Sinfonia in D
František Václav Míča (1694-1744)

As maestro of the castle orchestra of Count Jan Adam Questenberk in
Jaromeřice, Moravia, Míča was active not only as a conductor and tenor, but also as director of the castle's opera performances. He was long considered "interesting" to music historians for the style of his operas and cantatas, but the recent discovery of his Sinfonia in D proved him to be a musical pioneer, long before the appearance of Haydn and Mozart this work had mature signs of the style of Viennese classicism. Also of historical importance is his creation of the sonata form.

The Sinfonia in D was written in the form of a cyclic concert symphony. The Allegro is in sonata form; the Andante follows a two-part song form; the final fugue is wonderfully realized in technique and sonority. This work established Miča's role in the development of European musical classicism, and demonstrates the influence of Czech composers on European music.

Homage to Michelangelo
Jiří Teml (1935- )

Jiří Teml's path to music is rather unusual. An economist by profession, he
studied music theory and composition privately. He became a music dramatist at Pilsen Radio and subsequently at Prague Radio. His music derives mainly from neoclassicism, but does not exclude modem compositional techniques.  His work first drew public attention in 1972. when his fantasia appassionata for organ won the prize at the Prague Spring Competition. "Homage to Michaelangelo" premiered in Prague at the Music Academy in 2001. This is the first performance in America.

Teml's own statement about this composition: "In addition to my constant
preoccupation with music, my other 'hobby' is visual arts. My two favorite artists are Leonardo da Vinci and Michelangelo. when I was asked to create a piece for brass, I decided to express my admiration for Michelangelo with this modest creation for organ, brass and percussion. The main theme is a motif from the Sanctus of Palestrina's best-known mass, Missa Papae Marcelli, that probably resounded in the Sistine Chapel adorned by Michelangelo's frescoes. The titles of the individual movements: Inspiration, Seeking the Form, and Achievement, reflect the content I attempted to impart. The organ part is conceived in a virtuoso fashion. The segment of Palestrina's Sanctus in the original harmonic language emerges in the penultimate section of the third movement.

"Prague Waltzes" op. 54  
Antonin Dvořak (1841-1904) (instr. Václav Smetáček)

When his Slavonic Dances appeared in 18]9, Dvořak established himself as one of the leaders of Czech culture and most beloved of Czech composers. Much of his music of the time shows the indelible nationalistic influence of native songs and dances. It is hardly surprising, therefore, that he was asked to contribute dance pieces to the balls and carnival fetes of some of the country's leading societies and clubs. After writing a Polonaise early in 1819 for the Academic Readers' Society in Prague, Dvořak could hardly refuse a request from the city's National Club to supply a set of waltzes for their ball in November. These dances so delighted the club's members that they requested more of the same for their New Year's gala several weeks later, and so he composed the Prague Waltzes quickly in December and introduced them at the festivities on January 6th.   The Prague Waltzes are fragrant with the accents of the Czech national musical dialect, but follow the form typical of the classic Viennese waltz in a continuous chain of distinct dance melodies framed by an introduction and coda, in which the first theme returns in a refrain-like manner.

Mass in D Major op. 86
Antonin Dvořak (1841-1904)

In the aftermath of the movement to liberate Bohemia from Hapsburg and
Catholic domination in 1848, the Czech national music that developed was intent on creating a form of expression that was patriotic and profane---not religious. But the Catholic musical tradition did not entirely disappear; it was simply overlaid temporarily by the nationalist movement and emerged again with Dvořak. Church music had been an important influence on the composer from his earliest days as a choir boy, violinist, then violist and later as organist in the baroque church in Zlonice.

The Mass in D Major was composed in 188] for the consecration of the
palace chapel at Luzany near Pilsen. The piece was originally set for choir
and organ only, but five years later Dvořak orchestrated it in order to have it published in England where his international success as a composer was most secure. However, its chamber music character was not lost in the transition. The striking melodies and enchanting cantabile style, plus its clear structure and skillful alternating between polyphonic passages and choral tutti are in the tradition of masses by Mozart and Schubert.

Notes by Ginger Kuper

Tonight's Conductor

Karel Paukert is Curator Emeritus of Musical Arts at the Cleveland Museum of Art where he performed over 800 recitals and organ demonstrations. Born in what is now the Czech Republic, he is a graduate of the Prague Conservatory and the Royal Conservatory in Ghent, Belgium. After leaving his native country, he became principal oboist with the Iceland National Symphony and later was organist of St. Bavon Cathedral in Ghent.

Mr .Paukert immigrated to the United States in 1964 and has taught at Washington University in St. Louis, Northwestern University in Evanston, the Cleveland Institute of Music and the Oberlin Conservatory. Mr. Paukert concerti:zes extensively in prestigious venues worldwide, and his performances have been acclaimed internationally for their perception, vibrancy and excitement. He is also in constant demand as a judge for international organ competitions and is the recipient of numerous awards. Since 1979 he has held the position of organist and choirmaster of St. Paul's.

Tonight's Soloists

Sandra Simon (soprano)
Maggie Fairman (mezzosoprano)
Gary Jacoby (tenor)
Michael McMurray (bass)

St. Paul's Choir
Karel Paukert, Choirmaster;
Steven Plank, Associate Choirmaster

Sopranos: Susan Barkett, E.B. Donley, Susan Gray, Judith Malone, Katayoon May, Cynthia O'Connell*, Natasha Ospina, Sandra Simon, Molly Urban

Altos: Alana Andrews, Jillian Davis, Maggie Fairman, Stephanie Manly, Arlene Mann, Lynda Mayer, Debra Nagy, Libby Nesper, Sonja Tauesch

Tenors: Gary Jacoby, J. Adin Mann, Jr., Bryan Munch, Oscar Soler

Basses: John Blackwell, William D. Buss, Nathan Carterette*, Kenneth Gabele, Paul Kroeger, Michael McMurray, Jack Phillips

  *denotes a guest

Additional musicians for this concert:

Betty Ann Gottlieb, Marianne Stott, violins
Jonathan Edwards, bass
Ray Leanza, Kevin Wenner, trombones,
Michael Maraschky, timpani
Sara Schwartz, percussion
Steven Plank, organ

In addition to patrons listed in the season program, we wish to thank the following:
Silver: Helen Richards, Joan Warmeling.
Sustaining: Louise Beckemeyer, Mr. & Mrs. Antonio Di Franco