HONORSMcCutcheon RECITAL

Featuring Student Winners: A Virtual Event Emily Adams, soprano Tuesday, January 26, 2021 Dania Briceño, violin Julio Galvan, saxophone 7:30 p.m. Justin Garretson, tuba https://capa.nsula.edu/livestream/ Covie Latham, marimba and snare drum Hannah Potter, piano

NSU’s Dear School of Creative and Performing Arts (CAPA) is dedicated to creating a diverse, inclusive and equitable experience for all students, faculty and staff. CAPA will not tolerate racism or discrimination and is committed to creating a fair, empathetic, and just environment. Program Etude no. 14 Anthony Cirone (b. 1941) Covie Latham, snare drum

Promise Me Mark Ford (b. 1958) Covie Latham, marimba Student of Mr. Ken Green and Dr. Oliver Molina

Violin Concerto No. 1 in G Minor, Opus 26 Max Bruch (1838-1920) Finale: Allegro Energico Dania Briceño, violin Chialing Hsieh, piano Student of Dr. Andrej Kurti

Concerto for Alto Saxophone Ingolf Dahl (1912-1970) Movement 3 Julio Galvan, saxophone Chialing Hsieh, piano Student of Dr. Paul Forsyth

Après un rêve Trois mélodies Gabriel Fauré (1845-1924) O zittre nicht, mein lieber sohn Die Zauberflöte W. A. Mozart (1756-1791) Emily Adams, soprano Terrie Sanders, piano Student of Prof. Terrie Sanders

Nautical Myths and Legends Barbara York (b. 1949) II. Mermaids IV. Sea Monsters Justin Garretson, tuba Chialing Hsieh, piano Student of Dr. Masahito Kuroda

Nocturne in B flat minor, op. 9 #1 Frederic Chopin (1810-1849) Hannah Potter, piano Student of Dr. Francis Yang Performers

Covie Latham Covie Latham is a freshman majoring in Music Business and Business Administration at Northwestern State University. He is in the percussion teaching studios of Mr. Ken Green and Dr. Oliver Molina. Originally from Beckville, Texas, Covie attended Beckville High School where he was under the instruction of Mrs. Felicia Odom and Mr. Joshua King, as well as the private instruction of Mr. Anthony Robinson. During his junior and senior year, Covie was placed 1st chair in the ATSSB All-State Jazz Ensemble. He also served as President of the Beckville chapter of the National Honor Society. During his time at NSU, Covie has been a member of various performing ensembles, including the Jazz Orchestra, Wind Ensemble, Percussion Ensemble, and the Spirit of Northwestern Marching Band.

Dania Briceño Dania Briceño began her musical studies at the National School of Music in Tegucigalpa, Honduras. She played with the Orchestra Philharmonic of Honduras in 2014-2018 and Chamber Orchestra Vivaldi 2016-2018. Her musical experience includes participation in several Music Festivals: International Conducting Workshop and Festival Pittsburg State University, Kansas, 2017; The Orchestra of the Americas Honduras, 2012 - 2013; Annual Meeting of Strings, Tegucigalpa Honduras, 2011 - 2012. In 2018, she began studying at Northwestern State University of Louisiana pursuing a Bachelor of Music Performance degree under the tutelage of teacher Dr. Andrej Kurti. Additionally, she plays with several regional orchestras as violinist: Acadiana Symphony Orchestra, Northeast Texas Symphony Orchestra. Julio Galvan Julio Galvan, a 21-year-old born and raised in Houston, Texas, began playing the saxophone at the age of 12. He went to North Shore Senior High School where in his senior year, he was placed in the 6A All-State Band. Julio is currently a Senior at Northwestern State University, a Music Education major, and a member of Pi Kappa Phi fraternity. He is being taught under the private instruction of Dr. Paul Forsyth. Julio is the principal chair in Wind Symphony and has been for four years. He participated in the international WASBE conference with the NSU Wind Symphony in Buñol, Spain in the summer of 2019, and the national CBDNA conference held at Northwestern State in February 2020. He is grateful for where he is today and thanks all his teachers who push him to his potential. After earning his Bachelors degree, Julio wishes to continue to pursue a Masters and someday perhaps a Doctoral degree.

Emily Louise Adams Emily Louise Adams is a 22-year-old soprano and Senior Vocal Performance major from Raceland, Louisiana. She graduated from Edward Douglas White Catholic High School in 2017 and began studying under Professor Terrie Sanders at Northwestern State University in the Fall of 2017. She also has been a member of the internationally acclaimed and award-winning Northwestern State Chamber Choir since Fall of 2017 and has traveled and competed in the U.S. and in Eastern Europe with the Chamber Choir. Emily was last seen singing with the Natchitoches-Northwestern Symphony Orchestra in October of 2020 singing Mozart’s motet for soprano and orchestra, “Exsultate, jubilate”. Emily has also had the honor of performing and receiving feedback in masterclasses with Metropolitan Opera singers Christine Goerke and Lisette Oropesa in 2020. She has been a recipient of the Megan Guillory Scholarship for Vocal Excellence for the past two years and has placed 1st in both the Regional and State level of NATS (National Association for Teachers of Singing). Emily has been an active member of the Northwestern State Opera Theatre program, and has held roles such as Zerlina in Don Giovanni, Gretel in Hansel and Gretel, Pamina in Die Zauberflöte, and will perform the role of Cinderella in The True Story of Cinderella this semester. Emily looks forward to pursing her Master of Music in Vocal Performance in the Fall of 2021. Justin Garretson Justin Garretson is currently a Senior Music Performance major at Northwestern State University. He began band in 6th grade as a French Horn player at Jackson Heights Middle School in Oviedo, Florida. After switching to tuba, Justin began to grow his love of the instrument and started auditioning for the FMEA All-State middle school band where he placed 1st in 8th Grade. He then moved on to Oviedo High School where he continued to develop his abilities and was given numerous opportunities to perform and to teach younger students, furthering his passion for music. Justin was selected to be a member of FMEA’s All-State Concert and Symphonic Bands all four years of high school where he met and spoke to representatives of NSU. After Justin attended NSU’s Honors Wind Ensemble camp, he was accepted into the School of Music where he has studied under Dr. Masahito Kuroda and Dr. J. Mark Thompson while being a member of NSU’s Wind Symphony, Chamber Choir, Tuba-Euphonium Ensemble, and the Natchitoches-Northwestern Symphony Orchestra. Justin hopes to graduate with his Bachelor’s in Music Performance from NSU and continue his education to receive and Master’s Degree in Low- Brass Pedagogy and a Doctorate in Music Theory.

Hannah Potter Hannah Potter was born in Midwest City, Oklahoma. After moving to Keithville, Louisiana, she began learning piano at age 10. In 2017, she began studying piano at Bossier Parish Community College under Dr. Chandler. She received her Associate in Vocal Music Performance in 2019. During her time at BPCC, Hannah was a chorus member for the Shreveport Opera’s production of Madame Butterfly. She also sang in Prisma Vocal Ensemble for the Shreveport Symphony’s production of Bach’s St. Matthew Passion. Currently, Hannah is pursuing her Bachelor’s in Piano Performance, studying under Dr. Yang. She currently works as a choir accompanist at Benton United Methodist Church and serves as Assistant Music Director at Liberty Baptist Church. Program Notes

Ingolf Dahl (1912-1970) was an American composer, conductor, pianist, and music educator. Born in Europe, he was the assistant conductor of the Zurich Opera and served as the organization’s opera chorus vocal coach. Dahl left his native Germany in 1939 for the United States during the rise of the Nazi Party due to his Jewish ancestry. He settled in Los Angeles with other European expatriate musicians including Milhaud, Stravinsky, and Schoenberg making a living as a concert pianist and working in several Hollywood studio ensembles for the movie industry, most notably for Rod Sterling’s The Twilight Zone (1959) and Kubrick’s Spartacus (1960). In 1945 he joined the faculty at the University of Southern California, where he taught for the rest of his life. Dahl is one of the founding members of the Ojai Music Festival (in partnership with Aaron Copland).

Dahl’s most famous work is the Concerto for Alto Saxophone (1949). Commissioned and premiered by famous saxophonist Sigurd Raschèr, this work was originally composed with a concert band accompaniment; later in 1959 it was revised for a smaller wind ensemble part. The work is influenced by his growing relationship with Igor Stravinsky, so the initial draft makes use of a lot of characteristics of the Neo-Classical movement. In later revisions, Dahl had embraced serial compositional techniques, so the concerto features a unique blend of these two styles. The revision also resulted in Dahl shortening the work from the original length. Dahl’s music style reflects his sense of humor while maintaining a high level of technique in performance. The third movement is labelled “Rondo alla Marcia,” follows the form ABACA Coda, and is in the key of Eb Major. The key is significant because the other two movements are in G, and there is an emphasis of third relationships throughout the entire work.

Max Bruch (1838-1920) was a German conductor and prolific composer of over two hundred works. His works are complex and well-structured in the German Romantic tradition which meant that he spent much of his career overshadowed by his friend Johannes Brahms. His first violin concerto is by far his most famous work. A first draft was written in 1866 and premiered by violinist Otto von Königslow, and then the work was considerably revised with help from celebrated violinist Joseph Joachim (who also premiered the revision). An interesting fate befell the autograph copy of this score. Bruch became financially destitute after World War I, so he sold the autograph score to two American sisters for them to sell the score in the United States. He died in 1920 without receiving any money. The sisters decided to keep the score, but they claimed to have sent Bruch’s family some German pre-war money (which was worthless after the war). The score was later sold to a collector where it resides in a New York library. The concerto is in three movements in the traditional fast-slow-fast structural format, with the third movement being an intense and energetic opening statement. Full of technical virtuosity like double stops and extreme register shifts, the movement shifts between an energetic dance and a slower lyrical second theme.

Gabriel Fauré (1845-1924) was a French organist, composer, and teacher who is known for linking Romanticism with Modernism. His pieces, especially his accessible earlier ones, are also regarded for their sheer beauty. Some of his most famous works are mélodie, which is the French equivalent of the German Lied. He wrote over 100 mélodie, thereby earning the nickname the “French Schumann” (even though their styles and temperaments were very different. Fauré’s efforts in the genre often were works set to poems by Paul Verlaine, whose own work was associated with Symbolism and the Decadent Movement.

Trois Melodies, Opus 7 (1878) is one of Fauré’s most popular vocal works and consists of “Après un Rêve,” “Hymne,” and “Barcarolle.” They were not originally intended to be a set; the opus number 7 was imposed upon them retroactively in the 1890s, almost twenty years after they were written.

“Après un Rêve” was composed in 1877 to a poem by Romanin Bussine based on an anonymous Italian text in which a lover dreams of his beloved and, upon waking, wishes he could return to that night. Fauré’s melody lends itself well to this text, which conveys serenity one moment and anguish the next.

Dans un sommeil que charmait ton image Les cieux pour nous entr’ouvraient leurs nues, In sleep made sweet by a vision of you The heavens parted their clouds for us,

Je rêvais le bonheur, ardent mirage, Splendeurs inconnues, lueurs divines entrevues, I dreamed of happiness, fervent illusion, We glimpsed unknown splendors, celestial fires.

Tes yeux étaient plus doux, ta voix pure et sonore, Hélas! Hélas! triste réveil des songes your eyes were softer, your voice pure & ringing Alas, alas, sad awakening from dreams!

Tu rayonnais comme un ciel éclairé par l’aurore; Je t’appelle, ô nuit, rends-moi tes mensonges, You shone like a sky that was lit by the dawn. I summon you, O night, give me back your delusions;

Tu m’appelais et je quittais la terre Reviens, reviens radieuse, You called me and I departed the earth Return, return in radiance,

Pour m’enfuir avec toi vers la lumière, Reviens ô nuit mystérieuse! To flee with you toward the light, Return, O mysterious night!

Die Zauberflöte is widely regarded as one of the late masterpieces from Wolfgang Amadeus Mozart’s (1756-1791) career before his untimely death. Noted for its prominent Masonic symbolism and imagery, the opera premiered in September of 1791. The plot involves the Queen of the Night persuading Tamino to rescue her daughter Pamina from captivity under the high priest Sarastro; instead, he learns of Sarastro’s community and seeks to join it. Tamino and Pamina successfully undergo several initiation trials, and the Queen and her cohorts are ultimately vanquished.

Mozart’s music for this opera is famous for being tailor-made for the singers involved in the premiere production. The vocal lines for Papageno and Monostatos are often stated in the strings before they sing so the amateur-level singers could find pitch. In contrast, Mozart’s sister-in-law, who premiered the Queen of the Night, evidently needed little such help: the role is famous for its difficulty, not only in technical virtuosity but also in range (both arias going up to a high F). “O zittre nicht, mein lieber Sohn“ is the first aria sung by the Queen of the Night. It requires a soprano coloratura with extrmely high tessitura and great vocal flexibility. The context in the opera reveals the duplicitous nature of the Queen. In the preceeding scene, Tamino was shown a protrait of Pamina and he falls instantly in love with her. The Queen enters with great pomp and she begins the aria. At first she quiets Tamino’s fears in an attempt to befriend him, and then tells a sad, though misleading, tale of Pamina’s abduction by Sarastro. She ends the aria by making a plea to Tamino to rescue her daughter.

O zittre nicht, mein lieber Sohn, Ich mußte sie mir rauben sehen. Oh, don’t tremble, my dear son! I had to see her stolen from me. du bist unschuldig, weise, fromm “Ach helft! Ach helft!” – war alles was sie sprach You are innocent, wise, pious; “Oh help! Oh help!“ -was all that she said

Ein Jüngling so wie du, vermag am besten, allein vergebens war ihr Flehen, A youth like you is best able but in vain was her pleading, dies tiefbetrübte Mutterherz zu trösten. denn meine Hilfe war zu schwach. to console this deeply troubled mother’s heart. For my powers of help were too weak.

Zum Leiden bin ich auserkoren, Du, du, du wirst sie zu befreien gehen, I am chosen for suffering You, you, you will go to free her, denn meine Tochter fehlet mir. du wirst der Tochter Retter sein! For my daughter is gone from me; You will be my daughter’s savior.

Durch sie ging all mein Glück verloren, ja! du wirst der Tochter Retter sein. Through her all my happiness has been lost, Yes, you will be the rescuer of my daughter. ein Bösewicht, ein Bösewicht entfloh mit ihr. Und werd’ ich dich als Sieger sehen, A villain, a villain fled with her. And if I see you return in triumph,

Noch seh’ ich ihr Zittern so sei sie dann auf ewig dein. I can still see her trembling Let her then be yours forever. mit bangem Erschüttern, ihr ängstliches Beben, ihr schüchternes Streben. with fearful shaking, her frightened quaking her timid effort. Frédéric Chopin (1810-1849) was a virtuosic pianist of the Romantic Period and composer of piano music. Even though he was born in Poland, he spent most of his career in France but never lost his Polish identity or heritage. One of the ways in which Chopin’s displays of nationalism come into being are through the styles of music he employed in his works: polonaises, mazurkas, and polkas. These descriptive titles gave his music a certain character which would become important in future generations of composers. Aside from Polish folk traditions, other influences on Chopin’s compositions include the works of Bach, Mozart, and Schubert, the romantic affair he had with writer Aurora Dupin Dudevant (known by her pen name George Sand) and the atmosphere of the Paris salons where he performed. Innovative in harmony, style, music form and nationalism, he is credited with the invention of the genre the instrumental ballade. Chopin’s Nocturnes, op. 9 are a set of three pieces written between 1830 and 1832. They are dedicated to Madame Marie Pleyel, a prominent Belgian pianist (she was one of the women Hector Berlioz fell desperately in love with. She broke off their engagement when he won the Prix de Rome and he left to study in Italy for a year). The first nocturne in this set is in B-flat minor and it features a rhythmic freedom that would come to characterize his later works. The left hand plays an unbroken sequence of eighth-note arpeggios throughout the entirety of the work, whereas the other hand is allowed a little more rhythmic diversity, often featuring polyrhythms. The nocturne is in ternary form. Barbara York (b. 1949) is a Canadian composer, choral director, and accompanist known primarily for her composition efforts in musical theater. Her score for Colette (1981) won the Canadian Tony for the year. She was won numerous accolades for her symphonic works as well as her pieces for solo tuba and solo euphonium. York was approached by the Low Brass professor at Wayne State University of Nebraska, Dr. Josh Calkin in 2019 to compose a narrative piece for tuba and piano. It turned into a four-movement work, Nautical Myths and Legends with the following programmatic titles: I. Pirates, II. Mermaids, III. Ghost Ships, IV. Sea Monsters. In “Mermaids,” features include compound time and the lyrical juxtaposition of the soloist performing in duple and the accompanist in triple. The final movement is a tour de force display of technique: fast rhythms, large interval skips, and extended passages in the upper register. Mark Ford (b. 1958) is the coordinator of percussion at North Texas University in Denton, Texas, and currently the artistic Director for the annual Drum Fest Competition in Opole, Poland. He has served as the Past-President of the Percussive Arts Society and stays active as a composer. One of his most known works is the method books he has compiled for marimba: Marimba: Technique through Music and #Marimbababy. One of the works in #Marimbababy is “Promise Me,” which is composed for four-mallet marimba. The piece is in ABA form and is tonally established in the key of E-flat major. Anthony Cirone (b. 1941) is the Chair of the Percussion department at Indiana University. After receiving a master’s degree from the Julliard School, he became a percussionist with the San Francisco Symphony and a Professor of Music at San José State University. He has also served as a lecturer at Stanford University as well as the Executive Percussion Editor for Meredith Music Publications. As a composer, he has written over a hundred titles for percussion, three symphonies, four sonatas, a string quartet, and other orchestral works. He has recently achieved fame for a series of virtual masterclasses he produced to accompany his etude book, Portraits in Rhythm (2000). This collection of fifty snare drum etudes not only includes exercises that focus on dynamics and mixed meter, but also detailed observations and performance interpretations. Etude No. 14 is in mostly 3/8 time with insertions of 2/8 in the middle. Notes by Dr. John T. Dunn, Assistant Professor of Fine Arts at NSU The McCutcheon Honors Recital

Each year the recital participants are chosen by the applied faculty in their respective areas as the most outstanding based on their fall juries. The School of Creative and Performing Arts presented the first “Honors Recital” in 1998.

In 2002, the recital was renamed in honor of Jim McCutcheon, a retired band teacher, who was active in instrument repair at NSU.

Because Mr. McCutcheon wanted to do something to recognize outstanding student performance here at NSU, he began offering a financial prize to those students selected to perform in the recital.

After his death, his wife, Mrs. Jo Lapeyrouse, chose to continue this tradition and has funded a scholarship in his name.

Northwestern State University does not discriminate on the basis of race, color, gender, religion, sexual orientation, national origin, disability, genetic information, age, pregnancy or parenting status, and veteran or retirement status in its programs and activities and provides equal access to the Boy Scouts and other designated youth groups. The following individuals have been designated to handle inquiries regarding non-discrimination policies (i.e., Title IX): Employees/Potential Employees – Veronica M. Biscoe, EEO Officer (318-357-6359) and Students – Frances Conine, Dean of Students (318-357-5285). For Americans with Disabilities Act (ADA) concerns, contact the Disability Support Director, Randi Washington, at 318-357-5460. Additionally, Northwestern complies with the Jeanne Clery Disclosure of Campus Security Policy & Campus Crime Statistics Act. Information about NSU’s campus security and crime statistics can be found at https://www.nsula.edu/universityaffairs/police/. Full disclosure statement: http://universityplanning.nsula.edu/notice-of-non-discrimination. Past McCutcheon Winners

2017 Francisco Ballestas, trumpet Alanna Benoit, clarinet Billy Gorr, Jr., voice Luis Osorio, violin Addison Pellegrino, marimba Ronald Rodriguez, piano

2018 Oniluz Melendez Carrillo, flute Cesia Corrales, viola Sebastian Alfaro Fontalvo, trumpet Addison Pellegrino, marimba Ronald Rodrizuez, piano Jenson Wall, voice

2019 Ramon Barralaga, piano Alejandro Restrepo Cardozo, cello Justin Garretson, tuba Michael Martin, voice Jorge Ojeda Munoz, clarinet Adam Trupp, snare drum & marimba

2020 Ramon Barralaga, piano Lane Clevenger, trumpet Valentina Herazo, soprano Jami Rivers, oboe William Sprinkle, violin Steven Wimberly, percussion

Northwestern State University is located in beautiful, historic Natchitoches, Louisiana, the oldest (1714) settlement in the Louisiana Purchase. NSU was founded in 1884 as Louisiana Normal School for the education of teachers. In 1921 the school’s name was changed to Louisiana State Normal College, then designated as Northwestern State College of Louisiana in 1944. Its current title, an indication of NSU’s diversity of programs and services, became official in 1970.

Northwestern’s School of Creative and Performing Arts, designated as an “Area of Excellence” by the University of Louisiana Board of Trustees and generously endowed by the H.D. Dear family of Alexandria, Louisiana, is comprised of four areas: Music; Art; Theatre/Dance; and New Media, Journalism, and Communication Arts. All four disciplines confer undergraduate degrees, and Music and the Fine and Graphic Arts also offer graduate degrees. To learn more about the School of Creative and Performing Arts, please contact: Mr. Scott Burrell, Director of CAPA (318) 357-4522 [email protected] DEPARTMENT CHAIRS PHONE EMAIL Ms. Terrie Sanders, Music (318) 357-5762 [email protected] Mr. Brett Garfinkel, Theatre & Dance (318) 357-6891 [email protected] Mr. Matt DeFord, Art (318) 357-6560 [email protected] Mr. Brian Gabrial, New Media, Journalism, & Communication Arts (318) 357-5360 [email protected]

NSU music students rehearse, attend classes, take private instruction, and perform in one of the Presents most outstanding Performing Arts facilities in the South, the A.A. Fredericks Center for the Creative and Performing Arts, named to honor one of Northwestern’s most outstanding administrators. The Magale Recital Hall, endowed by the Magale family of Waterproof, Louisiana, seats over 400, and is one of the finest concert halls in the U.S. It is equipped with a McCutcheon Honors Recital 40-rank Reuter organ, two nine-foot grand pianos, and an Eric Hertz harpsichord. The 1400-seat

Fine Arts Auditorium is used for larger concerts, musicals and opera, dance, and numerous theatre productions.

Many performing opportunities for students include several choirs, opera theatre, orchestra, marching band, wind ensemble, jazz orchestra, percussion ensemble, and a variety of chamber Tuesday, January 26, 2021 music groups. Degree offerings include the Bachelor of Music (with concentrations in Magale Recital Hall Performance, Sacred Music, or Music Business), the Bachelor of Music Education, and the Master of Music (with concentrations in Performance and Music Education). 7:30 p.m.

PLAY WITH US! MUSIC SCHOLARSHIPS @ NORTHWESTERN STATE

Students are eligible to receive scholarships for participation in music ensembles, regardless of their academic major. Scholarship awards vary, and are determined by factors including a talent audition, high school achievements, academic scores and financial need. For further information, please contact CAPA Director, Mr. Scott Burrell at [email protected].