- I VIOLINS
- Eugene Purdue, Concertmaster
- Sharilyn Wilhite, Assistant
- Kathryn Owens
- James W. Barnes
- Susan Montgomery
- Domer Dougherty
- Ronald Kogen
- Rachel Schenker
- Leonard Braus
- Cheryl Mendle
- Debbie Serafini
- II VIOLINS
- Gary Brown, principal
- Carrie Barning
- Mirian Bruning
- Linda Sanning
- Susie Lussi
- Theresa Fream
- Holly Horn
- Diana Kavanaugh
- Janet Pfister
- Paula Royce
- VIOLAS
- Barbara Hardin, principal
- James R. Dailey
- Mary Richardson
- Margaret Davis
- Sally Chisholm
- John Beard
- John Moon
- CELLOS
- Robert Montgomery, principal
- Lou Petrulis
- Gretchen Tracy
- James Schnabel
- Kenneth Bandy
- Allen Keathley
- Vernon Humbert
- Benita Lewis
- BASSES
- James Anderson, principal
- William Kennedy
- G. Jean Smith
- Louise Hansen
- Donald Tracy
- FLUTES
- Joyce Wilson, principal
- Elizabeth Westgard
- PICCOLO
- Cheryl Sonderman
- OBOES
- William Denton, principal
- Debbie Peiffer
- ENGLISH HORN
- Jane Barkley
- CLARINETS
- Harry Gee, co-principal
- John Spicknall, co-principal
- Charles Ruhl
- BASS CLARINET
- Judith McCulloch
- BASSOONS
- Jennifer Hainlen, principal
- Erick Buck
- CONTRA BASSOON
- Robert Barton
- HORNS
- David Watkins, co-principal
- Nancy Watkins, co-principal
- Linda Fleck, assistant
- Burton Hardin
- Jan MuUer
- Susan Davis
- TRUMPETS
- Dalvin Boone, principal
- John Ellis
- Steven Purcell
- TROMBONES
- Melvin Carpenter, principal
- Fred Joynes
- Bruce Furr
- TUBA
- John Lagle
- TIMPANI
- Herb Hardt, principal
- PERCUSSION
- Larry Vaught, principal
- Dedee &hwomeyer
- J. D. Sumner
- John All
- Sara Pace
- HARP
- Pam Weest
- LIBRARIAN
- Robert Barton
- SOPRANO
- Dorothy Braxton
- Marilyn Byers
- Diane Carver
- Cathy Delgado
- Terri Dishon
- Grace DuMond
- Karen Dzwonek
- Vivian Eckert
- Katherine Elliott
- Charlotte Eppert
- Kathryn George
- Margaret Gray
- Kathyren Haskin
- Mildred Hauer
- Tamara Hobbs
- Jacqueline Hughes
- Margaret Janzen
- Mary Alice Klueh
- Ann Mason
- Ruth Melloh
- Betty Moore
- Hilda Pang
- Shirley Schwartz
- Janice Simpson
- Kathleen Smith
- Gloria Spidel
- Susan Wagner
- Margaret Ying
- ALTO
- Marilvn Allen
- Mary Lou Archer
- Cindy Atto
- Sandra Atto
- Mary Ann Bonnett
- Marilyn Bright
- Ramona Bryan
- Cindy Bullock
- Ann Burchell
- Jo Ann Criss
- Roselyn Dailey
- Janette Devlin
- Pat Foulk
- Elizabeth Giszczak
- Teddie Graham
- Donita Hadley
- Marian Hidy
- Jo Ann Hobbs
- Jackie Hounchell
- Phyllis Hughes
- Penny Kyker
- Carol Parshall
- Sharron Penry
- Annabelle Plenge
- Phyllis Puckett
- Donna Roberts
- DeVera Wenger
- Ruth Williams
- TENOR
- Ben Atto
- Daniel Booher
- David Carter
- Roger Dieckmeyer
- Richard Giszczak
- Richard Hughes
- Jack Janzen
- Don Joo
- Wendell Keith
- Marshall Moore
- Vern Montgomery
- Peter Parshall
- Lawrence Poorman
- Jack Steele
- Gary Williams
- BASS
- Alan Bailey
- Wilbert Boone
- Philip Dilavore
- John Hauer
- David Kihlken
- David Koester
- G. C. Kyker
- Jay Morris
- Peter Sott
- Charles Shutt
- Darrell Swarens
- John Trench
- Jerome Wagner
- Richard White
- Curtis Winkle
TERRE HAUTE SYMPHONY ORCHESTRA AND CHORUS
Stanley Petrulis, Acting Director
Seventh Subscription Concert
Indiana State University
March 30, 1976
Tilson Music Hall
8:00 o'clock
PROGRAM
Euryanthe Overture Weber
Rosenkavalier Suite Strauss
Terre Haute Symphony Orchestra
INTERMISSION
Lohengrin Wagner
Prelude and Bridal Chorus from Act III
Cosi Fan Tutte Mozart
Chorus: Bella vita militar
Quintet and Chorus: Di scrivermi ogni giorno
Il Trovatore Verdi
Anvil Chorus
Carmen Bizet
March and chorus: Les voici!
Prince Igor Borodin
Polovtzian Dances
Terre Haute Symphony Orchestra and Chorus
Euryanthe Overture Von Weber
The opera was first performed in 1823. Weber was commissioned to write the opera by the same Vienna Opera House that had sponsoredDerFreischutz in 1821. Euryanthe, however, did not repeat the success of the earlier opera. It was burdened with a weak libretto and a general lack of dramatic cohesiveness, and, consequently, has passed from the repertory. It is still historically important because it is an example of early German romantic opera, and, of course, because of the beautiful overture which has never lost its audience appeal.
Rosenkavalier Suite R. Strauss
The opera, DerRosenkavalier, was first performed in 1911. It was a striking change of pace for Strauss, who was famous-some said infamous-for his two previous operas, Elektra and Salome, which were considered lurid and somewhat scandalous. The spirit of Der Rosenkavalier was inspired by the comic operas of Mozart and by the infectious waltz tunes of Johann Strauss' operettas. The present suite, extracted from the opera by Strauss, aptly reveals this spirit.
"Prelude to Act III and Bridal Chorus" from Lohengrin Wagner
Lohengnn, first performed in 1850, was Wagner's last "opera" in the traditional sense of that term. Henceforth, beginning with Tristan and Isolde, his stage works were called "Music dramas" in accordance with his new aesthetics which he was beginning to articulate. The first scene of Act m is Elsa's bridal chamber. The lively prelude depicts the joy surrounding the marriage of Lohengrin to Elsa. The famous wedding march is played as the wedding party enters the chamber.
Excerpts from Cosi fan Tutte Mozart
Cosi fan Tutte was first performed in 1790. It is astonishing to learn that the American Premiere took place in 1922.
Possibly its neglect resulted from a shallow knowledge of the plot which centers on disguised suitors testing the fidelity of their lady friends.
The excerpts performed here reveal a master at the peak of his art.
"Anvil Chorus" from Il Trovatore Verdi
The opera was first performed in 1853. The "Anvil Chrous" occurs in Scene one of Act two at a gypsy camp in Biscay. The workers sing as they swing their hammers, while nearby the gypsy woman, Azucena, reveals to Manrico that he is the brother of Count di Luna.
"Les voici," chorus from Carmen Bizet
The scene is a square in Seville where a crowd has gathered to watch the procession of various groups of bullfighters into the arena. They describe each group, the Banderillos, the Picadors, and finally, the Toreador, Escamillo, who arrives with a radiant Carmen on his arm. In the opera, after the crowd and Escamillo have entered the arena, a jealous Don Jose confronb Carmen. They argue, and finally Jose stabs her, as triumphant strains of the Toreador Song ring out from the arena. The crowd pours from the arena to find a dazed Jose kneeling beside the body of Carmen.
"Polovtzian Dances" from Prince Igor Borodin
Borodin left Prince Igor unfinished when he died in 1887. Two colleagues, RimskyKorsakov and Glazounov, finished it and arranged for its premiere in 1890.
The "Polovtzian Dances" occur toward the end of Act n as the ruler of the Polovtzy entertains his prisoners, Igor and his sons, with tribal dances.
In the first dance a flute and oboe melody accompany a procession of captives. This is followed by the lively "Dance of the Savage Men". Then comes, in alternations, dances of little boys, men and girls.
The work closes with a salute to the leader of the Polovtzy.
Stanley Petrulis, Acting Director
Stanley Petrulis has been a member of the Indiana State University Music Department faculty since 1969. His principal duties have been bassoon instructor, director of the Woodwind Ensemble, and bassoonist in the Faculty Woodwind Quintet. His activities with the Terre Haute Symphony during this period have included playing principal bassoon, conducting wind sectional rehearsals, appearing as guest conductor of Stravinsky's Symphonies of Wind Instruments, as soloist in Mozart's Bassoon Concerto and Haydn's Symphonie Concertante, and as a member of the Board of Directors of the Terre Haute Symphony Association. His conducting activities have also included directing the Terre Haute Chamber Orchestra, the ISU Chamber Players, and the Terre Haute Youth Symphony as co-director with James Dailey.
Before coming to Terre Haute, Mr. Petrulis was director of the Pacific Lutheran University Orchestra in Tacoma, Washington. He has also taught at Northern Illinois University Indiana University and the Peabody Conservatory of Music. He received a B.M. degree with Performer's Certificate from the Eastman School of Music; a M.M. degree from Catholic University; and is currently a candidate for a D.M. degree at Indiana University.
As bassoonist, he has appeared frequently as soloist, recitalist, clinician and chamber player, and has played professionally with several orchestras including the National Symphony and the Baltimore Symphony.
TERRE HAUTE SYMPHONY ORCHESTRA
TERRE HAUTE SYMPHONY CHORUS
TERRE HAUTE CHORAL SOCIETY BOARD OF DIRECTORS
President: Charles Shutt
Vice-President: Ann Mason
Secretary-Treasurer: Vivian Eckert
Publicity: Jacqueline Hughes
Librarian: Patricia Foulk
Tickets: Curtis Winkle
Hospitality: Marcella Guthrie
Principal, Soprano Section: Mary Alice Klueh
Principal, Alto Section: Annabelle Plenge
Principal, Tenor Section: Daniel Booher
Principal, Bass Section: Darrell Swarens
Assistant Conductor: Peter Parshall