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DISTANCE LEARNING AND RECORDING ARTS 12TH ANNUAL INTERNATIONAL STUDENTS’ CONCERT & LIVE WEBCAST dl.msmnyc.edu/live TUESDAY, APRIL 11, 2017 | 7:30 PM THE WILLIAM R. AND IRENE D. MILLER RECITAL HALL TUESDAY, APRIL 11, 2017 | 7:30 PM THE WILLIAM R. AND IRENE D. MILLER RECITAL HALL 12TH ANNUAL INTERNATIONAL STUDENTS’ CONCERT & LIVE WEBCAST PROGRAM PAUL HINDEMITH Viola Sonata, Op. 11, no. 4 (1895–1963) Fantasie Thema mit Variationen Anna-Lea Rebholz, viola (Germany) Yadi Liang, piano (China) One of the leading German composers of the 20th century, Paul Hindemith wrote pieces for almost every instrument. What is remarkable is that he was also able to play nearly all of them. His music reflected the realities of the challenging years after the First World War. In 1919 Paul Hindemith composed the first sonata for viola and piano, which is in a romantic style. As a professional viola player himself, he endeavored to demonstrate the graceful and expressive sound of the viola. TURKAR GASIMZADE Shur makam (b. 1988) Humay Gasimzade, piano (Azerbaijan) In Shur makam, the music techniques of makam—the traditional classical music of Azerbaijan—are explored through traditional prelude and fugue form. Turkar Gasimzade’s music makes extensive use of makam modes and its features. XINJIANG FOLK SONG 一杯美酒 A Cup of Good Wine ARR. DONGYONG JI Xiaoyue Liu, soprano (China) Lingyao Mu, piano (China) This traditional folk song expresses a young woman’s love. She regards her adoration of her lover as a cup of good wine. If the man she loves drinks the wine, he will be completely immersed in the sweetness of love. This song’s melody and rhythm display typical Chinese features and always make people want to dance. SU JIN KANG Meteorite (2017) (b. 1994) Su Jin Kang, composer (South Korea) Martha Cargo, alto flute, C flute, and piccolo (United States) I was inspired to write Meteorite after visiting my old friend, Hayley Smith, in the summer of 2016 after she had surgery to remove a brain tumor. After her surgery, she found out the tumor had been cancerous. Thankfully the surgery went well and my friends and I were able to spend time with Hayley to celebrate her health and support her in her life-altering experience. It was amazing to see Hayley stay positive in the face of uncertainty and pain. Meteorite was specifically inspired by my experience star-gazing with Hayley and some friends at a cabin in Maine. Lying down on a deck on a pitch-black night gazing at the sky, we saw shooting stars and were amazed by the beauty before our eyes. What joy it is to experience beauty with friends who love and care for each other: This piece commemorates the beauty that was displayed in the starry sky and the joy and love I experienced with Hayley and friends. ISAAC ALBÉNIZ Sevilla (Sevillana) from Suite Española, Op. 47 (1860–1909) Fabio Álvarez, piano (Spain) In the works constituting the Suite Española, the first title,Sevilla, refers to the region that the piece represents and the subtitle, Sevillanas, indicates the musical form of the dance of the region. In describing his Suite Española, Albéniz wrote This music is a bit infantile, plain, spirited; but in the end, the people, our Spanish people, are something of all that… there is less musical science, less of the grand idea, but more color, sunlight, flavor of olives…It appears to me like the carvings in the Alhambra, those peculiar arabesques that say nothing with their turns and shapes, but which are like the air, like the sun, like the blackbirds or like the nightingales of its garden. GERARDO GUEVARA El Espantapájaros (b. 1930) Despedida David Vázquez Jaramillo, guitar (Ecuador) Martín Granda Vintimilla, guitar (Ecuador) Xiaoyue Liu, soprano (China) Gerardo Guevara was born in 1930 in Quito, Ecuador. In 1959 he traveled to Paris, where he studied composition with Nadia Boulanger at the École Normale de Musique on a scholarship from UNESCO. He also studied musicology at the Sorbonne. After twelve years in Paris, Guevara decided to go back to Ecuador. Back in his home country he served as conductor of the National Symphony Orchestra and director of the National Conservatory of Music, where he taught. Considered the link between generations of nationalist musicians and contemporary musical proponents, Guevara is one of the most relevant and important composers in Ecuador. Both of these pieces were composed by Guevara with a pasillo rhythm, one of the most popular in Ecuadorian folk music. Pasillo in Spanish literally means “little step.” At first this rhythm was conceived as a fast instrumental dance written in a ¾ measure. Over time it acquired a slower tempo and poetic lyrics, giving it a melancholic and nostalgic feeling instead of a festive dance spirit. El Espantapájaros was originally written for solo piano, while Despedida was written for piano and soprano. The arrangements for solo guitar and guitar soprano duo at this performance were made by David Vázquez. TEXTS AND TRANSLATIONS Despedida Farewell Adiós amor, Adieu my love, Adiós querida, Adieu my dear, Te dejo esta canción de amor y en I leave you this love song and with ella mi vida, it my life. Mis ojos llorarán por tus negros ojos, My eyes will cry for your black eyes, Mis labios sufrirán la ausencia de My lips will suffer the absence of tus besos. your kisses. Y seguiré viviendo, y viviré And I will keep on living, and I will soñando, live dreaming, 4 Y soñaré en el beso que vuelva a And I will dream on the kiss that encontrarnos. meets us again Adiós amor, te llevaré en mi alma Adieu my love, I will take you in my prendida, enlightened soul, Te dejo esta canción de amor y en I leave you this love song and with it ella mi vida. my life. FRANCISCO SANTIAGO Madaling Araw (1889–1947) ERNANI CUENCO Nahan (1936–1988) (Text by Levi Celerio) Ramon Gabriel S. Tenefrancia, tenor (Philippines) Yibai Shao, piano (China) Madaling Araw is among the immortal kundiman (songs expressing intense love) in the Philippine repertoire, composed by Philippine National Artist for Music Francisco Santiago. Although the topic of the kundiman is often unrequited love, Santiago’s kundiman tend to convey a more hopeful message. Madaling Araw is a desperate call to a lover to return and once again be the light of the poet’s life. Nahan is one of the popular compositions of Philippine National Artist for Music Ernani Cuenco, with a text by another Philippine artist, Levi Celerio. The song is about two lovers, one who refuses to express love openly and the other who tries sweetly to draw it out. The song is representative of Philippine lambing (tenderness). TEXTS AND TRANSLATIONS Madaling Araw Dawn Irog kong dinggin ang tibok ng puso My dear, listen to the beat of my Sana’y damdamin hirap nang heart sumuyo Feel the suffering of one who woos Manong itunghay ang matang Look at the tender eyes mapungay That are the only light in my na siyang tanging ilaw ng buhay fading life kong papanaw. In the midst of darkness, let your Sa gitna ng kadimlan, magmadaling dawn come araw ka And I am suspended in mercy and At ako ay lawitan ng habag at passion 5 pagsinta. And I will die of the sadness of life Kung ako’y mamatay sa lungkot, Come closer and I live niaring buhay And if that happens my love, my Lumapit ka lang at mabubuhay life will be blessed At kung magkagayon mutya, I will experience happiness mapalad ang buhay ko because of you Magdaranas ng t’wa ng dahil sa iyo You are the dawn my love, my Madaling araw ka sinta liwanag bright star ko’t tanglaw Come my love, and love me Halina irog ko at mahalin mo ako Look my love, Manungaw ka liyag My light and aspirations Ilaw ko’t pangarap And here is the dawn at madaling araw na. Nahan Where Diba sabi mo’y kay ganda ng lahat Didn’t you say everything was Kulay rosas pa ang mga bulaklak beautiful? Tila sa akin ay ayaw kang magtapat Weren’t the flowers even rosy pink? ‘Yan ba ang sabi mong pag-ibig ay You seem unwilling to open up to wagas me. Ang iyong ngiti dati ay kay tamis Is this what you called eternal love? Pag ikaw at ako ay nagkakalapit Your smiles used to be so sweet Nahan ang yakap mong dati ay When you and I came close to each mahigpit other At ang ligaya kong, matamis mong Where are your embraces that used halik. to be so tight? And my joy, your sweet kisses. NICANOR ABELARDO Mutya ng Pasig (1926) (1893–1934) (Text by Deogracias del Rosario) Jamie Charisse Sampana, soprano (Philippines) Yibai Shao, piano (China) Mutya ng Pasig is another kundiman love song from the Philippines, this one based on a folktale. It is about the tragic fate of a beautiful maiden. 6 TEXT AND TRANSLATION Mutya ng Pasig The Muse of Pasig Kung gabing ang buwan At night when the moon sa langit ay nakadungaw; gazes down from the heavens; Tila ginigising ng habagat As if roused by the warm monsoon winds sa kanyang pagtulog sa tubig; from her sleep in the deep. Ang isang larawang puti at busilak A picture of paleness and passion, Na lugay ang buhok na animo’y agos; with her hair flowing down like waves; Ito ang Mutya ng Pasig! this is the Lady of Pasig, Ito ang Mutya ng Pasig. this is the Lady of Pasig.
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