained by a symphony orchestra right here in Muscatine. Going to a concert can also be a social occasion, a chance to enjoy an activity with friends and family. Whatever your reason for attending a concert, the thing to remember is that no special knowledge is necessary. The Muscatine Symphony is accessible, convenient, open, and user-friendly. Whether you are invited or come on your own, just sit back, relax, and let yourself go where the music takes you. Can I bring my children to a concert? The Muscatine Symphony welcomes children, particularly since introducing them to classical music at an early age often helps them develop a deeper appreciation of music. The MSO has enjoyed continued growth in attendance by families and children of all ages. Concerts can be a great experience for those who are studying an instrument or voice. Tickets to Muscatine Symphony Orchestra concerts are always FREE to those 18 and younger! We only ask that for families with very young children, that you sit near an exit to help facilitate a quick and quiet exit should the need become necessary. When should I applaud? Audiences applaud for two reasons: to welcome the musicians on stage and to express appreciation for their performance. In the minutes before the concert begins, the members of the orchestra drift onstage, take their seats, and tune their instruments. When the lights dim, the concertmaster, who is the principal first violinist, enters the stage. The audience welcomes her with applause and then listens as she gives direction for the ensemble to begin their tuning process. Then the conductor appears, usually accompanied by any soloists who may be performing. There is more applause. One of the debates amongst symphony organizations, instrumentalists, conductors and audience members is when to applaud. Maestro Dollinger believes that almost any time can be appropriate. If the performance of the music emotionally moves you to applaud spontaneously, then he requests that you not hold back this impulse. Music is about emotions and experiences – for him, gone are the rigid regulations of holding yourself back in fear of being ridiculed.

Contributors to the Symphony Pastorale Level

Serenade Level

David Ales William Angell Robert & Ann Bahn Fred & Jean Bartenhagen Mike & Pat Beals Rick & Jennifer Bower Doug & Linda Buchele Gary & Sheryl Carlson Larry & Judy Carter Tim & Vera Edwards Mary Gieselman Dave & Terri Hanson Norma Harris Don & Shirley Johnson Dee Koch Charles & Norma Lewis William & Suzanne Liegois Cynthia Maeglin Dick Maeglin Craig & Natalie Opel Mark & Christine Oppel Holly Peterson Mark & Christine Post William & Melissa Snydacker Mabel Terry Vision Center Joe & Angela Woodhouse

John & Joni Axel Joan Carlson Earl Franz Don & Shelley Frost Julie Herold Randall Hill Art & Mary Hovick Dan & Alice Huss Scott & Jessica Ingstad Marv Krieger Ryno & Ann Olson Tom & Sharon Savage Sally Stiles Twyla Woodward

($100+)

($50+)


Contributors to the Symphony Gold Score

Concerto Circle

Anonymous Howe Foundation Iowa Arts Council

Carmen Bugay David & Susan Freers Betty Hoffman Paul & Carol Reed Bob & Lani Willis

($5,000+)

Symphony Ambassadors ($2,500+)

Rhapsody Benefactors ($1,000+)

Al & Carolyn Airola Harvey & JoAnn Allbee, Jr. Michael Carter Community Foundation of Greater Muscatine Loryann Eis Else Paul RETRO Innovations Richard & Mary Alice Sessler James & Janet Sichterman Herman & Sherry So Eric & Kathleen Thompsen Dennis & Micki Tripp Doyle & Cynthia Tubandt

($500+)

Overture Contributor ($250+)

Janet Henderson David & Gail Pusateri Donna Reed John Stevens Trust


2018-19 Muscatine Symphony Orchestra Program  
2018-19 Muscatine Symphony Orchestra Program  
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