Polk County Enterprise (Livingston, Tex.), Vol. 102, No. 94, Ed. 1 Sunday, December 2, 1984 Page: 13 of 44
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THE POLK COUNTY ENTERPRISE, SUNDAY DECEMBER 2,1984-PAGE IB
« (feotum
Grace Holman
Club turns classical
■m yrEMBERS OF ONE POLK COUNTY
I Vl which enjoys the finer
Amusic in life attended the Faculty Recital Thursday
at Sam Houston State University.
Performing for the Music Study Club, students and others
were Melissa Pierson, violin; Charlotte Tull, piano; and
Maurice Rhyhard, French horn.
More than one Polk Countian has more than once gone to
Huntsville to hear Charlotte play. And Charlotte, you
remember, came to Livingston to play, introducing all of us to
the Baldwin piano given by the Donald Nevins family.
A surprise was in store for those from here. Our own Allen
Hightower, a freshman music student at SHSU, turned the
sheets of music for Charlotte.
One doesn’t need to “know” music to know that’s no small
task.
Melissa and Charlotte first played Variations on a Theme of
Corelli by Tartini-Kreisler. Nice but very short.
Then they played something from the prodigious repertoire
of Wolfgang Amadeus Mozart. Their selection was the Sonata
in F Major, KV 376 for Violin and Piano.
The program notes gave information on the so-called accom-
panied sonata-a piano piece to which was added a very subor-
dinate instrument such as the violin or flute. The accompanied
sonata began to be fashionable as a form of domestic musical
entertainment even before the middle of the 18th century.
Mozart wrote 16 piano-violin sonatas, all written in the years
1762-1766—before he was 11 years old.
As he aged, Mozart began to see the richer possibilities in-
herent in a texture in which the two instruments participated
in a more equal playing. This Sonata was written during the
summer of 1781, shortly after Mozart had settled in Vienna.
A reviewer at the time (from Cramer’s Magazin der Musik
Hamburg, 1783) said: "These sonatas (six published) are the
only ones of their kind, rich in new ideas and n evidences of the
great musical genius of their author, very brilliant and well-
suited to the instrument. At the same time, the violin accom-
paniment is so artrully combined with the keyboard part that
both instruments are kept constantly on the alert, so that these
sonatas require just as skillful a player on the violin as on the
keyboard.”
Ah. Reviewers do not always write with stilletto.
The pianist and violinist then played a contemporary
Sonata, that of Newton Strandberg in A Major.
Maybe Allen’s constant reminders-when accompanying a
group of us to Houston Symphony-has been absorbed:
That music which is contemporary can be good, too. After
all, Mozart was once contemporary. Those program notes
even note that Mozart, in making the piano and violin more
equal in sonatas^waa considered more, “progressive” than
Haydn.
Strandberg wrote his own program notes. He composed the
sonata from January to May, 1950, at a time when he had extra
time, having returned from studies and travel in Europe and
not yet in the routine of work.
Then, and now, he said, the violin-piano sonata indicates he
was under the spell of the Russian Prokofieff (some spell that
Prokovief).
‘“But I assure you that it was a result not of imitation,
although I had read his D Major Sonata with a violinist sevral
times the year before. Rather it was an outcome of my choos-
ing to make the project modal and tonal, of my chosing to use
rhythmic material found in 19th century music and because I
chose to utilize the classical structures of sonata—allegro, ron-
do and song-form.
‘“After finishing the work, I remembered meeting the
violinist Ebba Sundstrom, who was also the conductor of the
Chicago Women’s Orchestra, a group that had to be because in
the 1930s women were not allowed to play in any major or-
chestra,” Strandberg wrote.
He and Ms. Sundstrom gave the sonata its first reading, with
her husband, a dentist, the only auditor.
‘“It was a delightful evening...at least for me!,”’ he said.
Brahms’ Trio
Rhynard joined the duo for the Johannes Brahms Trio lin E
Flat Major for Piano, Violin and Horn.
Brahms, you recall, is from Hamburg. Hamburg had
chosen, till 1983, to ignore its famous son. That’s why you see
no photograph of anything related to Brahms as you see
related to Mozart from that trip to Europe.
This Brahms was an unusual Brahms, a surprise since, as a
Brahmin, I have a nice collection of Brahms. But they are
mostly Brahms’ symphonies and Brahms’ concertos.
However, not surprising, this trio was the least favorite of
the group. That familiar story came to mind: On the opening of
the new Music Hall in Boston, which featured Brahms, a
stilletto-bearing reviwer had written: “‘The signs should have
read “Exit in case of Brahms,” not “Exit in case of Fire.’””
Brahms, you see, is considered “too academic” for
American tastes.
In the autumn months of 1857-59, a young Brahms was
chamber musician at the court of Detmold in northwest Ger-
many, where he deepened his knowledge of the Viennese
classic^and began composing for chamber ensembles. His
interest4eading to composition-continued.
No one knows why Brahms chose the unusual combination-
but why he chose the natural horn is known. On the older in-
strument (not valved), the player was constantly forced to pay
very close attention to tone color inhis effort ot match the
sound of open and stopped tones, and that kind of concern for
timbre, Brahms thought, was especially appropriate for
Matt Floyd wins annual
script-writing contest
BY MATT FLOYD
Voice of Democracy Winner
“ I have a dream...It is a
dream deeply rooted in the
American dream. I have a.
dream that one day this na-
tion will rise up...live out the
true meaning of its creed-
we hold these truths to be
selfevident, that all men are
created equal...”. In these
immortal words of Martin
Luther King, Jr., I find my
pledge to America.
My pledge is to uphold the
freedom of all men; to, wish
the best of my ability, insure
that one day equality will
reign supreme. It is not an
easy task, but one I feel I
must strive to accomplish.
It is my belief that in order
for us to be a truly united
people, all must be granted
the same rights and have
these rights earnestly main-
tained by each individual
citizen. If this task is not
shared by everyone, it is not
a whole effort and,
therefore, cannot realistical-
ly achieve its goal. It would
be like lighting the torch of
Liberty in a whirl-wind of
dictatorial oppression.
It is because of my high
school government class and
a dedicated teacher that I
have truly come to realize
the importance of a united
nation...our nation-the
United States of America.
Through equality and
perservance, we will remain
united and strong. Without
it, our very essence is
hollow; we are “shape
without form”. Everyday, I
see the tragedies of
prejudice-not only those of
color but of religion and na-
tionality. It saddens me
greatly. “No man has a right
in America to treat any other
man ‘tolerantly’ for
tolerance is the assumption
of superiority. Our liberties
are equal rights of every
citizen.” This was expressed
by Wendell K. Willke and I
firmly believe it to be true.
These reasons are why my
pledge means so much to
me; I have a chance to make
a difference, a contribution
to a country that has given
me so much. Through my
rights as an American
citizen, I can vote to elect the
candidates into office that I
believe will fulfill the needs
of my community and coun-
try. I am able, through our
constitution, to speak freely
my beliefs of liberty so that
all may know its impor-
tance, I can do these things
with a clear conscience,
knowing I will not be subject
to governmental punishment
or degradation. I only wish
all of bur citizens would take
advantage of these rights to
obtain equality for everyone.
My dream is still a dream,
waiting patiently to become
a reality. Like many
dreams, it is attainable but
only through diligence and
nurturing. When all men are
judged by the content of
their character and not by
their religious convictions or
their color, my dream will
have been fulfilled.
Until that time, we will go
on, stumbling at points, but
nevertheless going on. We
will go on to a future that we
will shape by our actions and
reactions, a future of success
or of failure—it is in our
hands. What we make with it
is, up to us. If we make
something good, we will all
profit for then we may shout
“Free at last, free at last;
thank God almighty, free at
MATT FI/)YD
.Wins VFW Contest
PERSONAL PHOTO
MAT FLOYD
Matt Floyd, the county
winner of the Veterans of
Foreign Wars (V.F.W.)
sponsored Voice of
Democracy contest, is a
senior at Livingston High
School where he is extreme-
ly active in the Drama
Department He has been a
U.I.L. participant each year
he has been in high school
and went to Regional in
Poetry in the Springs.
He played Brian in the
U.I.L. play, The Shadow
Box, which went to State last
year, receiving four medals
for his performances. He is
also known for his perfor-
mances in The Crucilbe,
Cheaper by the Dozen, Don’t
Drink the Water, and is cur-
rently in Ten Little Indians.
Matt is active in Student
Council and the National
Honor Society and has been
nominated for Who’s Who
Among American High
School Students. He has per-
formed in the Piney Woods
Players productions locally.
His future plans include at-
tending Baylor University in
the Fall to major in Pre-law
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White, Barbara. Polk County Enterprise (Livingston, Tex.), Vol. 102, No. 94, Ed. 1 Sunday, December 2, 1984, newspaper, December 2, 1984; Livingston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth795910/m1/13/: accessed July 17, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Livingston Municipal Library.