44 2015-2016 Season

COlUmbUS INDIaNaChildren’s Choir

RUTH DWYER CICC Artistic Director

The effects of music education are beyond beneficial, they are practically essential. The directors of the Columbus Children’s Choir have spent 20 years

proving this to be true in Columbus. This season marks the 20th anniversary of the collaboration between the Columbus Indiana Children’s Choir and the Columbus Indiana Philharmonic. Help us celebrate the high development and performance standards that Ruth E. Dwyer, Columbus Indiana Children’s Choir Artistic Director, instills in every child she meets.

Mrs. Dwyer is internationally recognized as a treble youth and children’s choir specialist and Kodály educator. Mrs. Dwyer has been the guest conductor for the OAKE National Children’s Choir, numerous All-State and Honor Choirs, and the National Children’s Choir at Lincoln Center and for MidAmerica Productions Carnegie Hall Children and Youth Choral Festival. Mrs. Dwyer is the Founder and Artistic Director of the Hoosier Hills Choral Festival in Southern Indiana and of Philthrusong, Inc. (Philanthropy Through Song) a non-profit organization supporting anti-drunk

driving education and traumatic brain injury research through choral performance .

Mrs. Dwyer has been the Associate Director of the Indianapolis Children’s Choir (ICC) since 1988 and ICC Director of Education in 1996. She is also the Artistic Director and Administrator of the Columbus Indiana Children’s Choir, a cooperative effort of the Columbus Indiana Philharmonic Orchestra and the Indianapolis Children’s Choir. Her work with ICC/CICC has allowed her to tour throughout the United States and abroad. Her choirs have performed for the Indiana Music Educators Association, the AOSA National Conference, in New York’s Carnegie and Avery Fisher Halls, Spain, across the USA and throughout Central Europe. She has prepared choirs for performances with the Indianapolis Symphony Orchestra, the Indianapolis Symphonic Choir, Indianapolis Opera, the Columbus Indiana Philharmonic and the Butler University production of Nutcracker. Mrs. Dwyer’s work with ICC/CICC includes mentoring the teaching staff, conducting 4 choirs, teaching in the First Steps program and providing music library assistance.

Prior to her fulltime position with ICC, Mrs. Dwyer served the State of Indiana for 19 years as a public school music educator. She has received the IMEA Elementary Music Teacher of the Year, the Hoosier Musician award and the IPS Rising Star award. Mrs. Dwyer is an accomplished choral composer and arranger. She has taught master classes for the IU Jacobs School of Music, Butler, St. Thomas, Drake Universities and Silver Lake College. Mrs. Dwyer also works as a studio conductor for Heritage/Lorenz Publishers.

Ruth Dwyer earned both her Bachelor’s and Master’s degrees from Indiana University where she majored in music education and voice. While attending Indiana University she also received her Kodály certification under the guidance of Mary Goetze and Jean Sinor. She enjoys a good cup of coffee, visiting with family, reading, sailing and hiking in the mountains.

The Columbus Indiana Children's Choir is recognized as one of the finest choirs in the nation because of the excellence of its musical education, the diversity of its membership and the quality of its contributions to the community's cultural life.

For 20 years, CICC has provided exceptional music education and choral performance experiences to children and youth in central Indiana. under the leadership of Artistic Director Ruth Dwyer, Assistant Director Camilla Gehring, and CICC Coordinator Deb Eikenbary and many others, the choir has grown to serve hundreds of children each year and has become one of the most accomplished programs of its kind.

CICC choristers learn to express themselves through a high standard of choral performance and artistic communication. Each child develops vocal, musical, aural and analytical skills, and benefits from age-appropriate training of the maturing voice as part of a comprehensive choral music education.

452015-2016 Season

Columbus Indiana Philharmonic David bowden, Music Director

Saturday, april 2, 2016 at 7:30 Pm Erne auditorium, Columbus North High School

David bowden, Conductor

The Philharmonic Chorus David bowden, Artistic Director

Columbus Indiana Children’s Choir Ruth Dwyer, Artistic Director

SEaSON TITlE SPONSOR

music for Royalty

SEaSON mEDIa SPONSOR

CONCERT CO-SPONSOR

CONCERT PaRTNERS

Crown Imperial March William Walton

Arrival of the Queen of Sheba from Solomon George Frideric Handel

Music for the Royal Fireworks Handel Overture Bourée La Paix (The Peace) La Réjouissance (The Rejoicing) Minuet and Trio

Emperor Waltz J. Strauss, Jr

Pomp & Circumstance March No. 1 (Land of hope and Glory) Edward Elgar

INTERmISSION

Prince of Denmark’s March (Purcell’s Trumpet Voluntary) Jeremiah Clarke

Come Ye Sons of Art Henry Purcell Come, Come Ye Sons of Art Strike the Viol Sound the Trumpet Come, Come Ye Sons of Art

Zadok, the Priest (Birthday Ode for Queen Mary) Handel

Aloha ‘Oe Queen Lil’uokalani

“Can You Feel the Love Tonight?” from Lion King Elton John

Think on Me (text by Mary, Queen of Scots) James Mullholland

I Was Glad (Coronation Anthem) Hubert Parry

Jerusalem (And Did Those Feet in Ancient Times) Parry

INSURANCE SERVICES

“It is a real pleasure to be a member of the CIP family.

The level of musicianship in this ensemble is very high,

but to me the distinguishing characteristic is the open and positive nature of our work together. This is something

unique to this orchestra and makes rehearsals and performances a real joy to

be a part of.”

– Eliot Heaton

46 2015-2016 Season

William WaltonCrown Imperial marchWilliam Walton first caught the ear of the British public with the premiere of his oratorio, Belshazzar’s Feast, in 1931. A sprawling, ambitious yet immediately appealing work, Belshazzar’s Feast served as notice that Great Britain had found its heir-apparent to Edward Elgar and Ralph Vaughan Williams.

The work was hardly the first piece bearing witness to Walton’s greatness as a composer (his 1921 chamber piece, Façade, had earned some limited popularity), but Belshazzar’s Feast demonstrated both a facility for melody as well as an ability to handle large-scale compositions. This fact was reinforced by the premiere of Walton’s Symphony No. 1, in 1934.

By 1937, Walton’s reputation had grown to the point that it only seemed natural that he should be the composer to write a coronation march for Edward VIII. The BBC commissioned just such a work; but ultimately it was not used for its intended purpose, due to Edward’s abdication of the crown shortly before the planned coronation. Instead, the Crown Imperial March was used for the coronation of King George VI, Edward’s brother.

Like Elgar’s Pomp and Circumstance Marches, the Crown Imperial March is a swaggering and sunny work boasting a romantic processional theme. Indeed, close analysis reveals that Walton must have carefully studied Elgar’s famed marches, as the structure of his Crown Imperial mimics that of the Pomp and Circumstance Marches closely.

George frideric Handel music for the Royal fireworks, arrival of the Queen of Sheba from Solomon, and Coronation anthem: “Zadok the Priest”If George Frideric Handel’s father had gotten his way, likely none of us would know the name of a man now considered one of the most prolific and influential composers in Western history. Born in 1685, George possessed a natural and quite precocious musical talent from his youngest days; but his father, a court barber who was in his mid-60s when George was born, forbade the boy to study music. But wills find their ways, and with help from his more sympathetic mother George managed to get access to a small clavichord, which he played when his father was asleep.

At the age of 7, George had the opportunity to play

the organ for the duke’s court in Weissenfels; his proficiency shocked his father and impressed the organist Friedrich Wilhelm Zachau, who offered the boy lessons. Zachau became Handel’s primary mentor, instructing the boy in organ, harpsichord, and compositional techniques.

By 1710, Handel’s career was beginning to take shape. That year, he was appointed kappelmeister (music director) to the German Prince George. During a trip to London that year, Handel met the manager of the King’s Theatre, who accepted the composer’s offer to write an opera. The opera, Rinaldo, was written in just two weeks; it was a major success and propelled Handel into the public eye.

Four years later, Prince George became King George I of Great Britain and Ireland. Thus Handel found himself composer to the king, a position that afforded him both fame and opportunities to write music for a variety of occasions, from operas and oratorios to more uncommon works such as his well-known Water Music Suite, penned for a royal flotilla on the River Thames. Handel eventually became a British subject in 1727. That same year, King George I died. Handel’s first commission after becoming a British citizen was, therefore, to write a

Deborah “Deb” Glick Eikenbary currently serves as Coordinator of the Columbus Indiana Children’s Choir, and she works as an elementary music teacher at Mt. Healthy and Southside Elementary Schools within the Bartholomew Consolidated School Corporation. While Deb proves her dedication to CICC on a daily basis, she balances her involvement in other education programs through the Philharmonic, including the adult Philharmonic Chorus and the Education Board Committee. Deb has been an active member of these programs since before joining the Philharmonic staff.She is a founding member of Music EdVentures, Inc., an international organization dedicated to educating children through music. She has experience filling several roles within that organization, including participation as a board member, conference planning chair and president. She has served as a member-at-large for the Indiana Elementary Music Educators Association and is a long time member of Indiana Music Educators Association and Music Educators National Conference. A dynamic member of her church, Newbern United Methodist Church on Columbus’ east side, Deb currently acts as musician, leadership team chair, and treasurer of United Methodist Women. A natural fiber enthusiast, Deb enjoys spending her free time knitting, sewing, lace making (tatting), and traditional rug hooking. She and her husband, Robert, have two children, Rebecca and Steven, who are both alumni of CICC and the Philharmonic’s Music for Youth string programs. The Eikenbarys have been season ticket holders since the founding of the organization in 1987. “My first impression of this organization,” Deb says, “comes from the very first concert when I was singing in the Chorus. I knew this was going to be a very fine addition to our community and I believe that has remained true to this day.”

Camilla Gehring is a graduate of Indiana University School of Music with a Bachelor’s degree in music education. She taught elementary music in Connersville, IN for three years in addition to performing regularly with the Whitewater Opera Co. in Richmond, IN. She earned her MBA from Ball State University and combined her two degrees and became General Manager of the Minneapolis Chamber Symphony.

She was a professional chorus member of the National Lutheran Choir as well as being a member of the Minnesota Chorale performing with both the Minnesota Orchestra and the St. Paul Chamber Orchestra. She also worked as a professional cantor at the Basilica of St. Mary in Minneapolis.

A frequent soloist with the Philharmonic, Mrs. Gehring is also a long time member of both the Philharmonic Chorus and her church choir. She has appeared in numerous Mill Race Theatre productions and is a frequent soloist in the area. As the CICC’s Assistant Director, Mrs. Gehring directs the Descant Choir and the beginning Preparatory Choir. She also maintains a full teaching schedule of private students. Camilla and her husband, Jon, are the parents of Dominic and William, former singers in CICC.CamIlla GEHRING CICC Assistant Director

DEb EIKENbaRY CICC Coordinator

music for Royalty Program Notes

472015-2016 Season

Coronation Anthem for King George II.

Handel chose to base his Anthem on the coronation of King Solomon, who, according to the Bible, came to the throne in Israel when his father, King David, was dying. King David called on his loyal priest, Zadok, and the prophet Nathan to perform the coronation of Solomon, saying, “blow ye the trumpet and say `God Save King Solomon’ ......” (I Kings, Chapter 1).

The Anthem that Handel wrote for the occasion endeared him to British royalty for all time: Zadok the Priest has been performed at every coronation of the British crown since King George II took the throne.

In late 1748, England and France signed the Treaty of Aix-la-Chapelle, which effectively ended the War of Austrian Succession. To celebrate and demonstrate the new accord between the two countries, the king engaged the French scenic designer Chevalier Servandoni to construct a large pavilion in the Palladian style in London’s Green Park, to serve as a launching pad for a fireworks display. Interspersed with the visual spectacle would be new music by Handel, performed in the pavilion beneath.

Excitement about the event was extremely high. The musical dress rehearsal drew a crowd of 12,000, causing one of the first documented traffic jams on London Bridge. A week later, the main event took place. It wasn’t such a success. Partway through, some of the fireworks prematurely caught fire, burning

down one of the pavilions.

Despite that, Handel’s six-movement suite was quickly recognized for its many merits. The French-style overture is a masterpiece of pomp and excitement. The third movement, titled “La Paix” (“The Peace”), is one of the composer’s most lovely dances, an elegant Siciliana in 12/8 time. The music culminates in a final Minuet that bursts with energy and pageantry.

Handel’s oratorio Solomon dates from that same year. This complex and richly orchestrated work for orchestra and double chorus recounts stories about the wise king Solomon, as told in Biblical and other texts. Today, the work is rarely heard in its entirety; but one purely instrumental passage, the Arrival of the Queen of Sheba from Act Three, has taken on a life of its own. The sunny and vivacious music was featured at the opening ceremonies of the 2012 London Olympics.

Johann Strauss II Emperor WaltzesBy 1889, Johann Strauss was famed across Europe for his unmatched talents as a composer of light yet unforgettable dance music, particularly waltzes. That year, one of the most notable events in international politics was a toast by Kaiser Franz Joseph I of Austria to extend “the hand of friendship” to Kaiser Wilhelm II of Germany in Berlin. Strauss decided to commemorate the event with a waltz, which he titled “Hand in Hand” in

reference to the quotation from the toast.

The resulting composition was one of Strauss’ most regal and purely bright works for orchestra, reflecting the hope of the moment. After conducting its premiere in Berlin, Strauss took the tune to his publisher, who recommended a change of title to The Emperor Waltzes. By that name or any, this is one of Strauss’ very finest works, and it has found a permanent place as a concert hall staple worldwide.

Henry Purcell Selections from Come Ye Sons of artFor centuries, no British composer was held in higher esteem than Henry Purcell. Born to a musical family in 1659, Purcell showed his talents early. At age 8 he completed his first work, a three-part song titled Sweet tyranness. At 20 he was appointed organist for Westminster Abbey, a position he held for the rest of his relatively short life. Purcell died in 1695.

The final years of his life were, fortunately for posterity, a time of great productivity. In 1694, Purcell composed a birthday ode to Queen Mary, titled Come Ye Sons of Art. Set in 10 movements, the piece for chorus, soloists and orchestra enjoined a series of instruments (“Sound the trumpet,” “Strike the viol”) to extol the merits of the queen. Not surprisingly, kings and queens since have embraced this music both for its beauty and its unabashed celebration of royal virtues.

Deborah “Deb” Glick Eikenbary currently serves as Coordinator of the Columbus Indiana Children’s Choir, and she works as an elementary music teacher at Mt. Healthy and Southside Elementary Schools within the Bartholomew Consolidated School Corporation. While Deb proves her dedication to CICC on a daily basis, she balances her involvement in other education programs through the Philharmonic, including the adult Philharmonic Chorus and the Education Board Committee. Deb has been an active member of these programs since before joining the Philharmonic staff.She is a founding member of Music EdVentures, Inc., an international organization dedicated to educating children through music. She has experience filling several roles within that organization, including participation as a board member, conference planning chair and president. She has served as a member-at-large for the Indiana Elementary Music Educators Association and is a long time member of Indiana Music Educators Association and Music Educators National Conference. A dynamic member of her church, Newbern United Methodist Church on Columbus’ east side, Deb currently acts as musician, leadership team chair, and treasurer of United Methodist Women. A natural fiber enthusiast, Deb enjoys spending her free time knitting, sewing, lace making (tatting), and traditional rug hooking. She and her husband, Robert, have two children, Rebecca and Steven, who are both alumni of CICC and the Philharmonic’s Music for Youth string programs. The Eikenbarys have been season ticket holders since the founding of the organization in 1987. “My first impression of this organization,” Deb says, “comes from the very first concert when I was singing in the Chorus. I knew this was going to be a very fine addition to our community and I believe that has remained true to this day.”

812-379-45591034 Washington Street, Columbus, IN 47201

Mon - Thur: 11-10 • Fri - Sat: 11-11 • Sun: 11-9www.joewillysburgers.com

Continued on pg. 48

48 2015-2016 Season

Jeremiah Clark Prince of Denmark’s marchIronically, one of the pieces for which Henry Purcell was most widely known and beloved in the past wasn’t, in fact, written by him. In the early 20th century, the English conductor Sir Henry Wood rediscovered a short piece from the late 17th century, which he believed to be a composition by Purcell. (The mistake wasn’t entirely Wood’s fault: The score that caught his attention was itself a misattributed arrangement for organ from the 1870s.) Wood arranged the music for trumpet, organ and drums and titled it Trumpet Voluntary. Wood’s arrangement quickly became popular worldwide and has since remained a fixture of ceremonies and weddings.

However, in the 1940s it was determined that the music was in fact written by Jeremiah Clark, a younger contemporary of Purcell’s. Clark originally penned the music for the husband of Queen Anne, Prince George of Denmark..

Edward Elgar Pomp and Circumstance march #1Few works in the classical repertoire are more familiar than Sir Edward Elgar’s Pomp and Circumstance March No. 1. Co-opted long ago as the ubiquitous tune performed during graduation ceremonies across America, this march has become such a part of our cultural ceremonial identity that it’s hard to separate the music from the context by which it is so familiar.

Yet Elgar didn’t write this march for that express purpose. In fact, the Pomp and Circumstance Marches — of which Elgar wrote five — were originally penned as military marches, to be performed as concert pieces, with dedications to friends of Elgar’s.

At the time he wrote the five Marches, Elgar’s reputation was growing in England such that any work that flowed from his pen was destined to become a familiar fixture in concert halls. In that context, it’s hardly surprising that King Edward VII decided to use the Pomp and Circumstance March #1 at his coronation soon after Elgar completed the brief work in 1901.

Britons soon clamored for performances of the work, and feeding off its stamp of approval from the King, the work became a sort of hymn of British national pride, almost supplanting the national anthem as the favored music for public events.

And truly, if we can hear it with fresh ears, the work must be recognized as one of the great marches of all time, combining in its melody a regal bearing and sentimental romanticism that few other marches have ever matched.

Sir Hubert Parry I Was Glad and JerusalemFor a significant span of the late 1800s, Sir Hubert Parry was one of the most respected musicians in all of Britain. He held concurrent professorships at the Royal College of Music and at the University of

Oxford. He was hailed by some as the finest British composer of the century.

Today, Parry’s name is largely overshadowed by those of a younger generation, including some of his own students — who included Gustav Holst, Ralph Vaughan Williams and Frank Bridge. None of his music is regularly performed in the concert hall. But one work keeps his name perennially familiar in Britain: I Was Glad, a setting of Psalm 122 for brass, organ and large chorus.

Parry penned the short, celebratory work in 1902 for the coronation of King Edward VII. Settings of the same text had been sung at coronations since the 1600s; but Parry’s version took an immediate place of primacy. It has been performed at every coronation since; it was also recently performed at the wedding of Prince William, Duke of Cambridge and Catherine, Duchess of Cambridge as the processional music for the bride, her father and the bridal attendants.

Parry’s 1916 anthem, Jerusalem, is arguably the composer’s most widely known work outside England. This short choral song reflects the hope and mystery of the text that inspired it: William Blake’s “And did those feet in ancient times,” which ponders a once-popular theory that Jesus visited England during the so-called “unknown years” between his youth and his ministry.

Continued from pg. 47

music for Royalty Program Notes