***** 2020 John Deere Classic Birdies for Charity *****
The JDC Birdies for Charity program is an impressive fundraising opportunity available to area nonprofits, and the Clinton Symphony Board would like to invite those interested in supporting the Symphony to make a donation pledge through the 2020 John Deere Classic Birdies for Charity program – unfortunately the tournament itself has been cancelled, however, the Birdies program will continue. For this year, as paper forms are not available, participation is online or via mail. Note that all pledges are guaranteed a 5% bonus to the Symphony from the Birdies for Charity Bonus Fund, increasing the impact of your donation!
Thank you for your consideration, and for your support of the Symphony.
— Bill Zickau, President
There are two ways to make a donation – one is by direct donation payable by credit card, and the other is a mail in pledge form. Please note that all pledges must be received at the Birdies office no later than July 10, 2020.
To make a donation by credit card:
Go to https://birdiesforcharity.com/donate. Click/tap on the bar that says “Please select your designated charity” and enter 1411 following which Clinton Symphony Orchestra will come up for you to select. Click the green “Add to Cart” button, and select your contribution amount; “other” allows you to manually enter any amount of $20 or more. Continue down the page to fill in your payment information. This year all donors will be entered into the drawing for prizes. Click the green Donate button to complete your donation. Online donations must be made no later than July 10.
To make a donation by check:
Print the pledge form by clicking here. Note the Symphony information is already in place. This year all donors will be entered into the drawing for prizes. Mail the left side of the form to the address indicated at the top right of the pledge form (15623 Coaltown Rd., East Moline, IL 61244), it must be received by July 10, 2020.
To make a one-time flat donation:
Simply indicate the amount and mail the left side of the form with your accompanying check to the address above.
To pledge on the number of birdies:
Indicate the amount you would pledge to pay for each birdie. With the tournament canceled, 2000 birdies are being used for the calculation. For example, by entering $0.01, you would be billed for $20.00 after the tournament. See the examples in the ‘Keep for your records’ box to help you decide a pledge amount. . Mail the left side of the form to the address above.
Have a question? – contact Bill at email@example.com
We’re sure it comes as no surprise that due to current events the Clinton Symphony Board has cancelled upcoming events, including tonight’s concert and the June Benefit and Pops concert. Here is a note from our music director:
“Following the directions of the CDC and various levels of our government, having a large-scale performance with our audience is becoming more and more difficult. Through this global pandemic of the COVID-19, I’m sure all of us are rediscovering how very important music is to our personal and mental health as well as our society’s. Whether a person listens to the entire ring cycle of Wagner or every album that the Beatles released, music is a healing and calming agent.
My hope is that more and more people realize just how important live performances are in our society and come out the other side of this pandemic with a renewed love and magnetic draw to be more active in its sustainability and enjoyment.
An appreciation of music starts at an early age, and I know that music education is an important part of making a well rounded student and citizen in society. During these trying days, having music in our home helps bring an engaging joy and dedication that I wish all families had. Working with my eight year old daughter on her music theory and violin practicing, listening to my wife play her piano, and my son preparing for college playing juries on the cello, all bring such a brightness and joy to our home. (We probably have the most music literate German Shepherd on the block!)
Your continued support for the arts and more specifically the Clinton Symphony Orchestra will aid in the sustainability of the arts and continued passing of the knowledge and joys that the arts brings.
We wish you and your family well and good health and are looking forward to being back with our musician family making music very soon.”
Join the Clinton Symphony Orchestra in Morrison, IL on Saturday, February 15th, 7:30 pm, for our winter concert. It features our Young Artist winner, Kevin Lemus, and celebrates Beethoven’s birthday. Enjoy the following program notes about Wellington’s Victory, and the Symphony No 7 which premiered on the same tour in 1813-14.
The true artist has no pride. He sees unfortunately that art has no limits. – Ludwig van Beethoven, 1812 to an 8-year admirer
premieres of Wellington’s Victory, or The
Battle of Vittoria, Op 91,
and the Symphony No 7 in A major, Op 92, premiered
on the same program in the auditorium of the Old University in
Vienna on December 8, 1813. The composer himself, Ludwig van
Beethoven (1770-1827), conducted from the podium. The concert, a
benefit of the families and orphans of Austrian and Bavarian veterans
who were killed or injured in the loss to Napoleonic forces at the
Battle of Hanau, was a huge success for the composer and subsequent
performances brought him rewarding financial gains. Up to this point,
none of his concerts had prompted the public to demand a repeat, but
this program proved quite exceptional. While both the Seventh
and the Battle
were well received by the public, it was the Battle
that engaged a good many otherwise reluctant Viennese to patronize
the concerts on December 8 and the three repeat concerts that
A new symphony by Beethoven was always eagerly awaited by a certain musical class in Vienna and, thus, the composer had a ready audience for his Symphony No 7; but the excitement generated over Wellington’s Victoryat Vittoria was unprecedented for a Beethoven musical event, for it was to feature an improved mechanical device – or contraption – called the Panharmonicon. This machine, invented by Johann Nepomuk Maelzel (1772-1838) in 1805, could simulate the sounds of most musical instruments as well as produce effects such as gunfire and cannon shots. A few composers had already written works that utilized Maelzel’s ‘musical instrument.’
Maelzel arrived in Vienna the same year as Beethoven, 1792. Over the course of nearly fifteen years, he built his reputation as a maker of mechanical devices to the point that he was appointed imperial court-mechanician at Vienna, and drew the admiration of Beethoven and other noted composers. When the French army took Vienna, Maelzel was forced to move his workshop from the palace grounds to a piano factory. Beethoven visited him there frequently and the two men became fast friends. Both men were inspired by the English victory over the French forces in Spain at Vittoria. The “mechanician” made the proposal and the composer quickly agreed. Maelzel is credited by Ignaz Moscheles with coming up with the basic plans for the symphony and for weaving “Rule Brittania” and “God Save the King” into the framework. To Maelzel, the Battle Symphony by the renowned Beethoven would make the perfect promotion for his Panharmonicon, or Trumpeter.
for his part, was just coming out of a woeful period in his life. In
1812, he had renounced in a letter to his “Immortal Beloved” any
hope of achieving happiness with her and consigned himself to a life
without love. Then, his brother Caspar Carl sought out Beethoven; he
was seriously ill and at death’s door. Caspar Carl beseeched his
composer brother to take over responsibility for his son Carl.
Beethoven agreed, and in less than a year, after brother Caspar Carl
had died, Beethoven had a new care – the well being of his nephew
Carl to worry about. His hearing continued to deteriorate, and his
deafness was becoming quite noticeable not only to himself but to
those around him. In addition, friends began to counsel him about his
future; he should begin saving and setting aside money for his old
age – and now with the new responsibility for his nephew, it seemed
not only wise, but imperative. Maelzel’s offer hit the composer at
the right time.
was completed in short order – by Beethoven’s standards. He began
work on the composition in August 1813 and had a two-piano
arrangement by the end of September. As the composer himself
acknowledged, “It is certain that one writes most prettily when one
writes for the public, also that one writes rapidly.” He delivered
the completed manuscript to Maelzel in early October.
Two things transpired between Beethoven’s completion of the manuscript and its actual premiere on December 8, 1813. Maelzel suggested, and Beethoven agreed, that the two men should undertake a tour of the music to England as a promotion for both Maelzel’s machine and Beethoven’s symphonies, with the hope of making a healthy sum of money along the way. Where better to promote Wellington’s Victory than in the homeland of the Arthur Wellesley, Duke of Wellington? Too, Beethoven hoped to garner the favor the King of England as support for their enterprise. Maelzel, additionally, thought that the premiere in Vienna could increase their ‘traveling money’ if the Battle Symphony were presented in an orchestrated concert version, thus attracting more patrons. Consequently, Beethoven rewrote the Panharmonicon score with his usual creative zest.
Beethoven wrote, Maelzel looked for a suitable opportunity to
showcase the Battle
and drew on a previous benefit concert for widows and orphans of the
campaigns against Napoleon. He and Beethoven would themselves sponsor
a benefit concert fashioned around Wellington’s
and the Symphony
as well as couple of marches by other composers that were written for
the Panharmonicon. At Maelzel’s request, musicians of note who were
in Vienna at the time volunteered their services – Louis Spohr, J.
N. Hummel, Antonio Salieri, and Giacomo Meyerbeer, among others. Some
musicians and some of Beethoven’s patrons in Vienna, however, felt
Beethoven betrayed his higher calling by stooping to compose such an
rehearsals got underway, Beethoven ran into some performance
problems. One involved the violinists who
to play a passage in the symphony and rebuked him for writing
difficulties which were incapable of performance. But Beethoven
begged the gentlemen to take the parts home with them – if they
were to practice it at home it would surely go. The next day at the
rehearsal the passage went excellently, and the gentlemen themselves
seemed to rejoice that they had given Beethoven the pleasure.
Spohr provides a vivid picture of Beethoven’s physical exertions
conducting during rehearsals for the Symphony that deserves an
piano he crouched down lower and lower as he desired the degree of
softness. If a crescendo then entered he gradually rose again and at
the entrance of the forte jumped into the air. Sometimes, too, he
unconsciously shouted to strengthen the forte. It was obvious that
the poor man could no longer hear the piano of his music. This was
strikingly illustrated in the second portion of the first Allegro of
the Symphony. In one place there are two holds, one immediately after
the other, of which the second is pianissimo. This, Beethoven had
probably overlooked, because he began again to beat time before the
orchestra had begun to play the second hold. Without knowing it,
therefore, he had hurried ten or twelve measures ahead of the
orchestra, when it began again and, indeed, pianissimo. Beethoven to
indicate this had…crouched clean under the desk. At the succeeding
crescendo he again became visible, straightened himself out more and
more and jumped into the air at the point where according to his
calculations the forte ought to begin. When this did not follow his
movement he looked out in a startled way, stared at the orchestra to
see it still playing pianissimo and found his bearing only when the
long-expected forte came and was visible to him. Fortunately this
comical incident did not take place at the performance.
drew the wrath of Beethoven when he at first advertised Wellington’s
as his property; the composer objected vehemently, and the promoter
changed the advertisement to show that Beethoven was indeed the
author and owner of the work and that he had composed the piece out
of friendship for Maelzel and to finance their trip to England.
playbill for the concert listed the following works:
“An entirely new Symphony” by Beethoven (the Seventh in A major).
II. Two marches played by Maelzel’s ‘Mechanical Trumpeter’, with full-orchestral accompaniment—one by Dussek, the other by Pleyel.
III. “Wellington’s Victory”.
benefit concert on December 8, 1813, was a rousing success with the
public, as was the repeat concert on December 12. Press reports were
favorable for the most part and confirmed the enthusiasm of the
audience. In fact, the audience was so enthused that the first part
of the Battle
and the Allegretto
movement from the Seventh Symphony had to be repeated.
Beethoven knew that Wellington’s Victory did not merit the adulation that early audiences lavished on it, But he recognized the monetary value of the work and pushed for its performance at least, according to his letters, through 1815. There were several concerts featuring this two symphonies throughout 1814 – each a financial windfall for the composer, such that the grand tour to England was called off. Maelzel, however, took his Panharmonicon and Beethoven’s score on the road, bound for England. Beethoven contested in the courts Maelzel’s right to use the orchestrated version, and the dispute temporarily ended their relationship. Maelzel carried on with his tour, using the early two-piano score. Maelzel returned to Vienna in 1817 and immediately he and Beethoven resumed their friendship, with the master endorsing Maelzel’s latest invention, the metronome.
Of the two symphonies presented on that initial concert in December 1813, the Symphony No 7 in A major, Op 92, has stood the test of time as the more mature and masterful work. Beethoven himself considered to to be his “most excellent” composition to date. The Battle Symphony, Op 91, after its novelty wore off, settled into somewhat obscurity, performed infrequently, until the modern age of recording revived it by employing actual sound effects, instead of Maelzel’s Panharmonicon.
On Saturday, February 8, 2020, from 4:30 to 8 pm, Friends of the Clinton Symphony, local musicians, and the Hy-Vee Market Grille are working together to bring you a fun Mardi Gras evening. Enjoy the Grand Cajun Buffet (or order from the menu), unique specialty drinks, and the music from seven talented musical groups from the area. Enjoy a great evening out, while supporting your local Clinton Symphony Orchestra!
Kevin Lemus, 17-year-old senior flutist at Sterling High School, is the winner of Clinton Symphony Orchestra’s annual Young Artist Auditions, and will perform the Sonata for Flute by Francis Poulenc accompanied by the orchestra in concert at 7:30 p.m. on February 15 in the Morrison High School Auditorium. Kevin is the son of Maria and Efrain Lemus, and a flute student of Nicole Oberg. He enjoys running, and is a member of the school swim team, with a special interest in diving. Future plans include a college major in biology as a path to pre-medicine studies.
The Young Artist Auditions are open to all area high school musicians, and this year’s runner-up is Jenna Spencer, a senior trombonist at Clinton High School. Both students will receive monetary scholarship awards from the Clinton Symphony Orchestra Association.
Adult tickets for the concert are $20, and all students are admitted free of charge. In addition, any student may sponsor an accompanying adult for half-price admission. Tickets are available at the door.
Enjoy the following program notes about Francis Poulenc and his Sonata for Flute.
Jean Marcel Poulenc (1899-1963),
largely self-taught, contributed much to French music during his
career, especially in the years following the First World War. He
composed in all the major media – chamber, orchestra, and opera.
His songs are considered some of the finest of the twentieth century.
our young artist will perform tonight began life as a Flute
It was written in 1957 to honor the memory of an American music
patron, Elizabeth Sprague Coolidge. The composer and renowned
flautist Jean Pierre Rampal premiered the work at the Strasbourg
Music Festival that same year. Since its introduction, the piece has
become one of Poulenc’s most recognized works and a standard in the
flute chamber music repertoire.
Its believed that Poulenc began composing the Sonata as early as 1952 and worked on the piece off and on, with encouragement from his publisher and from French flautists who were looking for new music. He received a commission from the Coolidge Foundation for a chamber piece in 1956, but he put the commission off to 1957 with the stipulation that he could premiere the work at Strasbourg. Rampal remarked in his autobiography the following telephone exchange:Jean-Pierre, said Poulenc: you know you’ve always wanted me to write a sonata for flute and piano? Well, I’m going to,’ he said. ‘And the best thing is that the Americans will pay for it! I’ve been commissioned by the Coolidge Foundation to write a chamber piece in memory of Elizabeth Coolidge. I never knew her, so I think the piece is yours. Poulenc never wrote any woodwind concertos despite having an affinity for the instruments. Noted flautist James Galway is responsible for giving the world a flute concerto derived from Poulenc’s Flute Sonata. Galway felt the Sonata was a chamber piece just begging to be orchestrated. Thus entered British composer Sir Lennox Berkeley who had been a close friend of Poulenc and “had a strong sympathy for the French style.” Berkeley scored the Concerto to include double woodwinds except for one flute. He preserved the French flair and flavor of the original Sonata while providing a delightful new Concerto to the flute repertoire.
Join us on Saturday, December 14 at 7:30 in Clinton High’s Vernon Cook Theater for our Holiday concert. Our special guest this year is RiverChor. This concert is always a favorite as we explore new and familiar musical themes of the Holidays. Bring family and friends for a festive evening!
Our program is:
A Most Wonderful Christmas; arr. Robert Sheldon
Skater’s Waltz; Émile Waldteufel
Festive Sounds of Hanukkah; arr. Bill Holcombe
Messiah And the Glory * For Unto Us * Hallelujah!; George Frideric Handel
Fanfare to La Péri; Paul Dukas
The Nutcracker – Marche * Arabe * Waltz of the Flowers * Trepak; Pyotr Ilyich Tchaikovsky
How Great Our Joy; arr. John Rutter
Lua, Lua, Lua; Esther Scliar
Farandole from L’Arlesienne Suite No. 2.; Georges Bizet
Pizzicato Polka; Johann Strauss, Jr. and Josef Strauss
Christmas Memories; Rosephanye Powell
A Christmas Festival; LeRoy Anderson
Please enjoy the following program notes:
Music to Dispel the Bleak Mid-winter Doldrums
It is interesting to note that several of the songs and carols that we use to celebrate the Christmas season were originally composed for other occasions, but have been, over time, appropriated for that purpose – to celebrate the birth of the Christ Child or to cast a holiday spirit over the doldrums of a “bleak mid-winter” landscape.
To offset the solemn, dignified, and reverential tone of “Silent Night, Holy Night” and “Away in a Manger”, we have the more celebratory and extroverted sounds of “Joy to the World” and “Hark, the Herald Angels Sing.” Few people know, however, that “Joy to the World” (1719) was not written by Isaac Watts to glorify the birth of Jesus Christ, but in anticipation of His Second Coming. The tune of the song is attributed to George Frederic Handel (Antioch). Even fewer know that Charles Wesley’s piece, “Hark, the Herald Angels Sing” (1739) achieves its wonderful sonorities from the music of Felix Mendelssohn, adapted from his cantata Festgesang (1840) to commemorate Gutenberg’s invention of movable type printing. It was arranged to Wesley’s poem by English composer William H. Cummings (1855). Wesley himself had preferred a more solemn and stately music.
composer Serge Prokofiev, returning from abroad and eager to placate
his critics, agreed to score the film Lieutenant Kijé (1934).
The film was a success and Prokofiev’s five-movement suite adapted
from the score quickly entered the international repertoire. The
fourth movement of the suite Troika
is often used in Christmas concerts as “sleigh bells, rapid
pizzicato strings, and piano combine to give the impression of a fast
winter’s journey [in
troika, a traditional Russian three-horse sled.” American composer
Leroy Anderson, in contrast, was prompted by a heat wave in 1946
to compose his Sleigh Ride.
Working in his yard repairing water pipes, Anderson envisioned
himself in a sleigh drawn by horses galloping through
a snow-covered New England landscape with the crisp winter wind
his sweaty brow. Sleigh Ride was premiered by the Boston Pops in May
1948. It makes no mention of any holiday.
waves also played major roles in the creation of two other specific
Christmas songs. Mel Tormé and Robert Wells collaborated to compose
one of the most recorded Christmas tunes, “The Christmas Song”
According to Tormé, the song was written during a blistering hot
summer. In an effort to “stay cool by thinking cool…I saw a
spiral pad on his [Wells’] piano with four lines written in pencil”,
Tormé recalled. “They started, ‘Chestnuts
Frost nipping…, Yuletide
carols…, Folks dressed up like Eskimos.’
Bob didn’t think he was writing a song lyric. He said he thought if
he could immerse himself in winter he could cool off. Forty minutes
later that song was written. I wrote all the music and some of the
popular music composer Irving Berlin gave differing accounts about
where and when he wrote the most popular Christmas song of all time –
“White Christmas” – more than 50 million sales in the United
States, more than 100 million world-wide. Berlin, in the more popular
version, claimed that he was staying at a hotel in La Quinta,
California, during a particularly hot, sultry spell in 1940, when he
began to reminisce about earlier times in New England with his family
and friends – especially around Christmas time. Berlin, who liked
to compose at night, took down the words and music that came rushing
to him and called his secretary in New York:
Grab your pen and take down this song. I just wrote the best song
I’ve ever written—heck, I just wrote the best song that anybody’s
serious – or classical – music also has examples of music
adopted, adapted, and/or arranged for the holiday season despite the
music’s original intent.
Farandole on tonight’s
program comes from themes Georges Bizet used in his incidental music
to Alphonse Daudet’;s play L’;Arlésienne
(The Girl from Arles),
first performed in 1872. Bizet originally wrote twenty-seven
numbers of varying lengths to augment the drama, but both the play
and the music were considered failures at the time. Bizet, to salvage
something from his efforts, extracted four pieces from score which he
re-orchestrated and published as his
Suite. It was not until four years after Bizet’s
death that the second suite was created.
Suite No 2was
crafted by Ernest Guiraud,
a life-long friend of Bizet. For his suite, he took three selections
from the original source material, although he did take liberties
with the arranging and scoring of the pieces. In Guiraud’s version of
the Farandole, he augments the dance with a traditional French
Christmas carol, March of the Kings. Thus, it is through
Guiraud’s manipulation of Bizet’s original material that the
Farandole is often scheduled on Christmas programs.
premiered the evening of April 13, 1742, as one of a series of
charity concerts in Dublin, Ireland. George
Frederic Handel, the German-born, Italian-educated,
English citizen, composed this masterpiece over a three-week period
during the summer of 1741 set to a libretto by Charles
is known of the reception the work received at its premiere, but it
was a success when Handel led a performance in London the following
year. Not until 1818 did an American premiere take place in Boston.
Handel altered and revised Messiah
depending on the occasion and the musical forces he had at his
command, and it was only in 1754 that an ‘authentic’ version was
presented at a benefit performance for London’s Foundling Hospital.
The choruses from Messiah
offer some of the most inspiring and stirring music that Handel ever
wrote. Of particular note is the most famous of them, the Hallelujah
chorus. The chorus comes at the end of part two and tradition
dictates that the audience stands at this point, as King George II
did in Handel’s time, to show deference to the
King of Kings.
(1840-1893) considered his music for The
Nutcrackerballet to be
‘infinitely poorer’ than that of hisSleeping
Following the success of his opera Pique
Queen of Spades),
Tchaikovsky had accepted two commissions from the director of the
Imperial Theatres – one for a ballet and another for a one-act
opera. The director gave Tchaikovsky no options on the subject for
the ballet; it was to be based on Alexandre
Dumas père’s adaptation of E.T.A.
Nutcracker and the Mouse King.
He began work on the score in early 1892 and
finished the piece by late summer of the same year. The composer made
a suite of eight of the numbers he had already completed and
Suite, Op. 72a to the St. Petersburg’s public
on March 19, 1892. The complete ballet debuted in December 1892 to
generally poor reviews. While the suite was an immediate success, the
complete ballet did not achieve great popularity in the United States
until the 1950s when it was featured on national television during
the Christmas season. Since then, the ballet and the suite have
become standard seasonal fare.
The great variety of music – both spiritual and secular – that boosts our holiday mood does much to, indeed, dispel the “bleak mid-winter” atmosphere and brings good cheer to all.