You may be one of those music lovers who looks forward to the coming year in hopes of finding a music offering that inspires you to purchase your season ticket at the earliest possible moment.
You can rest assured that Music Director and Conductor Brian Dollinger and CSO Executive Director Robert Whipple have devised an inspiring program of great music of special appeal to our CSO audiences.
During the past few seasons Maestro Dollinger has given the orchestra's followers an in-depth listening into the works of some of music's most revered composers, including Ludwig van Beethoven, Johannes Brahms, and Antonin Dvořák. This season is no different. On tap are compositions by Jean Sibelius and Felix Mendelssohn Bartholdy, plus an Iowa premiere of a new work by Christopher Theofanidis.
Keep abreast of all things CSO by checking this web site from time to time over the next few months for information about the 2015-2016 concert season.
The CSO's opening concert for the 2015-2016 season is focused on Italy, the land of sunshine and blue skies that fascinated German composer Felix Mendelssohn Bartholdy to the point of distraction. According to his correspondence with family and friends, the young composer found the sights and sounds and people of the various cities he visited to be intriguing. He immersed himself in the art and artifacts of ancient Rome and in an active evening life among the German expatriates who formed a clique within the Italian communities. He did, however, work enough to produce a few notable compositions, among which is the framework of what became his Symphony No 4 in A major, 'Italian'.
Of course, no concert on Italy would be complete without Italian composers espousing the qualities of their homeland. Maestro Dollinger has included three of Italy's foremost composers on his playlist:
Gioacchino Rossini is represented with one of his most exhilarating overtures, the Overture to La gazza ladra (The Thieving Magpie). This opening to the last of a spate of operas Rossini composed over a four-year period 1813 to 1817 is noted for its spirited use of snare drums.
From Amilcare Ponchielli comes one of the more recognizable popular pieces from a grand opera. The composer's brief ballet Dance of the Hours from his great La Gioconda is featured in the Walt Disney animated Fantasia, and few are the music lovers who can hear it without conjuring images of dancing hippos and alligators.
Gianni Schichi is the third and final part of Giacomo Puccini's Il trittico (The Triptych) — three one-act operas with contrasting themes, originally written to be presented together. Gianni Schicchi is now more frequently staged either alone or with short operas by other composers. The aria O mio babbino caro (O, My Dear Papa) is one of Puccini's best known arias.
In June 2016, the CSO again offers a free public concert for the citizens of Clinton and the surrounding areas. Riverview Park along the Clinton waterfront is the site of the concert, which begins at 6:30 pm. Friends of the symphony are encouraged to attend and bring along with them their family members and neighbors.
Musical selections cover a broad range including the light classical, Broadway, television, and motion pictures genres.
Symphony @ Riverview events in previous years have been well attended by the public in the Clinton area and from surrounding counties. To some it has become an annual social musical occasion much anticipated.
Check Back Later for a Listing of Program Selections.
Johannes Brahms (1833-1897) showed his friend, pianist and conductor Hans von Bülow, a chorus from Sebastian Bach's cantata Nach dir, Herr, verlanget mich (BWV150). "What would you think of a symphonic movement written on this theme one day?" the composer asked. "But it is too heavy, too straightforward. It would have to be chromatically altered in some way."
A few years later, Bülow got Brahms' answer to the question he had posed earlier. In October 1885, the conductor visited rehearsals for Brahms' Fourth Symphony and reported to friends that the new symphony was
stupendous, quite original, quite new, individual and rock-like. Breathes incomparable energy from start to finish.
What Bülow witnessed at the rehearsal was Brahms' innovative use of a Bach formal model from the Baroque era - the passacaglia - to solve the problem of how to conclude a big and powerful symphonic work.
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