Faculty Recital: Christine Rutledge Organ Hall the Complete Bach Suites on Viola, Concert 2 08 3:00 P.M

Faculty and Guest Artist Recital: 2017-10-07 -- Rachel Joselson, soprano and Sasha Burdin, piano

Audio Playlist

Access to audio and video playlists restricted to current faculty, staff, and student. If you have questions, please contact the Rita Benton Music Library at [email protected].

Scroll to see Program PDF recognition among musicians. This is an ongoing collaborative project with Rachel Joselson, soprano, and Scott Conklin, violin. Sasha Burdin’s name is associated with Ephawk Quartet (2014), a UI touring chamber group, known for SCHOOL OF performing O. Messiaen’s legendary Quartur pur la fn du temps. In 2015–2016, he was a member of Nashat Trio, collaboration with Thiago Ancelmo, clarinet, and Andrew Uhe, violin. The group has appeared in public, performing works by Bartók, Milhaud, Khachaturian, and Shostakovich in music festivals and concerts. In the MUSIC summer of 2016, Sasha Burdin has formed The Sasha Burdin Quartet — a jazz group focusing on original compositions, as well as exploring an alternative approach to renown compositions by Sonny Rollins, Herbie Hancock, John Coltrane, and others. (www.sashaburdin.com) Mr. Burdin is currently master teacher of piano at the Pacifc Piano School — The Russian School of Music, in San Jose, California. UPCOMING EVENTS For the most up to date listing of concerts and recitals please visit arts.uiowa.edu All events are FREE unless otherwise indicated. OCTOBER 2017

08 3:00 p.m. Faculty Recital: Christine Rutledge Organ Hall The Complete Bach Suites on Viola, Concert 2 08 3:00 p.m. Faculty Recital: Girls A–Z: A Hodgepodge of Songs Concert Hall Stephen Swanson, baritone; Alan Huckleberry, piano 09 7:30 p.m. Guest Recital: Iowa Saxophonists’ Workshop Recital Hall Stephen Page

10 7:30 p.m. Guest Recital: Joe Skillen, tuba/euphonium Recital Hall

11 7:30 p.m. Guest Concert: Annual Iowa City Area Concert Hall High School Choirs Festival

13 7:30 p.m. Fall Opera: #1 (The Medium) CCPA

14 3:00 p.m. Guest Recital: Eric Stomberg, bassoon Recital Hall

14 7:30 p.m. Guest Panel: Creative Matters Lecture Recital Hall

14 7:30 p.m. Fall Opera: #2 CCPA FACULTY RECITAL Rachel Joselson, soprano 15 2:00 p.m. Fall Opera: #3 CCPA Sasha Burdin, piano 16 7:30 p.m. Faculty Recital: Courtney Miller Recital Hall Saturday, October 7, 2017 at 7:30 p.m. Voxman Music Building, Recital Hall *Tickets available through the Hancher Box Ofce at (800) HANCHER or hancher.uiowa.edu/tickets Ich denke Dein: Songs and Piano Works by Nikolay Medtner BIOGRAPHIES Rachel Joselson, soprano Sasha Burdin, piano Rachel Joselson performed with the Indianapolis Symphony and the Atlanta Symphony Orchestra under the musical direction of Robert Shaw, while still studying at Florida State University (FSU) and Indiana University (IU). After completing her master's degree at IU, she moved to Europe and pursued private voice study with PROGRAM Mario and Rina del Monaco in Lancenigo, Italy. Her frst full-time operatic contract was in Darmstadt, Germany, singing roles such as Rosina, Dorabella, Cherubino, Adalgisa, and Idamante before switching to soprano repertoire during her years at Goethelieder, opus 15 Nikolay MEDTNER (1880–1951) Hamburg State Opera. Some soprano roles include Gounod’s Mireille, Mimì, Micaela Wanderers Nachtlied I (Carmen), Mélisande, Marjenka (Bartered Bride), Donna Elvira (Don Giovanni), An die Türen will ich schleichen Leonore (Fidelio), Eva (Meistersingers of Nuremberg), and Madame Euterpova Selbstbetrug (Help! Help! The Globolinks). Sie liebt mich After returning to the United States in the late 1990s, the Metropolitan Opera engaged her for Kurt Weill’s So tanzet Rise and Fall of the City of Mahagonny. She has performed with symphony orchestras in Madison, Oshkosh, Vor dem Gericht and Johnson City, Tennessee; and featured with the Utah Festival Opera in Logan and the Mormon Tabernacle Meerestille Choir and Orchestra in Salt Lake City for its International Sunday broadcast. She debuted as Desiree in A Little Glückliche Fahrt Night Music at Middlebury Opera in Vermont. She sang Madame Euterpova in the 1998 CD recording of Nähe des Geliebten Menotti's Help! Help! The Globolinks with the Madison Symphony Opera and Orchestra under the baton of Der untreue Knabe John DeMain. Her frst solo CD, The Songs of Arthur Honegger and Jacques Leguerney with pianist Réne Gleich und Gleich Lecuona, was released in 2003 by Albany Records. Joselson coached this repertoire in France with pianist/ Geistgruß coach Mary Dibbern, and debuted these in concert at the American Cathedral in Paris. Her second solo CD Songs of the Holocaust, with Réne Lecuona (piano) and Scott Conklin (violin), was ——— INTERMISSION ——— released in 2016 by Albany Records. Last spring she and Dr. Lecuona presented these Holocaust songs at Lawrence University, CUNY Queens College, Middlebury College, and at several commemoration events in Suite Vocalise, opus 41, no. 2 Texas, New York, and Vermont. Most recently they presented at Montclair State University in New Jersey, Introduzione Chapman University in Orange County, and in the General Assembly Hall at the United Nations Headquarters Gesang der Nymphen (Song of the Nymphs) in New York for the International Day of Commemoration in memory of the victims of the Holocaust and Geheimisse (Secrets) the anniversary of the liberation of Auschwitz by the Russians in 1945. They also presented at the Illinois Zug Der Grazien Holocaust Museum and Education Center and in New Jersey and Colorado Springs. Was Der Dichter Spricht (What the poet says) Her third CD Ich Denke Dein: Songs and Violin works of Nikolai Medtner, with Sasha Burdin (piano) and Scott Conklin (violin), will be released in 2018. Her next CD project is to be the Songs of Gabriel Dupont with pianist Sonate Vocalise, opus 41, no. 1 Bo Ties, to be released in 2019. Motto: Geweither Platz (Consecrated Place) Sonata Joselson received her Doctor of Musical Arts degree from Rutgers University. She has been on the faculty at The University of Iowa School of Music since 1997. Joselson lives in Iowa City with her husband Michael, 3 Morceaux, opus 31 teenage children Manny and Leah, and their four cats, Harry, Estie, Gibson, and Carlino. Improvisation Marche Funebre Sasha Burdin is a concert and jazz pianist, composer, bandleader, and Fairy Tale in G Sharp Minor music educator. He has presented concert programs in Russia, Europe, and the United States. He holds the Master of Music degree from BGSU, Zimniy Vecher (Winterabend), opus 13, no. 1 Ohio and Maymonid Moscow State Classical Academy. Sasha is currently completing his doctorate degree in piano performance at The University of Iowa under the tutelage of Uriel Tsachor. His major teachers in different years include Naum Shtarkman, Victor Derevianko, Irina Podmetina, Anna Mazarskaya, and Thomas Rosenkranz. A big part of Burdin’s work is dedicated to the legacy of Nikolay Medtner (1880–1951). The aim of this work is to explore and promote music and In consideration of our performers and guests, please take a moment to turn off your cell phone. aesthetic principles of the composer, to bring public awareness and (cont. on back) Gleich und Gleich (Same and Same) A fower drop from the ground had bloomed PROGRAM NOTES Early into loving fower; a little bee came along Nikolai Medtner was born, the youngest of fve children, in Moscow on Christmas Eve 1879; Medtner frst And nibbled fnely. They must surely be meant took piano lessons from his mother until the age of ten, when he entered the Moscow Conservatory. He For one another. graduated in 1900 at the age of twenty, taking the Anton Rubinstein prize, having studied under Pavel Geistergruß (Ghost greeting) Pabst, Wassily Sapellnikoff, Vasily Safonov, and Sergei Taneyev, among others. Despite his conservative musical tastes, Medtner’s compositions and his pianism were highly regarded by his contemporaries. To High on the old tower stands the heroic, noble ghost, the consternation of his family, but with the support of his former teacher Taneyev, he soon rejected a Who, as a ship goes by, wishes it a good journey. career as a performer and turned to composition, partly inspired by the intellectual challenge of Ludwig van See, this string was so strong, this heart so hard and wild, Beethoven’s late piano sonatas and string quartets. The bones full of Knights’ marrow; the cup is flled; Unlike his friend Rachmaninoff, Medtner did not leave Russia until well after the Russian Revolution. Half my life I stormed away, restrained the other half in quiet. Rachmaninoff secured Medtner a tour of the United States and Canada in 1924; his recitals were often And you, you little man ship there, ride on always. all-Medtner evenings consisting of sonatas interspersed with songs and shorter pieces. He never adapted - Translations by Rachel Joselson himself to the commercial aspects of touring and his concerts became infrequent. Esteemed in England, he settled in London in 1936, modestly teaching, playing, and composing to a strict daily routine. Winterabend, op. 13, no. 1 (Winter evening) In 1949, a Medtner Society was founded in London by His Highness Jayachamaraja Wodeyar Bahadur, The Sable clouds by tempest driven, snowfakes whirling in the gales, Maharajah of Mysore. (Mysore is part of India, now a state of Karnataka.) His Highness was an honorary Hark — it sounds like grim wolves howling, hark — now like a child it wails! Fellow of Trinity College of Music, London, in 1945 and also the frst president of the Philharmonia Concert Creeping through the rustling straw thatch, rattling on the mortared walls, Society, London. He founded the Medtner Society to record all of Medtner’s works. These historic recordings Like some weary wanderer knocking on the lowly pane it falls. demonstrate Medtner’s forceful magnetic pianism and creative personality, generally undimmed by his undoubtedly failing health. In gratitude to his patron, Medtner dedicated his Third Piano Concerto to the Fearsome darkness flls the kitchen, drear and lonely our retreat, Maharajah. Medtner died at his home in London in 1951, and is buried in Hendon Cemetery. Speak a word and break the silence, dearest little Mother, sweet! Has the moaning of the tempest closed thine eyelids wearily? Whether Medtner’s music makes inroads into the wider repertoire or remains the territory of a few Has the spinning wheel’s soft whirring hummed a cradle song to thee? performers and listeners depends on whether it is true that he sacrifced melodic interest, beauty, and communicativeness (or enough of them) on the altar of complexity, the sonata form, and counterpoint. Sweetheart of my youthful springtime, thou true-souled companion dear Nonetheless, it is undeniable that Medtner possessed considerable skill in writing heartfelt melody of rare Let us drink! Away with sadness! Wine will fll our hearts with cheer. beauty and an uncanny skill in developing thematic material. Imbued with a restless quality that demands Sing the song how free and careless birds live in a distant land repeated listenings to penetrate, Medtner’s music often has a psychologically intense, almost demonic Sing the song of maids at morning meeting by the brook’s clear strand! character. The piano works in particular are notoriously diffcult to sight-read and require enormous technical Sable clouds by tempest driven, snowfakes whirling in the gales, and intellectual resources to perform. Yet Medtner’s best melodies speak to the listener on a direct emotional Hark — it sounds like grim wolves howling, hark — now like a child it wails! level. It may be that some of his works are better advocates for him in this respect — his songs and concertos Sweetheart of my youthful Springtime, thou true-souled companion dear, are more directly communicative than the solo piano music, the violin sonatas more extroverted — but it is Let us drink! Away with sadness! Wine will fll our hearts with cheer! also true that his music is now that of a cult composer, at least in reputation and possibly in fact. (Extracted from http://www.classiccat.net/medtner_n/biography.php) - Translation taken from Emily Ezust (http://www.lieder.net/lieder/get_text.html?TextId=73772) TRANSLATIONS Glückliche Fahrt (Happy Ride) The fog rips, the sky is bright, and Aeolus solves the fearful ties. The winds howl, the boatman is movng. Hurry! Hurry! Wanderers Nachtlied I (Traveler’s Night Song) The waves divide themselves; the faraway approaches, already I see land! You, who are from Heaven, quiet all suffering and pain. To him who is doubly miserable, doubly flled with refreshment. Nähe des Geliebten (Nearness of the beloved) Ah, I am tired of drifting! What is all this pain and joy? I think of you when the sun’s sparkle shines on me; Sweet peace, come into my breast! I think of you when the moon fickers like fountains painted. I see you when on the faraway paths the dust lifts; An die Türen will ich schleichen (I want to slither from door to door) In deep night, when the traveler trembles on narrow bridges, I want to slither from door to door, quiet and modest I want to stand. I hear you when the waves rise with dull noise. Pious hand will be enough nourishment, and I will go further. In the quiet grove I often go to listen, when all is silenced. Each will shine happily when my picture appears before him. I am with you, it doesn’t matter that you are still so far away — A tear will he shed, and I know not why he cries. You are near me! The sun is sinking; soon the stars light me up. Selbstbetrug (Self-deception) Oh, if only you were here! The curtain hovered back and forth at my neighbor’s house. Der ungetreue Knabe (The unfaithful boy) Certainly she listens to see if I am home. There was an insolent enough boy when frst he came from France. And whether the jealous resentment, which I nurtured, He had a poor young girl, taking her often in his arm and loved her, Will continue forever to upset my heart. Teasing to become her husband, and fnally left her. Still, unfortunately, the beautiful child didn’t feel the same. I see it is the evening wind playing with the curtain. The bronzed girl found out, and she lost her senses; She laughed and cried and begged and swore; Sie liebt mich! (She loves me!) The soul left her body from behind. She loves me! What terrible quaking! Do I feel it myself? Am I alive? She loves me! Ah, everything seems different! Is that still you, sun? The hours since she was different caused pain Is that still you, house? Carry the bliss, blessed heart! She loves me! To the boy; grayed his hair. It drove him on horseback. He dug the spurs in and rode on all sides From “Lila” And rode over and over and back and forth, He could not rest, rode seven days and nights; So dance and sprint in rows and wreaths, the loving boy, There was lightening and thunder, storm and power, You’re going to dance. To sit on skirts and to be diligent. To fnish the work and fall asleep. The rivers fooded and rode in lightening That is why dancing and sprinting refreshes your blood. And weather against buildings. Sad love gives hope and courage. He brings the horse home And creeps in and ducks from the rain, Vor Gericht (In court) And as he taps, and how he feels, From whom I have it, that I won’t tell you, the child in my body. Under him the earth is churning; “Ugh!” Spewed from her: “the whore there!” He probably falls a hundred fathoms, I am an honest woman. With whom I entrust myself, And as he was exhausted from the hit, That I won’t tell you. My sweetheart is loving and good. He wears a golden chain on his neck and a straw hat. He sees three little lights creeping. He gets up and crawls towards the little lights If mockery and bullying happen, I carry those alone. Softening in the distance. He knows me, and God also knows about it. He errs wide and long, step up, step down, Mr. Minister and Mr. Offcial, I beg you to leave me alone! Through narrow course ways. It is my child, and it remains my child. You offer nothing to me. Decaying desert basement all at once He stands high in the hall. Meeresstille (Sea Stillness) Deep stillness reigns in the water, without emotion calms the sea, Look at a hundred guests sitting, hollow-eyed, And the sailor sees a smooth surface all around. No air from any side! Grin all-around and waving for him to feast. Deathly quiet horrifying! In the vast expanse not a wave reigns! He sees his treasure below dressed With white cloths, that turn. TRANSLATIONS Glückliche Fahrt (Happy Ride) The fog rips, the sky is bright, and Aeolus solves the fearful ties. The winds howl, the boatman is movng. Hurry! Hurry! Wanderers Nachtlied I (Traveler’s Night Song) The waves divide themselves; the faraway approaches, already I see land! You, who are from Heaven, quiet all suffering and pain. To him who is doubly miserable, doubly flled with refreshment. Nähe des Geliebten (Nearness of the beloved) Ah, I am tired of drifting! What is all this pain and joy? I think of you when the sun’s sparkle shines on me; Sweet peace, come into my breast! I think of you when the moon fickers like fountains painted. I see you when on the faraway paths the dust lifts; An die Türen will ich schleichen (I want to slither from door to door) In deep night, when the traveler trembles on narrow bridges, I want to slither from door to door, quiet and modest I want to stand. I hear you when the waves rise with dull noise. Pious hand will be enough nourishment, and I will go further. In the quiet grove I often go to listen, when all is silenced. Each will shine happily when my picture appears before him. I am with you, it doesn’t matter that you are still so far away — A tear will he shed, and I know not why he cries. You are near me! The sun is sinking; soon the stars light me up. Selbstbetrug (Self-deception) Oh, if only you were here! The curtain hovered back and forth at my neighbor’s house. Der ungetreue Knabe (The unfaithful boy) Certainly she listens to see if I am home. There was an insolent enough boy when frst he came from France. And whether the jealous resentment, which I nurtured, He had a poor young girl, taking her often in his arm and loved her, Will continue forever to upset my heart. Teasing to become her husband, and fnally left her. Still, unfortunately, the beautiful child didn’t feel the same. I see it is the evening wind playing with the curtain. The bronzed girl found out, and she lost her senses; She laughed and cried and begged and swore; Sie liebt mich! (She loves me!) The soul left her body from behind. She loves me! What terrible quaking! Do I feel it myself? Am I alive? She loves me! Ah, everything seems different! Is that still you, sun? The hours since she was different caused pain Is that still you, house? Carry the bliss, blessed heart! She loves me! To the boy; grayed his hair. It drove him on horseback. He dug the spurs in and rode on all sides From “Lila” And rode over and over and back and forth, He could not rest, rode seven days and nights; So dance and sprint in rows and wreaths, the loving boy, There was lightening and thunder, storm and power, You’re going to dance. To sit on skirts and to be diligent. To fnish the work and fall asleep. The rivers fooded and rode in lightening That is why dancing and sprinting refreshes your blood. And weather against buildings. Sad love gives hope and courage. He brings the horse home And creeps in and ducks from the rain, Vor Gericht (In court) And as he taps, and how he feels, From whom I have it, that I won’t tell you, the child in my body. Under him the earth is churning; “Ugh!” Spewed from her: “the whore there!” He probably falls a hundred fathoms, I am an honest woman. With whom I entrust myself, And as he was exhausted from the hit, That I won’t tell you. My sweetheart is loving and good. He wears a golden chain on his neck and a straw hat. He sees three little lights creeping. He gets up and crawls towards the little lights If mockery and bullying happen, I carry those alone. Softening in the distance. He knows me, and God also knows about it. He errs wide and long, step up, step down, Mr. Minister and Mr. Offcial, I beg you to leave me alone! Through narrow course ways. It is my child, and it remains my child. You offer nothing to me. Decaying desert basement all at once He stands high in the hall. Meeresstille (Sea Stillness) Deep stillness reigns in the water, without emotion calms the sea, Look at a hundred guests sitting, hollow-eyed, And the sailor sees a smooth surface all around. No air from any side! Grin all-around and waving for him to feast. Deathly quiet horrifying! In the vast expanse not a wave reigns! He sees his treasure below dressed With white cloths, that turn. Gleich und Gleich (Same and Same) A fower drop from the ground had bloomed PROGRAM NOTES Early into loving fower; a little bee came along Nikolai Medtner was born, the youngest of fve children, in Moscow on Christmas Eve 1879; Medtner frst And nibbled fnely. They must surely be meant took piano lessons from his mother until the age of ten, when he entered the Moscow Conservatory. He For one another. graduated in 1900 at the age of twenty, taking the Anton Rubinstein prize, having studied under Pavel Geistergruß (Ghost greeting) Pabst, Wassily Sapellnikoff, Vasily Safonov, and Sergei Taneyev, among others. Despite his conservative musical tastes, Medtner’s compositions and his pianism were highly regarded by his contemporaries. To High on the old tower stands the heroic, noble ghost, the consternation of his family, but with the support of his former teacher Taneyev, he soon rejected a Who, as a ship goes by, wishes it a good journey. career as a performer and turned to composition, partly inspired by the intellectual challenge of Ludwig van See, this string was so strong, this heart so hard and wild, Beethoven’s late piano sonatas and string quartets. The bones full of Knights’ marrow; the cup is flled; Unlike his friend Rachmaninoff, Medtner did not leave Russia until well after the Russian Revolution. Half my life I stormed away, restrained the other half in quiet. Rachmaninoff secured Medtner a tour of the United States and Canada in 1924; his recitals were often And you, you little man ship there, ride on always. all-Medtner evenings consisting of sonatas interspersed with songs and shorter pieces. He never adapted - Translations by Rachel Joselson himself to the commercial aspects of touring and his concerts became infrequent. Esteemed in England, he settled in London in 1936, modestly teaching, playing, and composing to a strict daily routine. Winterabend, op. 13, no. 1 (Winter evening) In 1949, a Medtner Society was founded in London by His Highness Jayachamaraja Wodeyar Bahadur, The Sable clouds by tempest driven, snowfakes whirling in the gales, Maharajah of Mysore. (Mysore is part of India, now a state of Karnataka.) His Highness was an honorary Hark — it sounds like grim wolves howling, hark — now like a child it wails! Fellow of Trinity College of Music, London, in 1945 and also the frst president of the Philharmonia Concert Creeping through the rustling straw thatch, rattling on the mortared walls, Society, London. He founded the Medtner Society to record all of Medtner’s works. These historic recordings Like some weary wanderer knocking on the lowly pane it falls. demonstrate Medtner’s forceful magnetic pianism and creative personality, generally undimmed by his undoubtedly failing health. In gratitude to his patron, Medtner dedicated his Third Piano Concerto to the Fearsome darkness flls the kitchen, drear and lonely our retreat, Maharajah. Medtner died at his home in London in 1951, and is buried in Hendon Cemetery. Speak a word and break the silence, dearest little Mother, sweet! Has the moaning of the tempest closed thine eyelids wearily? Whether Medtner’s music makes inroads into the wider repertoire or remains the territory of a few Has the spinning wheel’s soft whirring hummed a cradle song to thee? performers and listeners depends on whether it is true that he sacrifced melodic interest, beauty, and communicativeness (or enough of them) on the altar of complexity, the sonata form, and counterpoint. Sweetheart of my youthful springtime, thou true-souled companion dear Nonetheless, it is undeniable that Medtner possessed considerable skill in writing heartfelt melody of rare Let us drink! Away with sadness! Wine will fll our hearts with cheer. beauty and an uncanny skill in developing thematic material. Imbued with a restless quality that demands Sing the song how free and careless birds live in a distant land repeated listenings to penetrate, Medtner’s music often has a psychologically intense, almost demonic Sing the song of maids at morning meeting by the brook’s clear strand! character. The piano works in particular are notoriously diffcult to sight-read and require enormous technical Sable clouds by tempest driven, snowfakes whirling in the gales, and intellectual resources to perform. Yet Medtner’s best melodies speak to the listener on a direct emotional Hark — it sounds like grim wolves howling, hark — now like a child it wails! level. It may be that some of his works are better advocates for him in this respect — his songs and concertos Sweetheart of my youthful Springtime, thou true-souled companion dear, are more directly communicative than the solo piano music, the violin sonatas more extroverted — but it is Let us drink! Away with sadness! Wine will fll our hearts with cheer! also true that his music is now that of a cult composer, at least in reputation and possibly in fact. (Extracted from http://www.classiccat.net/medtner_n/biography.php) - Translation taken from Emily Ezust (http://www.lieder.net/lieder/get_text.html?TextId=73772) Ich denke Dein: Songs and Piano Works by Nikolay Medtner BIOGRAPHIES Rachel Joselson, soprano Sasha Burdin, piano Rachel Joselson performed with the Indianapolis Symphony and the Atlanta Symphony Orchestra under the musical direction of Robert Shaw, while still studying at Florida State University (FSU) and Indiana University (IU). After completing her master's degree at IU, she moved to Europe and pursued private voice study with PROGRAM Mario and Rina del Monaco in Lancenigo, Italy. Her frst full-time operatic contract was in Darmstadt, Germany, singing roles such as Rosina, Dorabella, Cherubino, Adalgisa, and Idamante before switching to soprano repertoire during her years at Goethelieder, opus 15 Nikolay MEDTNER (1880–1951) Hamburg State Opera. Some soprano roles include Gounod’s Mireille, Mimì, Micaela Wanderers Nachtlied I (Carmen), Mélisande, Marjenka (Bartered Bride), Donna Elvira (Don Giovanni), An die Türen will ich schleichen Leonore (Fidelio), Eva (Meistersingers of Nuremberg), and Madame Euterpova Selbstbetrug (Help! Help! The Globolinks). Sie liebt mich After returning to the United States in the late 1990s, the Metropolitan Opera engaged her for Kurt Weill’s So tanzet Rise and Fall of the City of Mahagonny. She has performed with symphony orchestras in Madison, Oshkosh, Vor dem Gericht and Johnson City, Tennessee; and featured with the Utah Festival Opera in Logan and the Mormon Tabernacle Meerestille Choir and Orchestra in Salt Lake City for its International Sunday broadcast. She debuted as Desiree in A Little Glückliche Fahrt Night Music at Middlebury Opera in Vermont. She sang Madame Euterpova in the 1998 CD recording of Nähe des Geliebten Menotti's Help! Help! The Globolinks with the Madison Symphony Opera and Orchestra under the baton of Der untreue Knabe John DeMain. Her frst solo CD, The Songs of Arthur Honegger and Jacques Leguerney with pianist Réne Gleich und Gleich Lecuona, was released in 2003 by Albany Records. Joselson coached this repertoire in France with pianist/ Geistgruß coach Mary Dibbern, and debuted these in concert at the American Cathedral in Paris. Her second solo CD Songs of the Holocaust, with Réne Lecuona (piano) and Scott Conklin (violin), was ——— INTERMISSION ——— released in 2016 by Albany Records. Last spring she and Dr. Lecuona presented these Holocaust songs at Lawrence University, CUNY Queens College, Middlebury College, and at several commemoration events in Suite Vocalise, opus 41, no. 2 Texas, New York, and Vermont. Most recently they presented at Montclair State University in New Jersey, Introduzione Chapman University in Orange County, and in the General Assembly Hall at the United Nations Headquarters Gesang der Nymphen (Song of the Nymphs) in New York for the International Day of Commemoration in memory of the victims of the Holocaust and Geheimisse (Secrets) the anniversary of the liberation of Auschwitz by the Russians in 1945. They also presented at the Illinois Zug Der Grazien Holocaust Museum and Education Center and in New Jersey and Colorado Springs. Was Der Dichter Spricht (What the poet says) Her third CD Ich Denke Dein: Songs and Violin works of Nikolai Medtner, with Sasha Burdin (piano) and Scott Conklin (violin), will be released in 2018. Her next CD project is to be the Songs of Gabriel Dupont with pianist Sonate Vocalise, opus 41, no. 1 Bo Ties, to be released in 2019. Motto: Geweither Platz (Consecrated Place) Sonata Joselson received her Doctor of Musical Arts degree from Rutgers University. She has been on the faculty at The University of Iowa School of Music since 1997. Joselson lives in Iowa City with her husband Michael, 3 Morceaux, opus 31 teenage children Manny and Leah, and their four cats, Harry, Estie, Gibson, and Carlino. Improvisation Marche Funebre Sasha Burdin is a concert and jazz pianist, composer, bandleader, and Fairy Tale in G Sharp Minor music educator. He has presented concert programs in Russia, Europe, and the United States. He holds the Master of Music degree from BGSU, Zimniy Vecher (Winterabend), opus 13, no. 1 Ohio and Maymonid Moscow State Classical Academy. Sasha is currently completing his doctorate degree in piano performance at The University of Iowa under the tutelage of Uriel Tsachor. His major teachers in different years include Naum Shtarkman, Victor Derevianko, Irina Podmetina, Anna Mazarskaya, and Thomas Rosenkranz. A big part of Burdin’s work is dedicated to the legacy of Nikolay Medtner (1880–1951). The aim of this work is to explore and promote music and In consideration of our performers and guests, please take a moment to turn off your cell phone. aesthetic principles of the composer, to bring public awareness and (cont. on back) recognition among musicians. This is an ongoing collaborative project with Rachel Joselson, soprano, and Scott Conklin, violin. Sasha Burdin’s name is associated with Ephawk Quartet (2014), a UI touring chamber group, known for SCHOOL OF performing O. Messiaen’s legendary Quartur pur la fn du temps. In 2015–2016, he was a member of Nashat Trio, collaboration with Thiago Ancelmo, clarinet, and Andrew Uhe, violin. The group has appeared in public, performing works by Bartók, Milhaud, Khachaturian, and Shostakovich in music festivals and concerts. In the MUSIC summer of 2016, Sasha Burdin has formed The Sasha Burdin Quartet — a jazz group focusing on original compositions, as well as exploring an alternative approach to renown compositions by Sonny Rollins, Herbie Hancock, John Coltrane, and others. (www.sashaburdin.com) Mr. Burdin is currently master teacher of piano at the Pacifc Piano School — The Russian School of Music, in San Jose, California. UPCOMING EVENTS For the most up to date listing of concerts and recitals please visit arts.uiowa.edu All events are FREE unless otherwise indicated. OCTOBER 2017

10 7:30 p.m. Guest Recital: Joe Skillen, tuba/euphonium Recital Hall

11 7:30 p.m. Guest Concert: Annual Iowa City Area Concert Hall High School Choirs Festival

13 7:30 p.m. Fall Opera: #1 (The Medium) CCPA

14 3:00 p.m. Guest Recital: Eric Stomberg, bassoon Recital Hall

14 7:30 p.m. Guest Panel: Creative Matters Lecture Recital Hall