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Home , Ottorino Respighi

THE COLORADO COLLEGE MUSIC DEPARTMENT presents

Jerilyn Jorgensen, violin Cullan Bryant, piano

Tuesday, February 5, 2013 7:30 PM Packard Hall

PROGRAM

Sonata in G Major, BWV 1021...... Adagio (1685-1750) Vivace Largo Presto

Sonata in G Major, Op. 96 ...... Allegro moderato (1770-1827) Adagio espressivo Scherzo: Allegro Poco Allegretto

INTERMISSION

Narcisse, Op. 30 Nr. 2 ...... Karol Szymanowski (1882-1937)

Groteske ...... Rudi Stephan (1887-1915)

Sonata in B minor ...... Ottorino Respighi Moderato (1879-1936) Andante espressivo Passacaglia: Allegro moderato ma energico

Please turn off all electronic devices in Packard Hall ABOUT THE ARTISTS

Jerilyn Jorgensen is adjunct faculty in violin and at the Lamont School of Music of the University of Denver and a member of the performance faculty of Colorado College. From 1980-2004 she was first violinist of the Da Vinci Quartet, and as a member of that ensemble she has performed throughout the United States, been a prizewinner in the Shostakovich International String Quartet Competition and finalist in the Naumburg Chamber Music Competition, and appeared on PBS’s NewsHour with Jim Lehrer. Her recordings appear on the Naxos label. Her performances with the quartet have been praised as “…abundant in feeling and fire” (Milwaukee Journal), “taut, confident playing, brimming with thrust and color” (Los Angeles Times), and as exhibiting “ease, authority, and thoroughgoing excellence” (San Francisco Chronicle). As a recitalist, in Beethoven’s “Kreutzer” Sonata she “played with sensitivity to the rapidly changing expressive demands of the music… an inspired performance… superbly played” (Estes Park Trail Gazette). This season’s appearances include concerts in Denver, Colorado Springs, La Junta, and Montrose. In October of 2011 she was soloist with the Chamber of the Springs, Thomas Wilson conducting, in Eric Ewazen’s Concerto for Violin and Strings. In addition, her live and studio solo performances are broadcast frequently on Colorado Public Radio’s “Colorado Spotlight.” Ms. Jorgensen has given master classes in violin and chamber music at the University of California at Davis, University of Nevada at Las Vegas, Sam Houston State University, Kansas State University, Simon’s Rock College, the University of Northern Colorado, and Colorado State University. She is in demand as a pre-college teacher, counting among her present and past students several winners of regional competitions, including the MTNA senior string competition. She is on the faculty of the Lamont Pre-College Academy summer program and is the Artistic Development Coordinator for the Colorado Springs Youth Association, where her responsibilities have included curriculum design and teacher training for the Mozart Strings Project and sectional coaching and coaching oversight for four . She is currently director of chamber music for the organization, managing coaching and community performances throughout the year for five student chamber ensembles. Ms. Jorgensen holds bachelor of music degrees from the Eastman School of Music and the Juilliard School, and a master of music degree from Juilliard. Her major teachers have included Zvi Zeitlin, Joseph Fuchs, and Leonard Sorkin. She has also worked with Burton Kaplan. Ms. Jorgensen plays a beautiful violin from 1705 made by G.B. Rogeri.

Cullan Bryant is among the most active chamber and collaborative pianists in New York City, maintaining a schedule of over 70 recitals a year. He has performed with many world-class artists including Ju-Young Baek, Emanuel Borok, Colin Jacobsen, Misha Keylin, Oleh Krysa, Julia Lichten, Midori, Sviatoslav Moroz, Peter Rejto, Paul Tobias, members of the Amati, American, Arcata and Borromeo Quartets and members of the , Metropolitan Orchestra, the Orchestra of St. Luke’s, New York City Orchestra, New Jersey Symphony, Boston Symphony and the Detroit Symphony Orchestra in such venues as Weill Recital Hall, Merkin Hall, Alice Tully Hall, the Metropolitan Museum of Art and Detroit’s Orchestra Hall. Mr. Bryant made his debut in 1992 in recital with violinist Patmore Lewis. Mr. Bryant’s festival appearances have included the Long Island Beethoven Festival where he performed 16 Beethoven piano sonatas in a two-day marathon, the Serenates de Platja d’Aro and the Porta Ferrada festivals in Spain, the Chateau de la Napoule in France, Lake Winnepesaukee Music Festival in New Hampshire, Palm Beach Invitational Series in Florida and the Shandelee Piano Festival in New York, among many others. Mr. Bryant has been on the faculty of the Academy of Music Summer Festival since 1999. Cullan Bryant began playing the piano at age two, giving his first public recital at age six. At eleven he toured campuses in his native Arkansas and in Texas including several televised recitals. His prizes and awards include the Leschetizky International Competition, the National Arts Club of New York, the Memphis Beethoven Competition, Miami Arts Competition and a certificate of outstanding citizenship from Arkansas Governor Frank White. His college studies were with Robert Goldsand and Artur Balsam at the Manhattan School of Music. In July of 2002 he toured Japan in recitals with violinist Midori.

PROGRAM NOTES

J.S. Bach, Sonata for Violin and Continuo, BWV 1021 Bach’s sonata in G major for violin and keyboard accompaniment is not part of the famous group of six, but a separate work that differs in several aspects from its more well-known counterparts. It is in the typical “sonata da chiesa” or “church sonata” format, of slow-fast-slow-fast, but is so brief as to be just over half as long as most of Bach’s other works for this combination. The only copy of this work from the 1720’s exists in Anna Magdalena Bach’s handwriting, and that is of the bass line, figures, and melodic line only. There is no “piano part,” only the bass line which was used for two other of Bach’s compositions; the headings, figures, and some other marks do appear in Bach’s hand. It is possible that the bass line originated in a theory textbook – this was not an unusual procedure at the time – but the melody line is clearly Bach’s own, and one of his finest inventions. There were many options for accompaniment in Bach’s time. Given the bass line and the figures (a numerical indication of the desired chords) a skilled keyboard player could “realize” the accompaniment on the harpsichord, with or without the support of a sustaining bass instrument like the da gamba. The keyboard part could also be played on the organ, or on the theorbo, an oversized with the chordal capabilities of the . Given the flexibility of Bach’s instrumentation the use of the modern piano is merely an addition to the stable of possibilities, a measure only of taste, convenience, and practicality, of which Bach surely would have approved.

Beethoven, Sonata in G Major, Op. 96 The tenth sonata for piano and violin was composed in late 1812 for the French violinist Pierre Rode, but Beethoven had to rethink his concept when he became aware of Rode’s preferences and style. The composer wrote to his friend Archduke Rudolphe, “In view of Rode’s playing I have had to give more thought to the composition of this (final) movement. In our finales we like to have some noisy passages, but Rode does not care for them, so I have been rather hampered.”

Opus 96 is sandwiched in between two works that could hardly be more different; Opus 95 is a string quartet nicknamed “Serioso” for its compacted intensity, in F minor, and Op. 97 is the famous “Archduke” trio, in full heroic style. While still decisively middle-period Beethoven, Opus 96 prefigures his late style, with contemplative mood, unexpected harmonic turns, and uncharacteristic gentle and charming melodies (no doubt Rode’s influence). Beethoven clearly liked what he did in Op. 95 of attaching the slow movement to the movement following; he repeats this technique in the sonata and links the beautiful slow movement to an exceedingly brief, rather oafish scherzo. In the finale, a theme and variations, Beethoven manages to slip in his “noisy passage” which brings the work to an exciting conclusion.

Szymanowski, Narcisse, Op. 30 #2 from Mythes Szymanowski’s Mythes - three poems for violin and piano- is the result of the composer’s collaboration with the violinist Pawel Kochanski, who improvised with Szymanowski and opened his eyes and ears to the possibilities of tone color on the instrument, through the use of harmonics, tremolo, trills, pizzicato, double stops in all manner of exotic intervals which Szymanowski then used to paint impressionistic sound pictures. This completely new style was studied by composers such as Bartok and Prokofieff, and showed up in these composers’ works from the 1920’s. There are several versions of the Narcissus myth. All are in agreement, however, that this is the story of a young man who, spurning love from various sources, falls in love with his own reflection and pines away because he cannot get to the person he sees mirrored in the forest pool, which he knows to be himself. Szymanowski writes, “This is not meant to be a drama, unfolding in scenes one after another, (each) of which has anecdotic significance - this is rather a complex musical expression of the inspiring beauty of the Myth. The main ‘key’ of the ‘flowing water’ in Arethusa, the ‘stagnant water’ in Narcissus (the still and clear surface of the water in which the beauty of .. Narcissus is reflected) - these are the main lines of the piece.” Rudi Stephan, Groteske (1911) The tragically brief life of German composer Rudi Stephan (born in 1887 and killed in action on the eastern front in 1915) provides us with a tantalizing glimpse of what might have been. Once thought to be the future of German music, the composer left fewer than twenty-five published works, sixteen of which are songs, and one opera. The idea of a “grotesque” in art is that of a work that is fantastic, humorous, absurd, or distorted. In the outer sections of this scherzo-like form, the violin moves from bottom to top of the instrument in ironic acrobatics, dishing out whole-tone scales, double stops, harmonics, and trills. The middle section is almost unbearably attenuated, so slow as to take extra concentration to follow the musical line. The music is evocative, expressive, sometimes beautiful, and always unexpected.

Ottorino Respighi, Sonata for Violin and Piano in B minor (1917) The great master of the Roman pictorial music was himself an accomplished violinist who composed this large-scale duo sonata in the year following his triumph of the Fountains of . Marvelously inventive and impeccably constructed, this piece is one of the first where in addition to lush harmonies and soaring melodies, Respighi begins to show his interest in utilizing archaic forms. The first two movements are dominated by expressive themes, the second is especially improvisatory in feeling due to the two instruments moving in different subdivisions of the beat. The vocal melodies of the beginning and end surround an impassioned central section that foreshadows the heavy dotted rhythms of the Passacaglia movement’s ground bass, upon which there are twenty variations. Respighi’s handling of the variation form retains the drama of a sonata-allegro movement’s interplay of keys and feeling of return, as well as providing virtuoso moments for both instruments.

UPCOMING EVENTS IN THE CC MUSIC DEPARTMENT Unless otherwise noted, all concerts are in Packard Hall, are free, and open to the public

For the most current information, please check the events website: http://www.coloradocollege.edu/newsevents/calendar/

Music at Midday Wednesday, February 6 ~ 12:15 PM

Visiting Artist Concert Zodiac Trio Kliment Krylovskiy, clarinet Vanessa Mollard, violin Riko Higuma, piano Thursday, February 7 ~ 7:30 PM

Senior Recital Colin Busby, baritone Saturday, February 9 ~ 7:30 PM

Visiting Artist Concert Sphere Ensemble Ben Cantu, guitar Sunday, February 10 ~ 3:00 PM

Summer Music Festival Series An Evening of Dances and Other Delectable Delights Yumi Hwang-Williams, violin Bil Jackson, clarinet Susan Grace, piano Tuesday, February 26 ~ 7:30 pm For ticket information, call 719-389-6552 CC students free with ID