Cody Lund is a senior at Sterling High School, the son of Rich and Marla Lund. He began study of the violin in 5th grade and has served as concertmaster of his high school orchestra for four years. He is a four-time participant in the Illinois Music Educators All-District Orchestra, and a two-time participant in the All-State Orchestra. His school orchestra teachers have been Barbara Lauff and Erik Oberg, and he studies violin privately with Robert Whipple.
Cody was selected as September Student of the Month... (continue)
Bedřich Smetana (1824-1884) was a musician with talent praised by none other than the great Franz Liszt, who, in self-imposed exile from his native Bohemia, taught music and composition in Göteberg, Sweden. Like other Bohemian artists and musicians, Smetana longed for the day when his native land would be free from the yoke of its German masters. After the Austro-Hungarian Empire granted political sovereignty to Bohemia, Smetana and other Czech exiles returned to their homeland in great numbers with one determined priority - to create a national cultural identity for the self-governing provinces. He and other native composers and musicians hoped to break the hold that German traditions had placed on the region's artistic life.
Once he had established himself in Prague, Smetana helped to create the first Czech national theater, and it was here that his first opera The Brandenburgers in Bohemia was produced in 1866. It was an immediate success, and Smetana followed it with another opera in May of the same year, The Bartered Bride. These two operas established Smetana as the harbinger of a distinctly Czech music which he continued to foster with the composition and production of several other operas on Bohemian themes - Dalibor, The Kiss, and The Devil's Wall, for... (continue)
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 (I long to be near you, Lord). "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.
Brahms's fourth and last symphony was written during the summer months of 1884 and 1885 in Mürzzuschlag , a town in northeastern Styria, Austria, about 60 miles southwest of Vienna. Brahms, a lover of nature, found the cleansing atmosphere and calm temperament of the village a welcome relief to the noisome hurry-scurry of Vienna. Here he could take a break from composing, refresh himself with a brisk walk in the countryside and return to task with a renewed vigor. Although he was isolated from normal day-to-day life of the city, he, nevertheless, kept in touch with those of his friends with whom he had a familiarity. Two of these correspondents were Elizabeth von Herzogenberg and Bülow. To Elizabeth... (continue)
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.
Mr Sibelius, you have been sitting at home for quite some time; it's time for you to do some traveling." So began a letter sent by Baron Axel Carpelan to the Finnish composer. The Baron had in a previous letter urged Sibelius to write an overture to accompany the Helsinki Philharmonic on its European tour in 1900. The Baron insisted the overture be titled Finlandia.
Now, Baron Carpelan urged the Finnish composer to vacation in Italy, the sunny climes of which had inspired Tchaikovsky and Richard Strauss.
You will spend the late autumn and
the winter in Italy, a country where one learns cantabile, balance and harmony, plasticity and symmetry of lines, a country where everything is beautiful – even the ugly.
With the financial assistance of another benefactor, Sibelius did as the Baron suggested and, with his family, took an immediate sojourn to Italy where he began work on what became considered by many his most nationalistic symphony. Sibelius himself thought of the work in later years as purely abstract music, although he did not hesitate to ride the nationalistic wave after its premiere in 1902.
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