orchestra iowa 2021-2022 season opener Connect with us! @orchestraiowa @orchestraiowa orchestraiowa.org CONNECT TO OUR DIGITAL PROGRAM!
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ORCHESTRA IOWASEASON OPENERSaturday, September 18, 2021, 7:00 PM BRUCEMORE LAWN
BRUCEMORCHESTRA XIVAN EVENING OF RODGERS & HAMMERSTEIN
TIMOTHY HANKEWICH MUSIC DIRECTORREVIVAL THEATRE COMPANY
CEDAR RAPIDS CONCERT CHORALE
Music by Richard RodgersLyrics by Oscar Hammerstein II
Orchestrations by Robert Russell Bennett & Don Walker
Rodgers & Hammerstein Orchestra OvertureIt’s a Grand Night for Singing from State Fair
Hello, Young Lovers from The King and II Have Dreamed from The King and I
We Kiss in a Shadow from The King and II Whistle a Happy Tune from The King and I
There is Nothin’ Like a Dame from South PacificSome Enchanted Evening from South PacificYounger Than Springtime from South Pacific
Wonderful Guy from South PacificSoliloquy from Carousel
The Carousel Waltz from CarouselJune is Bustin’ Out All Over from Carousel
If I Loved You from CarouselThe Sound of Music from The Sound of MusicMy Favorite Things from The Sound of Music
Do-Re-Mi from The Sound of MusicClimb Ev’ry Mountain from The Sound of Music
Selections from Oklahoma!Oh, What a Beautiful Mornin from Oklahoma!
Out of My Dreams from Oklahoma!People Will Say We’re in Love from Oklahoma!
Oklahoma from Oklahoma!
- INTERMISSION -
ORCHESTRA IOWA MUSICIANS
VIOLINMadeline Capistran ConcertmasterJohn N. Knapp Chair
Eric BateAssociate Concertmaster Peter and Ingrid Kolln Chair
Linda JudieschAssistant Concertmaster
Tomer MarcusPrincipal Second ViolinMcConoughey Family Chair
Alla Cross Associate Principal Second Violin
Laura SchaferAssistant Principal Second Violin
Bryce ChristensenAndrew GentzschMichael HallJerry HenryJulie Fox HensonAlex NorrisJoshua PalazzoloRachel PetersMaya ShiraishiLinda Pfund Swanson
VIOLAJenwei Yu PrincipalLeland & Peggy Smithson Chair
Lisa Ponton Associate Principal
Valerie Little Assistant Principal
Sara AboZenaAndrea AlertMichelle BennettDonghee Han
CELLOAmy Phelps PrincipalChristian & Patti Tiemeyer Chair
Whitney Giller Associate Principal
Diane Platte Assistant PrincipalDr. Robert & Ann Swaney Chair
Henry ChenJames EllisSarah HansenLiz Oar
BASSChunyang WangPrincipal
Michael Van Ryn Associate Principal
John HallJeanette Welch
FLUTEJane Walker Principal
Hannah Peterson Kimberly Helton
OBOEAndrew Dotterer Principal Phyllis Fleming Chair
Matthew ShippCourtney Miller
CLARINETChristine Bellomy Principal David & Ann Lawrence Chair
Emily BeiselLisa Wissenberg
BASSOONMatthew Ransom Principal
Greg MortonMatt Kowalczyk
HORNCharles HarrisPrincipal
Peter KortenkampWilliam EisenbergDan Malloy
TRUMPETAndrew Classen Principal CRST International Chair
Aren Van HouzenChris Haas
TROMBONERobert Parker Principal
Caleb Lambert
BASS TROMBONEMatthew Halbert
TUBABlaine Cunningham Principal Jared and Carol Hills Chair
TIMPANIMichael GearyPrincipal
PERCUSSIONTom MackeyPrincipal
Aaron Williams
HARPGretchen BrumwellPrincipal
CEDAR RAPIDS CONCERT CHORALE
ELENA SHADDOW SOLOISTEZEKIEL ANDREW SOLOISTAMY FRIEDL STONER SOLOISTCATHERINE BLADES SOLOIST
CHRISTOPHER JOHNSTONE SOLOIST BRANDON BURKHARDT SOLOISTLORALEE SONGER SOLOIST
BRIAN GLICK DIRECTORCAMERON SULLENBERGER MUSICAL DIRECTORMEGAN HELMERS CHOREOGRAPHERS. BENJAMIN FARRAR LIGHTING DESIGNERMELONIE STOLL COSTUME COORDINATORMADI KNACK STAGE MANAGER
SOPRANOMegan AndersonNancy AndreasenKaye Lynn ArenzKitty CecilKay ChristNicole ClymerConnie CraneTerri CrumleyRebecca FarmerLaurel Gillette-MarkClaire GoldsmithGloria GrevTima HopsonMimi InfanteBarbara KochDeb KuceraLana LodgeJoan MerrymanStephanie MichalicekMarilyn OwenLynette PerkinsKaytee RairdinGaye RobertsSophia RoccaLaura Schmoll
ALTODarlene AndreattaNanci BellBecky CollierPat DawsonCarla FollensbeeJani FordKaren FranksKay GalliKathy GregorJennie JohnsonKatie LayherNicki NeiderhiserJean PearsonEmm RamseyLinda ReganAbbie Reihle-HamesDianne ReiningaLillian SiebringSusie StreitDeb TobiasBertha TribunoMolly WilliamsDarlene Worden
TENORReggie AbrahamGary BellDavid BerningJay BurkenBob CraneGeorge FordGordon FreemanDon JohnsonWendell KeithScott ShoemakerRandall WaltonPaul Zastrow
BASSGreg BarnettJacob CacioppoAlan EilersJim GrayCharlie KuceraJoseph MallieJeff MarkKen OwenRandy ReynoldsJames RichardsonDave SherwoodJerry StampBob Tribuno
REVIVAL THEATRE COMPANY
DR. GERALD KREITZER DIRECTOR
MEGAN ROBINSON DANCERCAMERON BYRD DANCERDALLAS OLBERDING DANCERCALVIN BOMAN DANCER
VANESSIA LUND DANCERJOSH PAYNE DANCERJOSLYN SHEELEY DANCERANNA SLIFE DANCER
PROGRAM NOTES
Oscar Hammerstein II (1895-1960) was born in New York City to a family of theatrical members. He was the son of a theatre manager at the best vaudeville house in the city and the grandson of an opera impresario and showman, for whom he was named. Oscar’s uncle was a well-known theatre producer. With the family business in theatre, it was natural that young Hammerstein II wanted to follow in the family’s footsteps. But his father (like so many) discouraged this and when Oscar was old enough he entered Law School at Columbia University. Oscar couldn’t deny his destiny, and while he was there, joined the Columbia University Players, both as a writer and an actor.
During his first year at Columbia, his father died, and at the age of 19, Oscar persuaded his uncle to hire him as an assistant stage manager at one of his uncle’s shows. While continuing his second year at Columbia, he was hired again as the stage manager and soon was working in the family business. He began writing musical comedies, teaming up with such notables as Otto Harbach, Rudolph Friml, and Herbert Stohart. Before the age of 30, he had collaborated on a handful of hits, including Wildflower and Rose-Marie. This led to a meeting with Jerome Kern resulting in a new collaboration. Their first show, Showboat, was an immensely popular and ground-breaking musical that firmly cemented Hammerstein’s career as a successful writer. During the 1930’s, Hammerstein II spent his career in Hollywood writing for movies. While his personal life was fulfilling during this period, his career was not, so in 1942 he returned to New York City, and teamed up with an old Columbia friend, Richard Rodgers.
Richard Rodgers (1902-1979) was born in Queens. He was the son of a physician, who had changed the family name from Roganzinsky. Richard’s parents took the young boy to performances of operettas, which became an inspiration for him in his later career. By the age of six, Richard began studying piano, and throughout his childhood he wrote songs and other short
pieces. At the age of 16, he entered Columbia University, where Oscar Hammerstein II was in his second year, and Richard met Lorenz Hart. He started working with lyricist Hart on various variety shows, some of which were produced at Columbia. He left Columbia halfway through his second year and continued his studies in composition at the Institute of Music (now known as the Julliard School of Music) and continued collaborating with Hart on several minor shows. Eventually they were producing hits such as On Your Toes, Babes in Arms, and Pal Joey. When Lorenz Hart died in 1943, Rodgers was forced to look for a new lyricist to work with. By chance, he found his old friend from Columbia, Oscar Hammerstein II.
From the very beginning, the team of Rodgers and Hammerstein changed the Broadway musical from a revue-style collection of songs, dances, and a barely recognizable story to a fully integrated plot with songs woven into the narrative.
The Rodgers and Hammerstein Orchestra Overture and all the music heard on this concert were arranged by Robert Russel Bennett and Don Walker. The Overture for the first half is a medley of recognizable tunes including Kansas City from Oklahoma, It Might As Well Be Spring from State Fair, Ten Minutes Ago from Cinderella, and Shall We Dance? from The King and I.
It’s a Grand Night for Singing is the final song in the musical State Fair, which was not an original work by Rodgers and Hammerstein II. The story is based on a 1932 novel by Phil Stong, which was adapted into a movie with Will Rogers as the lead. The plot centers around a family’s three days spent at the Iowa State Fair. In 1945, Rodgers and Hammerstein remade the film incorporating new songs into the story. It is a typical “happy ending” song with all the couples together and the entire company on stage with solos from the leads, as they all dance to the waltz.
The King and I, like many of Rodgers and Hammerstein’s hits, was based on a book. Anna and the King of Siam (1944) by Margaret Landon which was itself based on a work from the 1860s. Rodgers and Hammerstein turned down the initial request to adapt this story into a musical, but eventually relented years later, and in 1951, turned it into their
ROGERS & HAMMERSTEIN
PROGRAM NOTES
fifth hit. Hello Young Lovers is the song Anna sings to the wives of the King. I Have Dreamed is a song of longing for love in a free land. It was added at the last minute to the original Broadway production, but was cut from the movie version. In the movie, the melody is only heard instrumentally in the introduction to We Kiss in a Shadow, which is sung by the same couple as I Have Dreamed. Tuptim and Lun Tha sing of their forbidden love and fear the king will learn of it.
South Pacific from 1949 was based on Robert Michener’s Tales of the South Pacific, and provided a platform in which to send a progressive stance on racism. It was an instant hit with the American audiences with World War II fresh in everybody’s minds. There is Nothing Like a Dame is one of those “feel good” chorus numbers sung by the servicemen serving in the Pacific Theater. Younger Than Springtime is the song Lt. Cable sings when he is “introduced” to Bloody Mary’s daughter, Liat. Wonderful Guy is Nellie’s song of realization that she has fallen in love with Emile. The song was written with Mary Martin in mind, and was shared with her at a New York private party. She originated the role on Broadway and did cartwheels on every repeated “I’m in love” in the song.
In 1949, the team collaborated on their second show, Carousel, a tragic story with an uplifting ending based on a 1909 play by Ferenc Molnár. Soliloquy is the lengthy song at the end of Act I when Billy learns he will be a father. The song, which includes some spoken lines, turns from pride in his son to the musically beautiful realization that he could have a daughter who will need certain things. By the end of the act we learn that Billy will go to any lengths to provide for his girl. The Carousel Waltz is an instrumental work that serves as the Prologue to the show. Rodgers didn’t like the idea of an overture for musicals because latecomers always made too much noise. The waltz usually accompanies a pantomime, setting the early scene on a carousel. The feel good chorus number, June Is Busting Out All Over, helps soften the mood when we realize that the unemployed Billy, now married to Julie, has become abusive. Early in the show, when Julie and Billy are first dating, they sing If I Loved You with both stubbornly avoiding their confession of love for each
other. It is one of the best songs to come from the team and illustrates a beautiful marriage of lyric and melody.
The final collaboration between the two was their most popular hit, The Sound of Music. Its popularity comes from the 1965 movie version, but the original production premiered in 1959, based on the memoirs of Maria von Trapp. Once again Rodgers and Hammerstein II tapped into the topic of World War II and how lives where changed by it. In the stage version, My Favorite Things is sung by the Mother Abbess and Maria before she ever meets the children. Do Re Mi is the song that Maria uses to not only teach the children to sing, but also build their trust in her. Climb Every Mountain is the dramatic Act I closer that convinces the wary Maria to face her fears and determine if the Captain returns her love. Oscar Hammerstein II died of stomach cancer less than a year after the Broadway premiere.
The first show to come from the team of Rodgers and Hammerstein was the show that changed the course of the Broadway musical. Oklahoma! was based on the 1931 play Green Grow the Lilacs by Lynn Riggs. The opening number, Oh, What a Beautiful Mornin’ introduces the male lead, Curly, and his happy-go-lucky exuberance. When Laurie is confused about her feelings toward Curly and her fear of Jud, she is convinced by a traveling peddler to inhale laudanum which leads into a dream sequence. She sings Out of My Dreams as she falls asleep. Just like in Carousel, the two lovers don’t want to admit their feelings to each other and want to remain discreet by singing a not-in-love duet, People Will Say We’re in Love. The grand chorus number, Oklahoma!, toward the end of the show after Laurie and Curly wed, was so popular that the state adopted it as their official song in 1953.
In 1979, Rodgers was presented the Lifetime Achievement Award at the Tony Awards six months before his death. In 1990 the 46th Street Theatre in New York City was renamed the Richard Rodgers Theatre in his honor. The York Theatre Company of New York presents the Oscar Hammerstein Award for Lifetime Achievement in Music Theatre every year. Collectively, the team of Rodgers and Hammerstein won 42 Tony Awards, 15 Academy Awards, 2 Pulitzer Prizes, 2 Grammy Awards, and 2 Emmy Awards.
PROGRAM NOTES BY KEVIN LODGE
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EVENT MAP
Private Reception
Thanks to these generous partners who have helped make tonight possible!
JANET BLACKLEDGEAND
A GENEROUS ANONYMOUS DONATION
ORCHESTRA IOWAmasterworks
BEETHOVEN 5X5
october 9 & 10stewart goodyear, piano
november 20 & 21jessica pray, suzanne lommler,
eric barry, craig irvin, chamber singers of iowa city
SYMPHONIE FANTASTIQUE
march 12jane walker, flute
RACH 3
april 2 & 3joyce yang, piano
VOICES OF CHANGE BEETHOVEN’S 9TH
april 23 & 24a,renee, taylor raven,
joshua stewart
MUSICAL PRANKS
may 21 & 22william hagen, violin
pops at the paramountGHOSTBUSTERS
IN CONCERTHOLIDAY
SPECTACULARMUSICAL MOVIE
MOMENTS BY JOHN WILLIAMS
THE MUSIC OF QUEEN
october 30 december 3-5february 19 & 20
may 7
partner productionsNUTCRACKER
BALLETdecember 18
COSÌ FAN TUTTE january 21 & 23
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2021 - 2022season