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University of Iowa News Release

Oct. 10, 2003

UI Philharmonia Chamber Orchestra Presents Free Concert Oct. 26

The Philharmonia Chamber Orchestra from the University of Iowa School of Music will present a free concert under the direction of three doctoral conducting students at 3 p.m. Sunday, Oct. 26 in Clapp Recital Hall on the UI campus.

The three conductors are students of William LaRue Jones, director of orchestral studies in the UI School of Music. Each will lead a single work on the program: Enaldo Oliveira will conduct the Overture to "Der Freischuetz" by Carl Maria von Weber; Margaret Aurora Licon will conduct "Soirees Musicales (after Rossini)," op. 9, by Benjamin Britten; and John Winzenburg will conduct the Symphony No. 101 in D major ("The Clock") by Franz Joseph Haydn.

Weber's opera "Der Freischuetz" -- literally translated "the free shooter," referring to a hunter who is not part of an aristocratic estate -- was first performed in Berlin in 1821 but soon took all of Germany by storm. Both the story, with its mixture of deep romanticism and black magic, and Weber's colorful music captured the imagination of the German public, who were just then beginning to think about a national identity. The opera remains popular in Germany today, while the Overture, with its suggestion of the dark German forests and exciting drama, has become a staple of the orchestral repertoire world wide.

When composing his "Soirees Musicales," Britten found an unlikely source in Rossini's music. While both composers were known for their operas, Britten's stage works lacked the frivolity of Rossini's in terms of plot and thematic material. Rossini's own "Soirees" -- a volume of songs and duets from 1835 -- nonetheless provided ample material for the ballet score Britten wrote for the American Ballet Company and choreographer George Ballanchine. Britten also borrowed a march from Rossini's opera "William Tell" and a tarantella transformed from a sacred chorus for the work, which became a large-scale ballet when the "Soirees" was combined with Britten's "Matinees Musicales" -- also based on Rossini's music.

Haydn's Symphony No. 101 was composed for the second of two concert tours to London in the years 1791-95. These trips occurred near the end of Haydn's long and productive life, after his retirement from his job as a court musician to the Esterhazy family of Hungary and Austria. Conceived on a grand scale, the symphonies Haydn brought with him on each visit were designed to display the pinnacle of his skill as a composer.

The symphony most likely acquired its nickname, "The Clock," during the first part of the 19th century. It doubtless refers to the persistent eighth-note figures that begin the second movement, sounding very much like the "tick-tock" of a mechanical timekeeper, while the first violins play a whimsical melody.

Oliveira received a bachelor's degree in violin performance from Santa Marcelina College in Sao Paulo, Brazil, where he was also a member of the Sao Caetano do Sul Art Foundation String Quartet. He later completed his master's at Sao Paulo University. He served as string coordinator at Tom Jobim Music University and as pedagogical coordinator of the Guri Project for the Cultural State Secretary of Sao Paulo. As coordinator, Oliveira created several different music centers in socio-economically and underprivileged communities.

Oliveira is in his second year of the doctoral program in orchestral conducting at the UI. He is currently manager of UI orchestras and co-director of the All-University String Orchestra. He has recently been appointed as the music director and conductor of the Philharmonic Orchestra at the Greater Cedar Rapids Youth Orchestras.

Licon is a native of California. She received her bachelor's and master's degrees in music from California State University, Fresno, and her doctorate in choral conducting from Arizona State University. She served as director of choral activities at Glendale Community College in Arizona from 1986 to 93) and as director of music at Wenatchee College in Washington from 1994 to 2002. While in Phoenix, she earned her certification to teach the Yamaha Music Method, a select program designed for children ages three through nine.

A choral clinician and adjudicator, Licon has also served as minister of music at churches in California, Arizona and Washington. Listed in "Who's Who Among America's Teachers," she also is a trainee with Barbara Conable, a specialist in Body Mapping and the Alexander Technique and a member of Delta Kappa Gamma International Honor Society for Women Educators. She is in her second year of studies in orchestral conducting at the UI.

Winzenburg is in his third year of the doctoral program in orchestral conducting at the UI. He received a master's degree in choral conducting from the University of Minnesota in 1999. He conducted both choirs and community/high school orchestras in the Twin Cities area from 1998 to 2001. Since 2001, he has attended conducting workshops both in Iowa City and the People's Republic of China.

Winzenburg also holds a bachelor's degree in East Asian Studies from Hamline University in St. Paul, Minn. He spent eight years in China, Japan and Taiwan as a language student, journalist, and jazz/rock musician before returning to the U.S. in 1996 to pursue his music studies. Winzenburg is a graduate teaching assistant in the UI departments of musicology and rhetoric.

The School of Music is part of the Division of Performing Arts in the UI College of Liberal Arts and Sciences.

For information on UI arts events, visit http://www.uiowa.edu/artsiowa on the World Wide Web. You may visit the UI School of Music web site at http://www.uiowa.edu/~music/. To receive UI arts news by e-mail, contact ur-acr@uiowa.edu.

STORY SOURCE: University of Iowa Arts Center Relations, 300 Plaza Centre One, Suite 351, Iowa City, IA 52242-2500.

MEDIA CONTACT: Peter Alexander, 319-384-0072, peter-alexander@uiowa.edu