57 fall program - Southeast Iowa Symphony Orchestra
57 fall program - Southeast Iowa Symphony Orchestra
57 fall program - Southeast Iowa Symphony Orchestra
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FALL CLASSICAL CONCERTS<br />
October 20-21, 2007<br />
Ottumwa • Burlington• Mt. Pleasant<br />
Sponsored by:<br />
The Hawk Eye - Burlington<br />
KYOU Fox 15 - Ottumwa<br />
Dvořák - <strong>Symphony</strong> No. 7 in d minor, Opus 70<br />
Allegro Maestoso<br />
Poco Adagio<br />
Scherzo: Vivace<br />
Finale: Allegro<br />
INTERMISSION<br />
J. S. Bach - Keyboard Concerto No. 5 in f minor BWV 1056<br />
Allegro Moderato<br />
Largo<br />
Presto<br />
Serena Lu, piano<br />
Prokofiev - Piano Concerto No. 1 in D flat Major, Opus 10<br />
Colton Peltier, piano<br />
Patrons: During the performance, please turn off audible signals on your<br />
watches and communication devices. Thank you!<br />
Program<br />
23
24<br />
Fall 2007 concert sponsor
Serena Lu, eight years old, is a fourth grader who began studying with Dr. Paul<br />
Wirth at age five. She won first in the St. Paul Conservatory of Music Piano competition,<br />
and received honors at the Upper Midwest Piano Festival, National federation<br />
of Music Club Piano Festival, MN State Fair talent contest, and Minneapolis Music<br />
Teachers Forum Mozart Piano Concerto Competition.<br />
As a soloist, she has been featured throughout the Midwest, most recently<br />
at the Twin Cities Schmitt Music Center, and at the Goshen, Indiana National Piano<br />
Teachers Workshop in July of 2006. In April of 2007, Serena has performed as a solo<br />
pianist with the St. Paul Chamber <strong>Orchestra</strong>.<br />
Also an actress and rhythmic gymnast, she appeared on "NBC's<br />
"American's Most Talented Kids" show and acted as " Sorrow" in the Minnesota<br />
Opera's production of Madame Butterfly. She is the level 5 rhythmic gymnastic Junior<br />
Olympic national champion and a member of the USA Rhythmic Gymnastics<br />
Future Star National Team.<br />
Colton Peltier turned heads 2 years ago, when he won the first "Minnesota Idol"<br />
competition and performed Beethoven's First Piano Concerto with the Minnesota<br />
<strong>Orchestra</strong>. He was 9 when he performed with the St. Paul Chamber <strong>Orchestra</strong>, making<br />
him the youngest musician ever to solo with the SPCO -- and he has soloed with the<br />
Minnesota Opera and VocalEssence. Colton has also appeared with the Minnesota<br />
<strong>Orchestra</strong> as a guest soloist for a Sommerfest family concert and for a subscription<br />
series <strong>program</strong> as well.<br />
His cultured tastes, which extend to crab legs, caviar and the music of Frank Sinatra, were evident before he<br />
Serena Lu & Colton Peltier<br />
with their teacher,<br />
Dr. Paul Wirth<br />
Guest Artists<br />
could ride a bike. Seemingly bored with his Kindermusik <strong>program</strong>, Colton was 3 when he started piano lessons under<br />
the play-by-ear Suzuki method. He giggles at the memory of his earliest lessons, when he tapped his fingers on a<br />
keyboard sketched on notebook paper. By 7, he had outgrown the <strong>program</strong>, and his teacher recommended private<br />
instruction.<br />
"It (piano) was just something for his brain. We didn't think anything would come of it," says Colton's<br />
mother, Amy Peltier. "His dad played pro baseball, and he's our first son -- he's supposed to be a sports kid, right? We<br />
have no idea where he got his genius." Colton, the eldest of three children, attends public school and has played<br />
sports. He enjoys playing in churches and nursing homes as much as professional concert halls.<br />
Dr. Paul Wirth is a prominent figure in the musical community of the Midwest. His unique combination of masterful<br />
performing and teaching, along with a sense of humor and unassuming personality have made him a much soughtafter<br />
featured artist in concerts, master classes, fund raisers, conventions, special events, and lecture series.<br />
Dr. Wirth received his Bachelor of Music in Piano Performance from Temple University, where he studied<br />
with the internationally known Polish pianist Maryan Filar, and his Master and Doctorate degrees in Piano Performance<br />
from Indiana University where he was the personal assistant to world renowned pianist Sidney Foster. He cofounded<br />
and is now the Artistic Director of the Central Minnesota Music School in St. Cloud, MN, a bustling music<br />
learning center with over 250 students taught by a faculty of twenty-two.<br />
As a featured artist, Paul Wirth has appeared with numerous orchestras, including the Gary Philharmonic,<br />
Wilkensburg <strong>Symphony</strong>, Indiana University Philharmonic, and twice each with the St. Cloud <strong>Symphony</strong> and Heartland<br />
<strong>Symphony</strong> orchestras in return engagements. His solo performing has taken him throughout the East and Midwest.<br />
A creative promoter of the art of piano performance, Wirth's energies have also extended to the writing and<br />
performance of The Magic Boot, a comical farce in which he impersonates Mozart; and The Age of Romanticism in<br />
which he transports his audience to the 19th century.<br />
25
Program Notes<br />
by Jim Priebe<br />
<strong>Symphony</strong> No. 7 in d minor, Opus 70<br />
Antonin Dvořák (1841 – 1904)<br />
Allegro Maestoso<br />
Poco Adagio<br />
Scherzo: Vivace<br />
Finale: Allegro<br />
Program Notes<br />
Except for those who live in the Czech Republic – the modern name for Dvořák’s native Bohemia<br />
– concertgoers are likely to be unfamiliar with much of Dvořák’s music beyond the <strong>Symphony</strong><br />
No. 9 in e minor (From the New World) the wonderful b minor Cello Concerto, and the<br />
Slavonic Dances. Those who regularly attend concerts by the <strong>Southeast</strong> <strong>Iowa</strong> <strong>Symphony</strong> are<br />
exceptions, however, since Maestro McConnell has <strong>program</strong>med not only the aforementioned<br />
works but the <strong>Symphony</strong> No. 8 in G Major and now the Seventh as well. In this writer’s opinion<br />
our audience is well-served by this <strong>program</strong>ming since Dvořák wrote a great deal of music<br />
which deserves to be heard more frequently. Certainly the <strong>Symphony</strong> No. 7 <strong>fall</strong>s into this category:<br />
many believe that it is Dvořák’s finest symphony (Ted Libbey calls it “one of the nineteenth<br />
century’s greatest symphonic scores”), the popularity of the New World <strong>Symphony</strong> notwithstanding!<br />
Dvořák was energized. His <strong>Symphony</strong> No. 6 in D Major had been a big success (though it was<br />
regarded as being more important as a work in the Bohemian national style than a work of international<br />
standing). He had been greatly inspired by the 1883 premier of Brahms’ <strong>Symphony</strong> No.<br />
3 and was motivated to compose a work of similar stature which would closely follow classical<br />
conventions and avoid, he hoped, the parochial Bohemian label. His Stabat Mater had been a<br />
sensation when introduced in England in 1883 and there he had, in the words of Michael<br />
Steinberg, become “beloved and revered like no composer since Mendelssohn.” The Royal<br />
Philharmonic Society had invited him to conduct concerts in London in 1884, his first appearances<br />
as a conductor outside his own country, and he had been received with great warmth and<br />
enthusiasm. The Society invited him to compose a new symphony to be performed the following<br />
year and the <strong>Symphony</strong> No. 7 was the result.<br />
Lives and emotions are seldom purely and unambiguously simple, however, particularly the<br />
lives and emotions of artists. Energized he may have been, but Dvořák was also troubled. His<br />
(Continued on page 29)<br />
27
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(Continued from page 27)<br />
mother, to whom he had been very close, had passed away in 1882. The Bohemian composer<br />
Bedřich Smetana, who had been his mentor, was in his declining years and succumbing<br />
to mental deterioration. The very ambition of internationalism troubled him as well.<br />
Internationalism implied a turning away from his Bohemian roots and since he was, in his<br />
heart and soul a Bohemian, he was greatly conflicted.<br />
It may be this emotional turmoil which gives the symphony its character. As befits the key<br />
of d minor (the key of many works notable for their somber moments such as Mozart’s Don<br />
Giovanni, both Beethoven and Bruckner’s Ninth symphonies and Brahms’s Tragic Overture)<br />
the symphony is often brooding and tragic in nature with an underlying tension. But<br />
listeners who are familiar with Dvořák can hear another side of him as well: the cheerful<br />
Bohemian of the Slavonic Dances, the man who loved to watch trains and could identify<br />
each type of locomotive (and who would therefore surely have loved the venues in which the<br />
SEISO performs), is never far beneath the musical surface of this symphony. Fortunately<br />
Dvořák’s Bohemian soul was irrepressible and the resultant mix of tragedy and cheerfulness<br />
makes the <strong>Symphony</strong> No. 7 an interesting and gratifying listening experience indeed.<br />
Begun in December of 1884 the score of <strong>Symphony</strong> No. 7 in d minor was completed in<br />
March of 1885. Dvořák conducted the premiere at a concert of the Royal Philharmonic Society<br />
in St. James Hall, London on April 22, 1885. A few minor revisions were made in<br />
June of 1885 producing the symphony as it now is performed.<br />
Keyboard Concerto No. 5 in f minor BWV 1056<br />
Johann Sebastian Bach (1685 – 1750)<br />
Allegro Moderato<br />
Largo<br />
Presto<br />
Program Notes<br />
Bach was a genius. Writer Robert Cummings describes Bach in this manner: “Johann<br />
Sebastian Bach was better known as a virtuoso organist than as a composer in his day. His<br />
sacred music, organ and choral works, and other instrumental music had an enthusiasm and<br />
seeming freedom that concealed immense rigor. Bach's use of counterpoint was brilliant and<br />
innovative, and the immense complexities of his compositional style – which often included<br />
religious and numerological symbols that seem to fit perfectly together in a profound puzzle<br />
of special codes – still amaze musicians today. Many consider him the greatest composer of<br />
all time.” Bach was also a very human individual. He was stubborn, impatient, pennypinching<br />
and, at times, vindictive. And, having famously fathered 26 children, he must not<br />
have focused his energies exclusively on music.<br />
(Continued on page 31)<br />
29
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(Continued from page 29)<br />
Program Notes<br />
He wrote music under vastly different circumstances than today’s composers. Bach’s employers<br />
(nobility and clergy) required him to compose for specific events such as ceremonies<br />
and weekly church services. As a result he was immensely productive, writing vast numbers<br />
of keyboard, choral, orchestral and chamber works both sacred and secular. As was the custom<br />
in his time, he often rewrote earlier pieces or used the music of other composers, altering<br />
instrumentation, key, tempo and mood as circumstances required. Because music was often<br />
considered to have served its purpose once the event for which it was composed had occurred,<br />
many of Bach’s works have been irretrievably lost. The chronology of and circumstances<br />
surrounding the composition of Bach’s work have been and continue to be the subject<br />
of a vast amount of scholarly research. The “BWV” (Bach Werke Verzeichnis) catalog numbers<br />
published by Wolfgang Schmieder in 1950 are a visible example of this scholarship.<br />
In the light of the foregoing it is little wonder that the exact circumstances under which the<br />
Keyboard Concerto No. 5 was composed are somewhat uncertain. The concerto is variously<br />
supposed to have originated as a violin concerto or as an oboe concerto transformed by Bach<br />
into a keyboard concerto. Some even ascribe its origin to Vivaldi though this view has been<br />
largely discounted. It may have been composed during his service in the ducal court of<br />
Cӧthen or, more likely in Leipzig during his association with the Collegiuim Musicum there.<br />
The date of its composition is likely to have been during the late 1730’s.<br />
Like most concertos, the work is in three movements. The first is a rhythmic allegro moderato<br />
which contrasts a vigorous repeated motive in the accompaniment with energetic and<br />
extended triplets in the solo.<br />
The lovely middle movement’s largo melody in the relative major key of A flat is most likely<br />
to be familiar to listeners as it was used by Bach in a Cantata BWV 156 as his Sinfonia in F<br />
although, in the concerto, it appears in a more ornamented form. The delicate pizzicato accompaniment<br />
allows the soloist to make the most of the melody’s expressive nature. Most<br />
will recognize this as the famous Arioso – a melody which has been adapted for nearly every<br />
instrument imaginable.<br />
The presto finale, flows vigorously in triple meter, the eighth note melody giving the impression<br />
of continuous motion and serving well to display the soloist’s speed and virtuosity.<br />
(Continued on page 33)<br />
31
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(Continued from page 31)<br />
Piano Concerto No. 1 in D flat Major, Opus 10<br />
Sergei Prokofiev (1891 – 1953)<br />
As a child of comfortably well-to-do parents, Prokofiev’s musical abilities were recognized at<br />
an early age, and he had already composed a number of youthful works when he was admitted<br />
to the St. Petersburg Conservatory at the age of thirteen. His precocious abilities impressed<br />
members of the faculty including Nicolai Rimsky-Korsakov, Alexander Glazunov and Nicolai<br />
Tcherepnin. His precociousness evidently made him something of a smart-aleck: he once kept<br />
statistics of his classmates’ mistakes until one of them pinned him down and pulled his ears!<br />
Concerto No. 1 was composed during his conservatory years and was premiered by Prokofiev<br />
himself in Moscow on August 7, 1912. It was dedicated to “the dreaded Tcherepnin” who had<br />
harshly criticized Prokofiev’s conducting and was, Prokofiev felt, always unduly critical of his<br />
efforts. Interestingly, Tcherepnin later wrote that he had, in fact, been quite critical because he<br />
recognized Prokofiev’s talent and hoped to prevent him from becoming too egotistic. Although<br />
Tcherepnin’s criticism evidently bothered Prokofiev all his life, it had been Tcherepnin who had<br />
exposed his student to the music of the great classical composers and who is often given credit<br />
for Prokofiev’s early interest in classicism.<br />
River Basin Ad<br />
Program Notes<br />
(Continued on page 35)<br />
33
34<br />
Winter 2008 concert sponsor
(Continued from page 33)<br />
Program Notes<br />
Tcherepnin’s classical influence notwithstanding, the Concerto No. 1 is not classical in nature.<br />
Vigorous percussiveness and interesting dissonances indicate that Prokofiev was casting his lot<br />
with the avant garde. Critics present at the premiere called it “musical mud” and the work of a<br />
madman. The furor surrounding the premiere may ultimately have worked to Prokofiev’s<br />
advantage since it brought him instant attention but for years afterward he would be dogged with<br />
accusations of decadence and modernism.<br />
This concerto, which Prokofiev considered to be his first mature work, is (unlike most) a single<br />
continuous movement but it is divided into easily discernable sections which preserve the fastslow-fast<br />
form of the typical three movement concerto. It is lyrical, particularly in the Andante<br />
section, and possesses a pervasive, energetic percussive quality. Modern concertgoers whose<br />
ears have long since become accustomed to dissonances and harmonies far more daring than<br />
Prokofiev’s will surely hear, not “musical mud,” but musical originality and creativity. And,<br />
hopefully, they will take a moment to appreciate Tcherepnin’s willingness to tolerate, educate<br />
and encourage a brat!<br />
35
Jane Adams<br />
Georgette Allen, VP<br />
Stephen Bailey<br />
Ruthe Blackwood<br />
Joy Blum<br />
Marianna Brinck<br />
Suzanne Brueck, Secretary<br />
Peggy Burlingame<br />
Cliff & Lindsay Calhoun<br />
Linda Clark<br />
Patricia Clark<br />
Connie Coffin<br />
Betty Cooper<br />
John Corso<br />
Betty Cowles<br />
June Current<br />
Mary Jane Dailey<br />
Friends of the SEISO<br />
Melva Delliva<br />
Jeannie Dobroski<br />
Eleanor Eastburn<br />
Beverly Fisher<br />
Rhonda Foster<br />
Ellen Fuller<br />
Kate Gerst<br />
Mary Ann Grinde<br />
Margaret Hansen, President<br />
Cleo Hassell<br />
Debbie Jochims<br />
Jacqueline Johnson<br />
Maryann Jordahl<br />
Carolyn Kacena, Treasurer<br />
Fran Lundell<br />
Ginny Lunning<br />
Margaret Matsch<br />
Special Appreciation<br />
Janet McCannon<br />
Babs McRoberts<br />
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Margaret Orr<br />
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37
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Special Appreciation<br />
<strong>Southeast</strong> <strong>Iowa</strong> <strong>Symphony</strong> <strong>Orchestra</strong> is grateful to the following<br />
individuals, businesses and organizations who generously contribute to<br />
the <strong>Orchestra</strong> with their talent, service and support.<br />
Brazelton Hotel and Suites - Mt. Pleasant<br />
Bridge View - Ottumwa<br />
Dr. Joel Brown - IWC<br />
Burlington Fine Arts League<br />
Burlington Pops Committee<br />
Capitol Theater - Burlington<br />
Ron Clouse & MacKay<br />
Envelope Corporation - Mt. Pleasant<br />
John Cobler - Ottumwa<br />
Comfort Suites - Burlington<br />
Des Moines County Greeters<br />
Hostesses: Karon Goosey & Kay Kent<br />
Earl May - Ottumwa<br />
Edd the Florist - Ottumwa<br />
Dr. Jason Edwards - IWC<br />
Fairfield Ledger<br />
Fairfield Weekly Reader<br />
Friends of the SEISO - Burlington<br />
Virginia Garnjobst<br />
Criss Roberts - The Hawk Eye<br />
Roger Hatteberg<br />
Hy-Vee - Ottumwa<br />
Indian Hills Community College<br />
<strong>Iowa</strong> Arts Council<br />
<strong>Iowa</strong> Department of Cultural Affairs<br />
Dr. David Johnson - IWC<br />
KBIZ - KTWA - Ottumwa<br />
KBUR-KGRS-MIX 107 - Burlington<br />
KILJ - Mt. Pleasant<br />
Joyce Kramer - Ottumwa<br />
KYOU Fox 15<br />
Henry Lippert<br />
Cheryl Miller<br />
Mount Pleasant News<br />
Music & Menus Committee - Burlington<br />
Judy Krieger & Scott Niles -<br />
Ottumwa Courier<br />
Special Appreciation<br />
Ottumwa Pops Committee<br />
Pennsylvania Place - Ottumwa<br />
Michael Philipsen - IHCC<br />
Gerry Runyon - Hillsboro<br />
Dick & Susan See - Washington<br />
Dr. Jamie Spillane - IWC<br />
Tony's Flowers & Gifts - Ottumwa<br />
Two Rivers Bank & Trust - Burlington<br />
Washington Evening Journal<br />
Welcome to Ottumwa<br />
Hostess Denise Rabbass<br />
Welcomes by Lois (Betz) - Mt. Pleasant<br />
Lee Wolf - Mediapolis<br />
The Gardeners of Mt. Pleasant<br />
Della Appel<br />
Marcy Hassenfritz<br />
Tony & Nancy Warren<br />
Randy & Becky Wright<br />
Richard & Mary Beth Young<br />
The Gardeners of Ottumwa<br />
Gail & Dean Bleything<br />
Kim & Mark Hellige<br />
Craig & Sue Richardson<br />
Trudy Roggentien<br />
Jennifer & John Trucano<br />
Special Thanks to<br />
<strong>Iowa</strong> Wesleyan College for providing<br />
office, rehearsal and performance space<br />
for the <strong>Orchestra</strong> and to the Mount<br />
Pleasant R.S.V.P. members who help so<br />
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<strong>Southeast</strong> <strong>Iowa</strong> <strong>Symphony</strong> <strong>Orchestra</strong> Memorials<br />
Gifts to the <strong>Southeast</strong> <strong>Iowa</strong> <strong>Symphony</strong> <strong>Orchestra</strong> Memorial Fund<br />
have been made in loving memory of the following individuals:<br />
Verna Beckford<br />
George & Janice Brodsky<br />
Suzanne Bueckman<br />
Catherine Burk<br />
Thomas Cain<br />
Glenn Cederquist<br />
Dorothy Dailey<br />
Jill Brown<br />
Jim Cisco<br />
Roger Galer<br />
Annette Hult Ginsberg<br />
Virginia Hanze<br />
Louis A. Haselmayer<br />
Sharon Kelly<br />
Dr. Arthur Austin<br />
Helen Austin<br />
Barbara Bell<br />
Paul & Ruth Bunn<br />
Michelle Campbell<br />
Andrew Jean Canny<br />
Charles & Alberta Chadwick<br />
Charles E. & Dorothy Collins<br />
William Cramblit<br />
K. C. DeBooy<br />
Marjorie Dodd<br />
Burlington Area<br />
Mount Pleasant Area<br />
Ottumwa Area<br />
Rose Ernest<br />
Shari Forsythe<br />
Marian Gillmore<br />
Frances Gillmore-Grubbs<br />
Glenn Grubbs<br />
Dr. Richard & Marjorie Hastings<br />
David & Mary Ruth Jay<br />
Dorothy Johnston<br />
Forrest Johnston<br />
James & Bette McGrath<br />
Dr. Robert P. Meyers<br />
Jack Newton<br />
Whit Niehaus<br />
Sylvia Pfeiff<br />
Suzanne Reed<br />
Milton Sandell<br />
Romaine Torkelson<br />
Ron Krotz<br />
Kay Lange<br />
Marilyn Minford McCoid<br />
Roberta McCoid<br />
Francis McConnell<br />
Dr. Buddy Peshkin<br />
A. Lloyd Spooner<br />
Lola White<br />
Memorials<br />
Beulah Miksch<br />
Robert S. Patterson<br />
Louise Perry<br />
Edna Reid<br />
Floyd Van Roekel<br />
Harry & Maggie Van Roekel<br />
Morton & Virginia<br />
Schmucker<br />
Gerald Seim<br />
Karon Stirling<br />
The SEISO Memorial Fund and named memorials are permanent accounts which serve to<br />
enhance the <strong>Orchestra</strong>’s <strong>program</strong>s each year. Those who wish to make a gift to the Memorial<br />
Fund in memory of a friend or relative, may send it to the SEISO office - 601 North Main,<br />
Mount Pleasant, IA 52641.<br />
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Burlington • Fort Madison<br />
Ottumwa • Wapello<br />
CECO<br />
BUILDING<br />
SYSTEMS<br />
Midwestern Region<br />
305 N. Iris Street, Mt. Pleasant, <strong>Iowa</strong><br />
Phone: 319-385-8001 Fax: 319-385-8426<br />
Designers and manufacturers of<br />
steel building systems for Retail,<br />
Warehousing, Manufacturing,<br />
Commercial and Education.<br />
A leader in quality and service.<br />
Proudly supporting our community for over 30 years<br />
www.CecoBuildings.com
A special thank you to the<br />
following individuals<br />
whose time and energies<br />
have made the<br />
<strong>Orchestra</strong>’s Music &<br />
Menus fund raisers<br />
possible. For information<br />
about attending<br />
Music & Menus parties,<br />
please call 319-752-9739.<br />
Joy Anderson<br />
Richard & Karen Bangert<br />
Jim & Suzy Beriault<br />
Rich & Peggy Burlingame<br />
Jeannie Dobroski<br />
Char Engstrom<br />
Ellen Fuller<br />
Margaret Hansen<br />
Roger & Debbie Hatteberg<br />
David & Dawn Hazell<br />
Terry Hinesley<br />
Katie Hoth<br />
Deb Jochims<br />
John & Maryann Jordahl<br />
Carolyn Kacena<br />
Special Appreciation<br />
A complete listing of all Music & Menus parties and reservation forms<br />
are available on line at www.seiso.us<br />
Judy Kerr<br />
Marcia Korb<br />
Jean Miller<br />
Melissa Nystrom<br />
Jim & Mary Olson<br />
Doug & Ann Peters<br />
Mary Priebe<br />
David & Linda Riley<br />
Martin & Teresa Salino-Hugg<br />
Gert Schaffer<br />
J. Bryan Schulte &<br />
Jane Wilson<br />
Eric Schweizer<br />
Lisa Walsh<br />
1411 N. Roosevelt Ave.• P. O. Box 70 • Burlington, <strong>Iowa</strong> 52601<br />
Phone: 319-752-2701 Fax: 319-752-5287<br />
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Al-Jon................................................................. 26<br />
American Vending............................................ 4<br />
Beckman & Hirsch Attorneys........................... 41<br />
Bezoni's True Value........................................... 10<br />
Boles Auto Sales, Inc......................................... 32<br />
Brazelton Hotel & Suites....................................... 28<br />
Bridge View Center............................................ 10<br />
Burlington Civic Music...................................... 40<br />
Burlington Municipal Band............................... 32<br />
Ceco Building Systems....................................... 42<br />
Clemons, Inc...................................................... 40<br />
Cobler Sign & Graphics................................... 6<br />
The Drake........................................................... 32<br />
Edward Jones...................................................... 30<br />
Elliott Chapel...................................................... 4<br />
Farmers & Merchants Bank & Trust................. 10<br />
Financial Partners................................................ 10<br />
Gamrath-Doyle-Vens Insurance........................... 38<br />
The Garden Florist............................................... 10<br />
Great River Medical Center......... Inside back cover<br />
Hancher Auditorium.................... Inside front cover<br />
The Hawk Eye....................................................... 2<br />
Heartland Eye Care............................................... 6<br />
Henry County Health Center............................. 4<br />
Hills Bank & Trust............................................... 4<br />
Home Furniture................................................... 40<br />
The <strong>Iowa</strong> Clinic Heart & Vascular Care............ 22<br />
Indian Hills Community College...................... 36<br />
<strong>Iowa</strong> Arts Council.............................................. 21<br />
<strong>Iowa</strong> Wesleyan College............................ Back cover<br />
KBIZ.................................................................. 35<br />
KBUR .............................................................. 43<br />
KGRS Mix 107.................................................... 43<br />
44<br />
Index of Advertisements<br />
KILJ Radio.........................................................<br />
KTWA................................................................<br />
KYOU Fox 15.....................................................<br />
Mansion Inn.......................................................<br />
McCune and Reed.............................................<br />
MidwestOneBank..............................................<br />
Mississippi Manor B&B....................................<br />
National Management Resources Corp............<br />
Noel Insurance....................................................<br />
O'Hara's Hardware....................................................<br />
Olson-Powell Memorial Chapel...........................<br />
Ottumwa Courier................................................<br />
Ottumwa Noon Lions.........................................<br />
Ottumwa Regional Health Center.......................<br />
Ottumwa Tent & Awning Co............................<br />
Pennsylvania Place...............................................<br />
Prugh Funeral Service..........................................<br />
River Basin Printing ...........................................<br />
Shottenkirk...........................................................<br />
Sodexho................................................................<br />
South Ottumwa Savings Bank..............................<br />
<strong>Southeast</strong>ern Community College........................<br />
Southern <strong>Iowa</strong> Mental Health Center.................<br />
Suzuki Music School............................................<br />
Target....................................................................<br />
Two Rivers Banking-Investments-Insurance .....<br />
USbank.................................................................<br />
Video Production Services....................................<br />
Vaughn Automotive..............................................<br />
Weir & Kimzey Funeral Home............................<br />
West Bend Mutual Insurance..............................<br />
West Music Company...............................................<br />
Zaiser’s..................................................................<br />
Thank you to all the businesses<br />
who support the SEISO through advertising!<br />
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14<br />
24<br />
4<br />
6<br />
42<br />
40<br />
38<br />
17<br />
32<br />
38<br />
34<br />
40<br />
18<br />
6<br />
12<br />
6<br />
33<br />
8<br />
12<br />
16<br />
38<br />
4<br />
10<br />
37<br />
26<br />
15<br />
32<br />
12<br />
14<br />
17<br />
42<br />
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