presents

LINCOLN UNIVERSITY ~ MITCHELL AUDITORIUM Tuesday February 9th, 2016—7 PM

P PS CONCERT

Featuring Gary Sanders on Piano

Patrick Clark, Conductor

Crystal Remmel 573-291-7226

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Dear Audience,

Thank you so much for being here this evening. Please take a

moment to thank the Orchestra Musicians who consistently

contribute so many beautiful musical moments for Jefferson

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Program

Richard Rodgers in Concert, Words and Music by Richard Rodgers, Choral

Arrangement by Mac Huff, Instrumental Arrangement by Paul Murtha (2002)

Vocal soloist: Nancy Luehrman

When You Believe, Words by Stephen Schwartz, Choral Arrangement by

Audrey Snyder, Instrumental Arrangement by John Moss (1997)

Vocal soloists: Kristin Van De Velde, Bill Stine, Elizabeth Hedrick

Showboat: A Choral Montage, Words by Oscar Hammerstein II, Music by

Jerome Kern, Choral Arrangement by Hawley Ades (1979), Instrumental

Arrangement by Earl Braun (1983)

Vocal soloists: Lacey Williams, Tom Steever

Porgy and Bess: Medley from the Broadway Musical, Music by George

Gershwin, Lyrics by Dubose Heyward and Ira Gershwin, Arranged by Ed

Lojeski (1984)

Vocal soloists: Sylvia Morris Ferguson, Carl Beach

INTERMISSION

Stage Fright Rhapsody (from Alfred Hitchcock’s “Stage Fright) (1950/1994)

Leighton Lucas (1903-1982), arr./orch. by Philip Lane (b. 1950)

Forrest Gump - Main Title “Feather Theme” (1984/1995)

Alan Silvestri (b. 1950), ed. By Paul Lavender (1937)

Warsaw Concerto (1941)Richard Addinsell (1904–1997)

Rhapsody on a Theme of Paganini, 18th Variation, op. 43 (1934)

Sergei Rachmaninoff (1873-1943)

Somewhere in Time (From “Somewhere in Time”) (1980/1994)

John Barry (1933-2011), arr. by Calvin Custer (1939-1998)

Stolen Face Ballade for Piano and Orchestra (1952/1999)

Malcolm Arnold (1921-2006), arr. by Philip Lane (b. 1950)

VIOLIN I Cheryl Nield**

Sarah Acree

Julie Carr

Xiao Xiao Du

Kelby Kornrumpf

Crystal Remmel

Hannah Tabor

Sierra Tackett

Janna Volmert

VIOLIN II Susan Wallace*

Marty Gardner

Tayla Hughes

Kristi Langendoerfer

McKayla Porter

Esuga

Emily Schweiss

Rebecca Talbert

Madjid Vasseghi

Parker Watkins

Evan Wilde

VIOLA

E. F. Braun*

Laura Eggeman

Elijah Hiltey

Hannah Keeley

Janet Mengwasser

Catherine Roehl

Kirsten Schwandtner

Warren Solomon

CELLO

Scott Major*

Nathan Erickson

Patricia Koonce

Jonathan Satterfield

Greg Spillman

Brahm Treiman

Rachel Ulm

Aimee M. Veile

BASS

Bonnie Verdot*

Izzak Green

Alison Riggs

Leah Stock

FLUTE/PICCOLO

Tisha Celada*

Susan Capehart

OBOE/ENGLISH HORN

Andrew Marjamaa*

Mary Stahlhuth

CLARINET

Steven Houser*

Earl Kliethermes

BASS CLARINET

David Heise

BASSOON

Karel Lowery*

Andrew Bell

FRENCH HORN

Molly White*

Kyla McDonald

Charles Turner

TRUMPET

Barry Sanders*

Liam Reagan

Heath Thomure

TROMBONE

T.J. Higgins*

Karen Kramer

Max Mollencamp

BASS TROMBONE

Jim Merciel

BARITONE

William Mollencamp

TUBA

Bruce G. Connor

PERCUSSION

Samantha Gierer

Matt Musselman

Eric Veile

Dalton Wright

TIMPANI

Tom Higgins***

HARP

Janna Volmert

PIANO

Jimmie Kay Sanders

CONDUCTOR

Patrick Clark

***JCSO President **Concertmaster *Principal Violin, Viola, Cello and String Bass performers, except for the principal, are listed in alphabetical order.

Personnel

Patrick David Clark (b. 1967, St. Louis, MO) is a

composer and conductor, recently having completed a Masters degree in orchestral conducting at the University of Missouri where he studied with Edward Dolbashian. Most recently Patrick has been commissioned to write an orchestral work for the Illinois Symphony Orchestra in celebration of their 20th anniversary.

Patrick holds his Bachelors degree in composition, also from MU where he studied with Thomas McKenney and John Cheetham. Patrick earned his Master’s degree from the University of Arizona, studying with Dan Asia, and his DMA in composition from the Shepherd School of Music, Rice University studying with Arthur Gottschalk, Paul Cooper and Ellsworth Milburn. Patrick is a Tanglewood Fellow (1997), participated as a composer at June in Buffalo (1996) and studied with Louis Andriessen at the Royal Conservatory in the Hague in Holland on a Netherlands-America Foundation Grant (1999-2001). Patrick has worked since as a composer, writer for Andante.com, and teacher in Holland, Los Angeles and Albuquerque, NM. Orchestral works by Patrick have been programmed by the Seattle Symphony, San Antonio Symphony, Nashville Symphony, and the Nederlands Ballet Orkst Various mixed ensemble works have been performed by the Tel-Aviv-based Kaprizma ensemble, New York-based Dogs of Desire, and Harvey Sollberger’s ensemble Sirius. Saxophonist Leo Saguiguit programmed two of Patrick’s, Departure/Train and Attila, at the International Saxophone Conference in Scotland in July 2012. Patrick’s original composition for big band, After Hours, has been recently recorded by the MU Concert Jazz Band and released on their 2011 CD of new music, Tunnel Vision. Patrick is the recipient of the 2011 Sinquefield Prize in music composition at the University of Missouri, and conducted his own commissioned work, A Fantasy on Themes of Mussorgsky, with the University Philharmonic Orchestra at the March 14, 2011 Chancellor’s Concert, Jesse Auditorium. Patrick was one of eight composers selected to write a work for Alarm Will Sound, performed in July of 2011. The resulting composition, Ptolemy’s Carousel, and many other works by the composer can be heard at http://soundcloud.com/patrick-david-clark.

Our Conductor

Gary Sanders—A

native of Jefferson City, Mr. Sanders is a graduate of the University of Missouri-Columbia School of Music with a B.M. in Piano Performance, Magna Cum

Laude, Phi Beta Kappa, and Pi Kappa Lambda. His teachers have included Anne Manahan, Santiago Rodriguez, and William Koehler. A self-taught pianist prior to receiving a full scholarship at the UMC School of Music, the piano and its repertoire have been a life-long passion. Having played professionally for many years, this is his first performance with the JCSO. His identical twin, Barry, plays 1st trumpet with the JCSO.

A fervent collector of obscure, 19th century out-of-print piano music, Mr. Sanders maintains an enormous library of rare music scores. Most recently he has been invited by the Chairman of the Liberace Foundation for the Creative and Performing Arts to play on one of Liberace’s pianos in Las Vegas. When not playing or teaching the piano, he spends his time with his wife, Melinda, and their two, very spoiled Boston Terriers, Molly and Rosie. He is an avid gardener of tropical plants and an employee of the Missouri Department of Ele-mentary and Secondary Education in Jefferson City.

Our Soloist

Sopranos Kelly Copeland Maggie George Liz Hedrick Jeanne Johnston Shirley Klein Pauline Kuntz Nancy Luehrman Ruth Robertson Cindy Wilkins Lacey Williams Altos Betsy Bax Sylvia Morris Ferguson Margaret Jenkins Fritz Susie Haeffner Julie Heise Cheryl Hickman Lu Lockwood Nancy Ellis-Ordway Charlotte Parsons Patt Perkins Anne Riggs Kristin Van De Velde

JCSO Choir Personnel

Tenors Pat Behler Jim Borgwald William A. Bryant Earl Friedmeyer Joyce Henderson Art Wilkins Bass Carl Beach John Finley Stephen Hall Jon Hanson Steve Inglish Steve Price Rich Reinwald Gregory Schildmeyer Tom Steever Bill Stine

Jimmy Kay Sanders, rehearsal and performance pianist Patrick Clark, chorus director

Department of Visual and Performing Arts

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JCSO Chamber Orchestra

Looking for live entertainment for a luncheon or wedding? The JCSO has a Chamber Orchestra that can suit any need you may have from a trio to full chamber ensembles. If you have an upcoming event and would like to add some world class entertainment please contact us for rates and availability. Email Bonnie Verdot: bverdot184@aim.com

Symphony Angels Dr. Steven & Jan Houser

Don Schilling Sharon & James Merciel

Bonnie Verdot Nancy Luehrman Charles Turner Laura Eggeman Susan Capeheart

Dianne & Tom Higgins Patrick Clark

J&H McIntosh Mildred Tunnell Cynthia Tandy

Patricia & John Koonce Candace Cheung

Cheryl Neild Doug Etter

The Richard Powell Family Robert Mansur Marty Gardner

Karel & James Lowery Carmen & Charles Brown Jefferson City Cantorum Annel & Robert Bailey

Mary Wherritt Annoymous

Jefferson City Public Schools Linn High School Lincoln University

Our Savior’s Lutheran Church

Willie Beatty, Mitchell Auditorium General Manager

Symphony Board of Directors Tom Higgins, President Karel Lowery, Vice President Jim Merciel, Secretary Patricia Koonce, Treasurer Patrick Clark, Conductor Bonnie Verdot, Past President Amiee Veile, JCPS Liaison

Julie Carr Andrea Cheung Candy Cheung T.J. Higgins Crystal Remmel Greg Spillman

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Symphony Angel? The Jefferson City Symphony Orchestra is comprised entirely of Volunteers who love to share music with our community. There are many costs associated with our performances, such as rental and purchase of sheet music, instruments and repairs, and even the cost of this program you are reading. We rely on family, friends, and businesses in the Jefferson City area to provide funds to continue bringing you beautiful and exciting music from around the world. If you or your business is interested in supporting the Jefferson City Symphony Orchestra please choose one of the options below: I would like to give a donation of $_________, the check is enclosed. (Payable to JCSO) I would like to give a donation of $_________, can you please send me an invoice for payment. I would like to learn more about sponsoring a concert or advertising in concert programs. Please mail to: The Jefferson City Symphony Orchestra (JCSO) PO BOX 104384 Jefferson City, MO 65110

Music Notes from the Pianist

By Gary Sanders

When Dr. Patrick Clark asked me to write some program notes about

the pieces I am playing tonight, I felt a twinge of dread. I am not a

writer, an English scholar, a film buff, nor an historian. I am simply a

pianist – a pianist who loves the literature of the piano and music itself.

I’ve researched this particular genre (I call it the Hollywood Piano

Concerto as have others) for over four decades after first hearing

Liberace’s version of the ―Warsaw Concerto‖ on an old LP my parents

owned. It was that piece that prompted me to teach myself how to play

the piano. I wanted to play THAT piece! The recording became

completely unplayable after wearing deep grooves in the vinyl from

listening to it over and over while trying to emulate what Liberace was

doing. I felt that if he could play arpeggios so could I. To this day, the

―Warsaw Concerto‖ is my favorite piece of music in the entire music

repertoire.

There have been thousands of compositions written for piano and

orchestra since Bartolomeo Cristofori de Francesco invented and first

exhibited his keyboard instrument in Florence, Italy. Presented in 1709,

the instrument was first named ―gravicembalo col piano e forte‖ (soft

and loud instrument) but was thankfully shortened to fortepiano and

finally truncated to piano. From Bach to the present day, most every

composer, still known or now forgotten, whether a pianist or not,

contributed something to the genre of piano and orchestra. The piano

alone has always been integral to the film industry as an expressive,

emotional outlet since the days of the silent movies where a ―house‖

pianist or organist played the background music using varying degrees

of volume and tempo combined with major, minor, diminished chords,

and intervals to heighten the movie’s action. Today’s film music is

filled with a multiplicity of instruments yet the piano still rises and

shines above them when given a good tune.

The ―Hollywood Piano Concerto‖ was born in 1940 as a result of Rich-

ard Addinsell’s ―Warsaw Concerto.‖ As movies with sound evolved so

did the music that accompanied them. Renowned composers of the day

were asked to write movie themes including Rachmaninoff,

Shostakovich, Addinsell, Charles Williams, Charles Wildman (Willy

Mattes), Kabalevsky, Copland, etc.

The tense war period during the 1940’s spawned this highly charged

genre and many pianists were playing the themes in living room

concerts across the world. These works, particularly those from the

1940’s and 1950’s, have a Rachmaninoff flair to them in both melodic

and harmonic treatment in addition to being a virtuosic display for the

soloist. Many of the movie plots revolve around the life of a concert

pianist. The concertos are still popular to this day which attest to their

timelessness. For me, these works are quite simply some of the most

savory tidbits found in music literature – full of spice that delights the

senses. They are to be indulged and relished little by little, piece by

piece. I scoured the Internet to purchase all of the movies that

tonight’s piano music comes from. It was necessary for me to

experience how and where this music originated. It was not an easy

task as some of the films are completely unknown today. Thank good-

ness for Amazon.Com and E-Bay!! Get your popcorn, and let’s go to

the movies:

Stage Fright (1950)

Jane Wyman, Marlene Dietrich, and Richard Todd star in this Alfred

Hitchcock directed movie. An aspiring actress tries to help a friend

who is suspected of killing his lover’s husband, a high society

entertainer. The female investigator falls in love with the suspect and

a blackmail plot ensues. Themusic is composed by Leighton Lucas

(1903 – 1982), a former ballet dancer turned composer and conductor

by the time he was 19. He later was a professor at the Royal Academy

of music. His music to ―Stage Fright‖ was well praised and accepted.

The score is a new and very welcome discovery for me, and I chose it

at the first piece to play because of the title.

“The Warsaw Concerto” Dangerous Moonlight (1941)

Also known as ―Suicide Squadron‖, this British movie features Anton

Walbrook and Sally Gray. Quite honestly, the greatest gift from this

film is the music itself as the plot weakly revolves around an

American, female journalist who falls in love with a tired, worn, shell

shocked, Polish concert pianist who is fighting as an airman during the

Nazi invasion of Poland.

Because of this film’s music alone, I believe the genre of the

―Hollywood Piano Concerto‖ was born. Richard Addinsell (1904 –

1977), a former law student turned composer, provided the music.

Initially composed many years before this movie (Rachmaninoff

turned down the original invitation to score the film), the theme started

life as a simple rumba.

Music Notes

Warsaw cont:

Both Addinsell and his musical partner, Roy Douglas, poured through

multiple scores of Rachmaninoff’s music for inspiration. The rumba,

with its distinctive and piquant harmony, was transformed into an

overwhelming success as one of the most popular pieces of music ever

written. It is still the most recognized, performed, and recorded

―Hollywood Piano Concerto‖ of its kind, suis generis, and by far the

most emulated - a well synthesized and seductively beautiful work of

art. Until his death, Addinsell continued to provide a prolific amount of

the highest quality entertainment music. Liberace championed his own

arrangement of this piece in the late 1940’s and used it throughout his

entire career as one of his stage entrance and exit pieces.

Forrest Gump (1994)

Tom Hanks, Rebecca Williams, and Sally field star in this Robert

Zemeckis directed film about a man with a below average I.Q. who

accomplishes great things during his life. Despite childhood repetitive

hearings of ―stupid is as stupid does‖, Forrest manages to overcome his

challenges resulting in incredible, historical experiences with the likes

of Elvis Presley, John F. Kennedy, Lyndon Johnson, Richard Nixon, etc.

The film begins with a feather gracefully falling to the feet of Forrest

Gump while he is sitting at a bus top in Savannah, Georgia, - hence the

name of the music ―Feather Theme.‖ The film’s composer is Alan

Silvestri (born 1950) - a prolific composer of film music for over 30

years. He is known for his musical collaboration on ―Back to the

Future‖, ―Who Framed Roger Rabbit‖, ―Contact‖, ―Cast Away‖, and

―The Polar Express‖. Silvestri is a Grammy Award winner.

Somewhere in Time (1980)

Christopher Reeve and Jane Seymour star in this Jeannot Szwarc

directed film. Considered a ―sleeper‖ movie by many critics, it is a

beautifully crafted film about a young man haunted by a brief and

unusual encounter. Years before taking a break as a successful

playwright, Christopher Reeve is approached by an old woman who

gives him a pocket watch and whispers ―come back to me.‖ The incident

is tucked away. While on break at the Grand Hotel on Mackinac Island,

he sees a glorious portrait of a young and beautiful woman (Jane Sey-

mour). He can’t stop staring at it. Intrigued and enamored he discovers

who she was.

Using self hypnosis, he travels back in time to 1912 – the time period

of the portrait. The story follows their meeting and subsequent love

affair which ends, quite innocently, because of a simple glimpse at a

penny dated from his time which he accidentally carried in his

pocket. He finds himself thrust back to the present. Grief-stricken, he

dies and is happily reunited with Jane Seymour. The main theme mu-

sic is by John Barry (1933-2011) – a highly gifted composer of beau-

tifully crafted film music which earned him five Oscars. ―Somewhere

In Time‖ was Barry’s best selling score, outselling all his other

soundtracks put together. Barry collaborated on ―Body Heat‖, ―Out of

Africa‖, ―The Cotton Club‖, and scored eleven films in the James

Bond theme series.

Rachmaninoff’s 18th Variation from his ―Rhapsody on a Theme of

Paganini‖ for piano and orchestra is used extensively during this

movie. The piece needs no introduction as it is one of the most

beloved tunes of all time. Based on a set of Paganini’s variations for

violin, Rachmaninoff took the main musical motif and literally turned

it upside down and backwards to arrive at one of the most recogniz-

able and luscious melodies ever. It is this tune that Jane Seymour

hears Christopher Reeve humming and inquires about it. He,

however, can’t really say much about the music as it hadn’t been

written yet. A musically enjoyable twist!

Stolen Face (1952)

Paul Henried and Lizabeth Scott star in this black and white film

noir. A forgotten, suspenseful movie, its plot revolves around a heart-

broken, jilted doctor who repairs an escaped female inmate’s highly

disfigured face to match the face of the woman (a concert pianist)

who has left him. He is devastated and marries the inmate in hopes of

recapturing his lost love only to suffer even more from an abusive

relationship. The music is by the prolific and noted composer Mal-

com Arnold (1921 – 2006). Arnold enjoyed the music of jazz which

later led to him being a member of the London Philharmonic Orches-

tra as a trumpet player. Much of his work was light, entertainment

music which brought him much acclaim. He was a well-respected

composer in his own right.

Nicole B. Fekaris

I want to close my program notes by dedicating my performance

tonight to those who have been so influential and generous throughout my

life. My heart is full because of them.

* To the memory of my parents, Carl and Nadine Sanders, who did the

best they could with what we had. Their support of my ―living room con-

certs‖ was sincere, inspirational, and most rewarding. You are deeply

missed!

* To Melinda, my wife and best friend of 35 years, you’ve listened to it

all, supported it all, and still won’t put in ear plugs. Now that’s an audi-

ence!! I couldn’t have done this without you Mel!

* To Anne F. Manahan, a Juilliard Master’s Graduate, and my first, most

beloved piano teacher extraordinaire. For your willingness and eagerness

to accept an undisciplined, ―green‖, completely self-taught pianist as your

student at the UMC School of Music and helping to secure my full schol-

arship, I am eternally grateful. Your best advice to me was to ―keep an

open mind….something just MIGHT drop in.‖ You are the rock my entire

musical foundation is built on. Thank you from the bottom of my heart.

* To concert pianist Stephen Hough – your profound musical insight and

years of friendship opened the heavens to me. I’ve never listened to music

the same way since I first heard you play, and I’ve never played the same

since we became friends. I am indebted to you. You have set the bar for all

pianists.

A big thank you to Willie Beatty, overseer of Mitchell Auditorium, for

allowing me to choose the piano I wanted to use for this concert, for

giving Dr. Clark and me the time to compare the two concert grands, for

your dedication to Mitchell Auditorium and Lincoln University, and for

supporting the JCSO and its endeavors. Your commitment and

professionalism is greatly appreciated and most admirable.

In closing, I want to extend a most sincere and heartfelt thank you to the

JCSO Board of Directors, Dr. Patrick Clark, and the members of the

JCSO. Your graciousness, enthusiasm, sense of humor, and kindness in

welcoming me to perform with your organization have allowed me to

cross off a VERY big item from my bucket list – something I’ve dreamed

about doing for many decades. Dr. Clark has been the most amiable and

generous musician that I have ever collaborated with. We are so fortunate

to have a conductor of his caliber. It has been my utmost honor and

privilege to work with each and every one of you as a musical partner.

What a joyful and rewarding ride - I hope we can do this again someday.

I’ll buy the gas. ♫

Gary Sanders

Congratulations to the Jefferson City

Symphony for bringing the Best of

Music to the Mid-Missouri community.

Jan Houser Piano Studio Traditional and Suzuki Lessons

Dr. Steven Houser, Woodwind Lessons

Houser Piano Tuning

janzstudio@embarqmail.com

573-635-2909

Porgy and Bess

DuBose Heyward’s novel, Porgy, was originally published in 1925. It

tells the story of a crippled beggar—Porgy—living in the fictional

community of ―Catfish Row‖ in Charleston, South Carolina; and his

newfound love—Bess. As Porgy manages to tame the wild-spirited

Bess through love, he also attempts to protect her from her monstrous,

murderous lover, Crown, and the tricky drug-dealer, Sporting Life.

Ultimately, in saving her from Crown, Porgy loses Bess to Sporting

Life, who steals her away to New York City.

George Gershwin composed what he called a ―folk opera‖ nine years

later, the libretto being written in part by Heyward himself, along with

Ira Gershwin, and from that opera, Porgy and Bess, comes tonight’s

medley. It begins with the haunting melody of the classic

―Summertime,‖ praising the beauty and life of the Charleston streets.

―My Man’s Gone Now‖ begins the opera’s plot, a song of mourning

for the old man Robbins, killed by Crown. The music picks up with

the happy tune of ―I’ve Got Plenty o’ Nuttin,‖ as Porgy, happy to have

taken in Bess, gleefully exclaims that he has everything he needs.

Next is Sporting Life’s ―It Ain’t Necessarily So,‖ a song of trickery,

preaching to the people of Catfish Row not to trust everything they

read in the Bible. The love story reaches its peak with Porgy’s declara-

tion, ―Bess, You is My Woman,‖ to which Bess replies in kind. The

finale, ―Oh Lawd, I’m On My Way,‖ would not seem out of place in a

southern gospel choir, as Porgy and the whole community cry out to

God in a triumphant chorus.

When you Believe

―When You Believe,‖ was composed by prolific Hollywood composer

Stephen Schwartz, who is also known for his work in musicals includ-

ing Godspell, Pippin, and Wicked. Schwartz has won three Grammy

Awards, three Academy Awards, including one for his work on The

Prince of Egypt, and has been nominated for six Tony Awards. He re-

ceived the 2015 Isabelle Stevenson Award, a special Tony Award, for

his commitment to serving artists and fostering new talent.

Music Notes

In addition to being the theme of The Prince of Egypt, ―When You

Believe‖ was released as a hit single, featuring a unique duet be-

tween singers Whitney Houston and Mariah Carey. It peaked at 15

on the Billboard Hot 100. It won the 1999 Academy Award for Best

Original Song.

―When You Believe‖ is a song of hope, with lyrics describing the

everlasting hope that all people can feel, and the ability each person

has to achieve miracles when they reach out to God and believe.

Richard Rogers

One of the greatest American composers, Richard Rodgers has

composed music for over 900 songs and for 43 Broadway musicals.

Rodgers is well known for his work with lyricists Lorenz Hart and

Oscar Hammerstein II.

Rodgers began his career in 1919, while still attending Columbia

University, alongside Hart, with amateur work appearing in several

Broadway comedies. Rodger’s and Hart’s first big hit, ―Manhattan,‖

appeared in a benefit show for the Theater’s Guild in 1925, after

which the two became a well-known songwriting duo on Broadway.

Together with Hart, Rodgers composed for shows throughout the

depression, including On Your Toes and Babes in Arms, from which

selections are included in this medley.

Following Hart’s death in 1943, Rodgers teamed up with Hammer-

stein, another fellow Columbia alum. Their first musical, the

unforgettable Oklahoma! clearly marked their talent, as well as the

beginning of their success. The two composed for some of the most

popular musicals of all time, such as South Pacific, The King and I,

and The Sound of Music.

The composer left a powerful legacy for all songwriters to come. He

was the first person to ever complete an EGOT—winning an Emmy,

a Grammy, an Oscar, and a Tony—and also won a Pulitzer to round

things out. His music has become nearly ubiquitous among both

musical and American culture: ―Do-Re-Mi‖ is taught in

elementary music classes to children nationwide, ―Oh,

What a Beautiful Morning,‖ is often mistaken for a folk

song, and 99.9% of all tourists to the state of Oklahoma

cross the state lines with the line ―Oooooooo-klahoma

where the wind comes sweeping down the plain.‖

Showboat

Show Boat is a 1927 musical in two acts, with music by Jerome Kern

and book and lyrics by Oscar Hammerstein II. It follows the lives of

workers on the Cotton Blossom a Mississippi show boat over a

period of forty years, as American culture shifts and changes

especially with regards to race-relations.

The show was quickly praised for its then-unique approach to

musical storytelling, in which serious themes are portrayed in lavish

musical displays; as well as for its departure from the trend of

relatively lighthearted and whimsical musicals and operettas on

Broadway at the time. Critics immediately recognized both the

quality of the storytelling and the Americana music of the show, and

it is often cited as a turning point for American musical theatre.

The musical boasts classic American music, with many of note

appearing in tonight’s medley. The medley includes the songs ―Why

Do I Love You?‖ ―Make Believe,‖ You are Love,‖ and ―Ol’ Man

River.‖ The arrangement for the Jefferson City Symphony is partially

by Hawley Ades and partially by our very own violist E.F. Braun,

who will probably be recognized for it at some point tonight.

Music Notes

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If you wish to participate in The Jefferson City Symphony Orchestra please contact either Patrick Clark or Bonnie Verdot.

2015-2016

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