presents

November 1, 2020 Doug Oldham Recital Hall MUSIC 170 5:00 PM

Prelude in D-flat Major, Op. 28, No. 15 Frederic (1810-1849)

Nocturne in C-sharp Minor, Op. 27, No. 1 Frederic Chopin (1810-1849)

Ballade No. 3 in A-flat Major, Op. 47 Frederic Chopin (1810-1849)

Ballade No. 4 in F Minor, Op. 52 Frederic Chopin (1810-1849)

Nocturne in , Op. 72, No. 1 Frederic Chopin (1810-1849)

Prelude in D-flat Major, Op. 28, No. 15 Frederic Chopin wrote a cycle of twenty-four (Op. 28) which can be compared to J.S. Bach’s Well-Tempered Clavier. Like the Well-Tempered Clavier, the preludes cover all the major and minor keys and both start in C major. The difference lies in how these pieces are organized. Bach organized his preludes/fugues by parallel major and minor and placed them in scale order. Chopin organized his preludes by relative major and minor and placed them in the circle of fifths. This particular prelude is nicknamed the “Raindrop” Prelude. The name comes from the continuous striking of the A-Flat (or enharmonic G-Sharp) throughout the entire piece. The repetitive notes throughout sound like falling raindrops.

Nocturne in C-sharp Minor, Op. 27, No. 1 Another of Chopin’s shorter pieces, the Nocturne, is often also called “night piece.” Chopin got most of his inspiration for the from – the inventor of the nocturne. Nocturnes are generally more melancholy pieces that depict a lot of emotion. This particular Nocturne follows ABA form. At the beginning the slow, somber melody is introduced. (A) About halfway through a new theme (B) is introduced. This melody slowly builds and changes keys until it reaches the glorious resolution of the theme in A-flat Major. The theme then repeats and slowly makes it way back through many chromatics to the A section theme. The piece ends with a beautful lyrical section in the parallel major. Ballade No. 3 in A-flat Major, Op. 47 Chopin composed four in his lifetime. All four of his ballades are in compound meter, (6/4 or 6/8.) This meter gives the ballades a dance-like feel. Chopin was the first to compose instrumental ballades – beforehand composers had written ballades with words. Ballades have been called “stories in sound” by James Parakilas which means they are often associated with telling a story. In the third Ballade, the theme is introduced as sweet and lyrical. A few minutes into the piece, the second and third themes are introduced. These themes are more dance- like than the first theme. The second and third themes are repeated several times throughout the piece – some of these reappearances being more emotionally tragic than at the beginning. The first theme does not return again until the end of the piece right before the coda. The variation on the first theme sounds much like a polonaise and leads very effectively into the ending coda.

Ballade No. 4 in F Minor, Op. 52 The fourth Ballade is quite possibly the most pianistically difficult of Chopin’s ballades. Just like Chopin’s first Ballade, the fourth Ballade starts out with a very simple introductory melody that does not return until much later in the piece. What follows the introductory melody is the first main theme which reappears several times throughout the piece. Each time this main theme returns, it is a little bit different – whether that be as a result of added inner melodies throughout or a fugue-like counterpoint. There are several transitionary melodies throughout the piece, but perhaps the most tragic moment comes about ten minutes into the piece. One of the themes has just returned and there is a slow build up to a section of tumultuous arpeggios that are likened to Chopin’s ocean etude. This section ends with what will sound like a false end to the piece. Following this false end are five ethereally majestic chords that are the calm before the storm of the coda. The coda and the piece ends after several cascades up and down the when the final four, powerful chords finally sound.

Nocturne in E Minor, Op. 72, No. 1 Although this nocturne was most likely written early in Chopin’s life, it was not published until after he died. This is one of his more well-known nocturnes. It begins and continues with triplets through the entire left hand. These triplets introduce opposing rhythms whenever there are eighth notes in the right hand. The piece begins with a very simple lyrical melody. The melody returns three times and becomes more poetic and tragic as the piece goes on. Although the piece is in E minor, there are a few key transitions throughout the piece. After the theme has been stated twice, there is a transitionary melody that leads into a key change to B major, which is the dominant of the piece. This transitionary melody appears again at the end of the piece in the key of E major. As the piece winds down it ends in the key of E major, with a . I would like to thank my Lord and Savior, Jesus Christ. Without Him I would not have gotten this far or have any talents to use at all. I pray that this recital brings glory to Him. I would also like to thank my husband, Kevin. Thank you for supporting and encouraging me to keep going when I wanted to just give up. Thank you to my family for supporting me and cheering me on from afar. Thank you to my amazing coworkers who listened to me rant about school projects and encouraged me to keep going. Thank you to all my friends who helped me through this, and to the ones who traveled from far away to support me in this final part of my degree. Thank you to my piano professor, Dr. Rumrill, and to all the amazing faculty I have had the opportunity to study under during this degree. And lastly, thank you all for coming out to support me tonight. It truly means the world to me!

Kaitlyn Collier is a student of Dr. Paul Rumrill.

This recital is presented in partial fulfillment of the requirements for the Master of Arts in Music Education: Performance Concentration degree.

We would like to thank the Liberty University Administration for their faithful support of the School of Music.

Dr. Jerry Prevo, Acting President Dr. Scott Hicks, Provost and Chief Academic Officer Dr. Stephen Müller, Interim Dean, School of Music The School of Music Administration, Faculty, and Staff