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ORCHESTRA IOWASEASON OPENERSaturday, September 18, 2021, 7:00 PM BRUCEMORE LAWN

BRUCEMORCHESTRA XIVAN EVENING OF RODGERS & HAMMERSTEIN

TIMOTHY HANKEWICH MUSIC DIRECTORREVIVAL THEATRE COMPANY

CEDAR RAPIDS CONCERT CHORALE

Music by Richard RodgersLyrics by Oscar Hammerstein II

Orchestrations by Robert Russell Bennett & Don Walker

Rodgers & Hammerstein Orchestra OvertureIt’s a Grand Night for Singing from State Fair

Hello, Young Lovers from The King and II Have Dreamed from The King and I

We Kiss in a Shadow from The King and II Whistle a Happy Tune from The King and I

There is Nothin’ Like a Dame from South PacificSome Enchanted Evening from South PacificYounger Than Springtime from South Pacific

Wonderful Guy from South PacificSoliloquy from Carousel

The Carousel Waltz from CarouselJune is Bustin’ Out All Over from Carousel

If I Loved You from CarouselThe Sound of Music from The Sound of MusicMy Favorite Things from The Sound of Music

Do-Re-Mi from The Sound of MusicClimb Ev’ry Mountain from The Sound of Music

Selections from Oklahoma!Oh, What a Beautiful Mornin from Oklahoma!

Out of My Dreams from Oklahoma!People Will Say We’re in Love from Oklahoma!

Oklahoma from Oklahoma!

- INTERMISSION -

ORCHESTRA IOWA MUSICIANS

VIOLINMadeline Capistran ConcertmasterJohn N. Knapp Chair

Eric BateAssociate Concertmaster Peter and Ingrid Kolln Chair

Linda JudieschAssistant Concertmaster

Tomer MarcusPrincipal Second ViolinMcConoughey Family Chair

Alla Cross Associate Principal Second Violin

Laura SchaferAssistant Principal Second Violin

Bryce ChristensenAndrew GentzschMichael HallJerry HenryJulie Fox HensonAlex NorrisJoshua PalazzoloRachel PetersMaya ShiraishiLinda Pfund Swanson

VIOLAJenwei Yu PrincipalLeland & Peggy Smithson Chair

Lisa Ponton Associate Principal

Valerie Little Assistant Principal

Sara AboZenaAndrea AlertMichelle BennettDonghee Han

CELLOAmy Phelps PrincipalChristian & Patti Tiemeyer Chair

Whitney Giller Associate Principal

Diane Platte Assistant PrincipalDr. Robert & Ann Swaney Chair

Henry ChenJames EllisSarah HansenLiz Oar

BASSChunyang WangPrincipal

Michael Van Ryn Associate Principal

John HallJeanette Welch

FLUTEJane Walker Principal

Hannah Peterson Kimberly Helton

OBOEAndrew Dotterer Principal Phyllis Fleming Chair

Matthew ShippCourtney Miller

CLARINETChristine Bellomy Principal David & Ann Lawrence Chair

Emily BeiselLisa Wissenberg

BASSOONMatthew Ransom Principal

Greg MortonMatt Kowalczyk

HORNCharles HarrisPrincipal

Peter KortenkampWilliam EisenbergDan Malloy

TRUMPETAndrew Classen Principal CRST International Chair

Aren Van HouzenChris Haas

TROMBONERobert Parker Principal

Caleb Lambert

BASS TROMBONEMatthew Halbert

TUBABlaine Cunningham Principal Jared and Carol Hills Chair

TIMPANIMichael GearyPrincipal

PERCUSSIONTom MackeyPrincipal

Aaron Williams

HARPGretchen BrumwellPrincipal

CEDAR RAPIDS CONCERT CHORALE

ELENA SHADDOW SOLOISTEZEKIEL ANDREW SOLOISTAMY FRIEDL STONER SOLOISTCATHERINE BLADES SOLOIST

CHRISTOPHER JOHNSTONE SOLOIST BRANDON BURKHARDT SOLOISTLORALEE SONGER SOLOIST

BRIAN GLICK DIRECTORCAMERON SULLENBERGER MUSICAL DIRECTORMEGAN HELMERS CHOREOGRAPHERS. BENJAMIN FARRAR LIGHTING DESIGNERMELONIE STOLL COSTUME COORDINATORMADI KNACK STAGE MANAGER

SOPRANOMegan AndersonNancy AndreasenKaye Lynn ArenzKitty CecilKay ChristNicole ClymerConnie CraneTerri CrumleyRebecca FarmerLaurel Gillette-MarkClaire GoldsmithGloria GrevTima HopsonMimi InfanteBarbara KochDeb KuceraLana LodgeJoan MerrymanStephanie MichalicekMarilyn OwenLynette PerkinsKaytee RairdinGaye RobertsSophia RoccaLaura Schmoll

ALTODarlene AndreattaNanci BellBecky CollierPat DawsonCarla FollensbeeJani FordKaren FranksKay GalliKathy GregorJennie JohnsonKatie LayherNicki NeiderhiserJean PearsonEmm RamseyLinda ReganAbbie Reihle-HamesDianne ReiningaLillian SiebringSusie StreitDeb TobiasBertha TribunoMolly WilliamsDarlene Worden

TENORReggie AbrahamGary BellDavid BerningJay BurkenBob CraneGeorge FordGordon FreemanDon JohnsonWendell KeithScott ShoemakerRandall WaltonPaul Zastrow

BASSGreg BarnettJacob CacioppoAlan EilersJim GrayCharlie KuceraJoseph MallieJeff MarkKen OwenRandy ReynoldsJames RichardsonDave SherwoodJerry StampBob Tribuno

REVIVAL THEATRE COMPANY

DR. GERALD KREITZER DIRECTOR

MEGAN ROBINSON DANCERCAMERON BYRD DANCERDALLAS OLBERDING DANCERCALVIN BOMAN DANCER

VANESSIA LUND DANCERJOSH PAYNE DANCERJOSLYN SHEELEY DANCERANNA SLIFE DANCER

PROGRAM NOTES

Oscar Hammerstein II (1895-1960) was born in New York City to a family of theatrical members. He was the son of a theatre manager at the best vaudeville house in the city and the grandson of an opera impresario and showman, for whom he was named. Oscar’s uncle was a well-known theatre producer. With the family business in theatre, it was natural that young Hammerstein II wanted to follow in the family’s footsteps. But his father (like so many) discouraged this and when Oscar was old enough he entered Law School at Columbia University. Oscar couldn’t deny his destiny, and while he was there, joined the Columbia University Players, both as a writer and an actor.

During his first year at Columbia, his father died, and at the age of 19, Oscar persuaded his uncle to hire him as an assistant stage manager at one of his uncle’s shows. While continuing his second year at Columbia, he was hired again as the stage manager and soon was working in the family business. He began writing musical comedies, teaming up with such notables as Otto Harbach, Rudolph Friml, and Herbert Stohart. Before the age of 30, he had collaborated on a handful of hits, including Wildflower and Rose-Marie. This led to a meeting with Jerome Kern resulting in a new collaboration. Their first show, Showboat, was an immensely popular and ground-breaking musical that firmly cemented Hammerstein’s career as a successful writer. During the 1930’s, Hammerstein II spent his career in Hollywood writing for movies. While his personal life was fulfilling during this period, his career was not, so in 1942 he returned to New York City, and teamed up with an old Columbia friend, Richard Rodgers.

Richard Rodgers (1902-1979) was born in Queens. He was the son of a physician, who had changed the family name from Roganzinsky. Richard’s parents took the young boy to performances of operettas, which became an inspiration for him in his later career. By the age of six, Richard began studying piano, and throughout his childhood he wrote songs and other short

pieces. At the age of 16, he entered Columbia University, where Oscar Hammerstein II was in his second year, and Richard met Lorenz Hart. He started working with lyricist Hart on various variety shows, some of which were produced at Columbia. He left Columbia halfway through his second year and continued his studies in composition at the Institute of Music (now known as the Julliard School of Music) and continued collaborating with Hart on several minor shows. Eventually they were producing hits such as On Your Toes, Babes in Arms, and Pal Joey. When Lorenz Hart died in 1943, Rodgers was forced to look for a new lyricist to work with. By chance, he found his old friend from Columbia, Oscar Hammerstein II.

From the very beginning, the team of Rodgers and Hammerstein changed the Broadway musical from a revue-style collection of songs, dances, and a barely recognizable story to a fully integrated plot with songs woven into the narrative.

The Rodgers and Hammerstein Orchestra Overture and all the music heard on this concert were arranged by Robert Russel Bennett and Don Walker. The Overture for the first half is a medley of recognizable tunes including Kansas City from Oklahoma, It Might As Well Be Spring from State Fair, Ten Minutes Ago from Cinderella, and Shall We Dance? from The King and I.

It’s a Grand Night for Singing is the final song in the musical State Fair, which was not an original work by Rodgers and Hammerstein II. The story is based on a 1932 novel by Phil Stong, which was adapted into a movie with Will Rogers as the lead. The plot centers around a family’s three days spent at the Iowa State Fair. In 1945, Rodgers and Hammerstein remade the film incorporating new songs into the story. It is a typical “happy ending” song with all the couples together and the entire company on stage with solos from the leads, as they all dance to the waltz.

The King and I, like many of Rodgers and Hammerstein’s hits, was based on a book. Anna and the King of Siam (1944) by Margaret Landon which was itself based on a work from the 1860s. Rodgers and Hammerstein turned down the initial request to adapt this story into a musical, but eventually relented years later, and in 1951, turned it into their

ROGERS & HAMMERSTEIN

PROGRAM NOTES

fifth hit. Hello Young Lovers is the song Anna sings to the wives of the King. I Have Dreamed is a song of longing for love in a free land. It was added at the last minute to the original Broadway production, but was cut from the movie version. In the movie, the melody is only heard instrumentally in the introduction to We Kiss in a Shadow, which is sung by the same couple as I Have Dreamed. Tuptim and Lun Tha sing of their forbidden love and fear the king will learn of it.

South Pacific from 1949 was based on Robert Michener’s Tales of the South Pacific, and provided a platform in which to send a progressive stance on racism. It was an instant hit with the American audiences with World War II fresh in everybody’s minds. There is Nothing Like a Dame is one of those “feel good” chorus numbers sung by the servicemen serving in the Pacific Theater. Younger Than Springtime is the song Lt. Cable sings when he is “introduced” to Bloody Mary’s daughter, Liat. Wonderful Guy is Nellie’s song of realization that she has fallen in love with Emile. The song was written with Mary Martin in mind, and was shared with her at a New York private party. She originated the role on Broadway and did cartwheels on every repeated “I’m in love” in the song.

In 1949, the team collaborated on their second show, Carousel, a tragic story with an uplifting ending based on a 1909 play by Ferenc Molnár. Soliloquy is the lengthy song at the end of Act I when Billy learns he will be a father. The song, which includes some spoken lines, turns from pride in his son to the musically beautiful realization that he could have a daughter who will need certain things. By the end of the act we learn that Billy will go to any lengths to provide for his girl. The Carousel Waltz is an instrumental work that serves as the Prologue to the show. Rodgers didn’t like the idea of an overture for musicals because latecomers always made too much noise. The waltz usually accompanies a pantomime, setting the early scene on a carousel. The feel good chorus number, June Is Busting Out All Over, helps soften the mood when we realize that the unemployed Billy, now married to Julie, has become abusive. Early in the show, when Julie and Billy are first dating, they sing If I Loved You with both stubbornly avoiding their confession of love for each

other. It is one of the best songs to come from the team and illustrates a beautiful marriage of lyric and melody.

The final collaboration between the two was their most popular hit, The Sound of Music. Its popularity comes from the 1965 movie version, but the original production premiered in 1959, based on the memoirs of Maria von Trapp. Once again Rodgers and Hammerstein II tapped into the topic of World War II and how lives where changed by it. In the stage version, My Favorite Things is sung by the Mother Abbess and Maria before she ever meets the children. Do Re Mi is the song that Maria uses to not only teach the children to sing, but also build their trust in her. Climb Every Mountain is the dramatic Act I closer that convinces the wary Maria to face her fears and determine if the Captain returns her love. Oscar Hammerstein II died of stomach cancer less than a year after the Broadway premiere.

The first show to come from the team of Rodgers and Hammerstein was the show that changed the course of the Broadway musical. Oklahoma! was based on the 1931 play Green Grow the Lilacs by Lynn Riggs. The opening number, Oh, What a Beautiful Mornin’ introduces the male lead, Curly, and his happy-go-lucky exuberance. When Laurie is confused about her feelings toward Curly and her fear of Jud, she is convinced by a traveling peddler to inhale laudanum which leads into a dream sequence. She sings Out of My Dreams as she falls asleep. Just like in Carousel, the two lovers don’t want to admit their feelings to each other and want to remain discreet by singing a not-in-love duet, People Will Say We’re in Love. The grand chorus number, Oklahoma!, toward the end of the show after Laurie and Curly wed, was so popular that the state adopted it as their official song in 1953.

In 1979, Rodgers was presented the Lifetime Achievement Award at the Tony Awards six months before his death. In 1990 the 46th Street Theatre in New York City was renamed the Richard Rodgers Theatre in his honor. The York Theatre Company of New York presents the Oscar Hammerstein Award for Lifetime Achievement in Music Theatre every year. Collectively, the team of Rodgers and Hammerstein won 42 Tony Awards, 15 Academy Awards, 2 Pulitzer Prizes, 2 Grammy Awards, and 2 Emmy Awards.

PROGRAM NOTES BY KEVIN LODGE

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Private Reception

Thanks to these generous partners who have helped make tonight possible!

JANET BLACKLEDGEAND

A GENEROUS ANONYMOUS DONATION

ORCHESTRA IOWAmasterworks

BEETHOVEN 5X5

october 9 & 10stewart goodyear, piano

november 20 & 21jessica pray, suzanne lommler,

eric barry, craig irvin, chamber singers of iowa city

SYMPHONIE FANTASTIQUE

march 12jane walker, flute

RACH 3

april 2 & 3joyce yang, piano

VOICES OF CHANGE BEETHOVEN’S 9TH

april 23 & 24a,renee, taylor raven,

joshua stewart

MUSICAL PRANKS

may 21 & 22william hagen, violin

pops at the paramountGHOSTBUSTERS

IN CONCERTHOLIDAY

SPECTACULARMUSICAL MOVIE

MOMENTS BY JOHN WILLIAMS

THE MUSIC OF QUEEN

october 30 december 3-5february 19 & 20

may 7

partner productionsNUTCRACKER

BALLETdecember 18

COSÌ FAN TUTTE january 21 & 23

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