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Minnesota Musforum at St. Olaf College June 13 & 14, 2019

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Minnesota Musforum at St. Olaf College June 13 & 14, 2019 Minnesota Musforum at St. Olaf College June 13 & 14, 2019 Welcome to Minnesota Musforum at St. Olaf College! Musforum celebrates the accomplishments and wide-ranging interests of women organists. We are advocates for women organists in liturgical music and higher education, and aim to support our colleagues in reaching their professional goals and aspirations. The next two days offer a keynote address by Lyn Loewi, concerts, lectures and social events. Conference Schedule Thursday, June 13, 2019 10am Nancy Ypma, organist 11am WindWorks, women’s wind ensemble 12noon Keynote Speaker: Lyn Loewi (CHM 232) 12:45 Lunch 2pm Twin Cities Recital: Liisa Keränen, Kathy Borger, and Jennifer Anderson 3pm Therees Hibbard: Women in choral music 4pm Cider and Cheese Gathering: Keepsake Cidery, Dundas, MN 7pm See Change Chamber Choir 1 Friday, June 14, 2019 9am Karen Black, organist: Music of Pamela Decker 10am Kathy Handford Lecture/recital: French contemporary organ literature 11am Young Organists: Martha Barth, St. Olaf College, Susan Powell, Indiana University, Katie Moss, Indiana University 12:45 Lunch 2pm Susan Cherwien Lecture: Poetry and Music: American Hymn Texts, 3pm Professional Concerns Panel: Leveling the Field (CHM239) 4pm Marie Rubis Bauer, organist 8pm Gala recital: Cathy Rodland, Shelly Moorman- Stahlman, Nicole Keller Minnesota Musforum at St. Olaf College has been made possible in part by a generous grant from Barnard College, Columbia University. 2 3 Schedule Details Thursday, June 13, 2019 10am Nancy Ypma, organist Praeludium in G Major, BWV 568 Johann Sebastian Bach (1685-1750) Fugue on BACH in G Minor, Op. 60, No.3 Robert Schumann (1810-1856) Prelude in B-flat Major , Op. 16, No.2 Clara Schumann (Originally for piano, arranged by Barbara Harbach) (1819-1896) Eleven Chorale Preludes, Op. 122 Johannes Brahms (1833-1897) Herzlich tut mich verlangen Herzliebster Jesu Herzlich tut mich erfreuen Prelude in F Major Fanny Mendelssohn (Hensel) Wedding Processional (1805-1847) Prelude in G Major Fanny Mendelssohn (Hensel) Wedding Recessional Sonata in A Major, Op. 65, No. 3 Felix Mendelssohn (1809-1847) Con moto maestoso Andante tranquillo Fugue in G Major, BWV 576 Johann Sebastian Bach 11am WindWorks, women’s wind ensemble Suite, Opus 57 Charles Lefebvre III. Finale (1843 – 1917) Sempre Dolce (2017) Steven Amundson I. Conspirare in motu (1955 – ) II. Alphorn Amore III. Wheel a Jig 4 Quintette en Ut Claude Arrieu I. Allegro (1903 – 1990) II. Andante III. Allegro scherzando IV. Adagio V. Allegro vivace Mississippi Five James Parker I. King Oliver Steps Out (1934 – ) II. Blues for Johnny Dodds III. The River Queen IV. Le Tombeau De Bessie Smith V. Les Animaux Charles Lefebvre, born in Paris, was the son of painter Charles Lefebvre. At the Paris Conservatoire, he studied composition with Charles Gounod and Ambroise Thomas. In 1870 Lefebvre won the Prix de Rome. Later, the composer was awarded the Prix Chartier twice, in 1884 and 1891. In 1885 he became the director of the Paris Conservatoire’s chamber music class. Lefebvre wrote operas and chamber music works for woodwinds, strings, and organ. Steven Amundson St. Olaf Professor of Music Steven Amundson writes, “Dolce, Italian for sweet, is one of the most elegant of all musical terms. Dolce is used by composers when they wish to add an extra dose of beauty and charm to a melody. Sempre Dolce was commissioned as a tribute to Vicki Wheeler, the founder, horn player and manager of Dolce Wind Quintet. Subsequently, the Dolce Wind Quintet premiered the work in spring of 2017. The first of the three movements is Conspirare in motu, which means ‘with the breath in motion.’ Unlike string players or percussionists, wind players depend on the breath to create and support musical sound. And of course, music is always in motion, as are the musicians themselves. In order to stay together, the performers must communicate with each other, cue each other, breathe together, uniting toward common musical goals. The opening of the first movement depicts this sense of breath and unity while providing a strong lyrical presence. What follows is what I like to call ‘a waltz within a waltz.’ The 9/8 time signature represents a triple meter, and each beat is divided into three divisions. The music becomes more and more playful and fun-loving, and the short solos that follow reflect the unique character of each of the five instruments. You will undoubtedly hear a few not-so-subtle references to well known tunes! The movement concludes with a lively, rhythmic dance in 7/8 time. The second movement, Alphorn Amore, honors Vicki's extensive experience on, and love for, the Alphorn, a traditional ‘natural’ horn that was used for centuries in the Alps to communicate with fellow shepherds and to call the cattle. In this piece, I've quoted two traditional Alphorn melodies. First, I use an ‘evening blessing’ played by the horn and echoed by clarinet. This tune is developed and passed around the quintet. A short cadenza, created by Becky Jyrkas in a typical Alphorn style, features the ‘harmonic series’ modeling the notes available on the Alphorn, which, unlike the modern horn, has no valves. The piece ends with a setting of perhaps the most popular of Alphorn solos, which Johannes Brahms famously quoted in his first symphony. 5 The third movement Wheel a jig is a dance in 6/8 that I created to musically portray a bike ride. When I learned that Vicki and her husband, Kurt, enjoy ‘wheeling’ together, I immediately decided that it would be fun to write jig-like melodies that portray the constant motion inherent in bicycling while incorporating a vision of the joy of journeying through the great outdoors. As a nod to Vicki and the horn, you'll hear a famous hunting horn tune from the finale of Mozart's Fourth Horn Concerto.” Claude Arrieu was a prolific French composer, who studied at the Paris Conservatoire with Dukas. Her compositions include several stage works, concertos, and numerous wind chamber pieces. Her music has the ease of flow and elegance of structure that typified Parisian neo-classicism. Vivacity, clarity of expression, and a natural feel for melody were her hall marks. Jim Parker is a British composer, who performed on oboe and English horn earlier in his career. He has achieved great success in writing film scores, television music, and instrumental concert works. Often, in the United States his music is heard through British television programing seen on our local PBS channels. His affinity for travel in America is evident in The Mississippi Five. This composition was first performed by the Albion Ensemble at St. John’s Smith Square, London in 1991. King Oliver Steps Out is a tribute to Joseph Nathan Oliver (1885-1938). Better known as Joe Oliver, this American jazz band leader and cornet player was born in New Orleans. He was known for his beautiful cornet sound, his Dixieland improvisation style, and for pioneering the use of mutes in jazz, including the plumber's plunger the derby hat, and bottles and cups in the bell of his instrument. Serving as a mentor to Louis Armstrong, Oliver led his famous Creole Jazz Band that traveled as far as California and Chicago. Later, he headed up a second band, The Dixie Syncopators. Blues For Johnny Dodds serves as a memorial to Johnny Dodds (1892-1940), who was an American jazz clarinetist and saxophonist based in New Orleans. He was best known for his recordings under his own name and with bands such as Joe "King" Oliver, Jelly Roll Morton, Lovie Austin, and Louis Armstrong. His sibbling, Baby Dodds, played drum set in the Oliver bands. The River Queen depicts the beautiful riverboats that carry passengers up and down the Mississippi River. One can hear the churning of the large wooden paddle wheel as it slices the water, as well as the boat's steam whistle. Even today, small Dixieland groups, or sometimes large Big Bands, perform on board riverboats to the pleasure of the crew and passengers. Le Tombeau is dedicated to the memory of American blues singer Bessie Smith (1894-1937). Born in Chattanooga, Tennessee, she was nicknamed the Empress of the Blues. Her soulful and bold delivery of the vocal lines, combined with her nearly complete command of the genre brought her great fame. Undoubtedly the most influential female vocalist of the 1920s and 1930s, she left behind a rich musical legacy of one hundred sixty recordings cut between 1923 and 1933. One of her most popular songs, recorded with Louis Armstrong, was St. Louis Blues. Les Animaux best translates as "an animal." This movement portrays the composer's visit to the Audubon Zoo of New Orleans located in the historic uptown district. The famous zoo offers lush gardens, an exotic mix of animals 6 from around the globe, educational programs and hands-on animal encounters. Experience the composer's delight as he depicts various members of the animal kingdom. 12noon Keynote Speaker: Lyn Loewi From the Exiled Edges: Women composers and the Episcopal church Elizabeth Poston, Cecilia McDowall, Judith Weir, Jane Marshall and many more women composers have written good sacred music that is rarely heard. Their compositions add a much needed voice to the standard repertory. This talk will introduce listeners to the works we sang this past year at St. John's Cathedral and how the pieces were chosen. 2pm Twin Cities Recital: Liisa Keränen D. Buxtehude (1637-1707): Prelude in F sharp minor, BuxWV 146 N. deGrigny (1672-1703): Tierce en taille E. Elgar (1857-1934): Sonata op. 28 G major II Allegro Kathy Borger Trio Sonata No. 6, BWV 530 J.S. Bach (1685-1750) I.
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