Music Convocation Department of Music and Worship, Cedarville University

Total Page：16

File Type：pdf, Size：1020Kb

Music Convocation Department of Music and Worship, Cedarville University

Cedarville University DigitalCommons@Cedarville Faculty Recitals Concert and Recital Programs 9-13-2016 Music Convocation Department of Music and Worship, Cedarville University Follow this and additional works at: http://digitalcommons.cedarville.edu/faculty_recitals Part of the Higher Education Commons, and the Music Performance Commons Recommended Citation Department of Music and Worship, Cedarville University, "Music Convocation" (2016). Faculty Recitals. 53. http://digitalcommons.cedarville.edu/faculty_recitals/53 This Program is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in Faculty Recitals by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Opening Prayer Dr. Bruce Curlette Worship Challenge Dr. Roger O’Neel Ballad for Solo Clarinet .......................... Austin K. Jaquith (b. 1980) III. Allegro con moto Bruce Curlette, Clarinet Selections from CHILDREN’S LETTERS TO GOD . James D. Cram (1931-1974) Beth Cram Porter, Soprano Amy Hutchison, Piano Suite populaire espagnole ...... ........... Manuel de Falla (1876-1946) III. Canción V. Asturiana IV. Polo Carlos Elias, Violin Andrea Arese-Elias, Piano Zueignung ................................... Richard Strauss (1864-1949) Mark Spencer, Baritone Capriccio in c# minor, Op. 76, No. 5 . Johannes Brahms (1833-1897) Charles Clevenger, Piano Closing Remarks Beth Cram Porter, Chair When in Our Music God Is Glorified . Charles V. Stanford (1852–1924) Reception immediately following. Please no flash photography ~ Please turn off all cell phones Opening Prayer Dr. Bruce Curlette Worship Challenge Dr. Roger O’Neel Ballad for Solo Clarinet .......................... Austin K. Jaquith (b. 1980) III. Allegro con moto Bruce Curlette, Clarinet Selections from CHILDREN’S LETTERS TO GOD . James D. Cram (1931-1974) Beth Cram Porter, Soprano Amy Hutchison, Piano Suite populaire espagnole ...... ........... Manuel de Falla (1876-1946) III. Canción V. Asturiana IV. Polo Carlos Elias, Violin Andrea Arese-Elias, Piano Zueignung ................................... Richard Strauss (1864-1949) Mark Spencer, Baritone Capriccio in c# minor, Op. 76, No. 5 . Johannes Brahms (1833-1897) Charles Clevenger, Piano Closing Remarks Beth Cram Porter, Chair When in Our Music God Is Glorified . Charles V. Stanford (1852–1924) Reception immediately following. Please no flash photography ~ Please turn off all cell phones .

Copy Link

Recommended publications

Download Booklet
570895bk RStrauss US:557541bk Kelemen 3+3 3/8/09 8:42 PM Page 1 Antoni Wit Staatskapelle Weimar Antoni Wit, one of the most highly regarded Polish conductors, studied conducting with Founded in 1491, the Staatskapelle Weimar is one of the oldest orchestras in the world, its reputation inextricably linked Richard Henryk Czyz˙ and composition with Krzysztof Penderecki at the Academy of Music in to some of the greatest works and musicians of all time. Franz Liszt, court music director in the mid-nineteenth Kraków, subsequently continuing his studies with Nadia Boulanger in Paris. He also century, helped the orchestra gain international recognition with premières that included Wagner’s Lohengrin in graduated in law at the Jagellonian University in Kraków. Immediately after completing 1850. As Weimar’s second music director, Richard Strauss conducted first performances of Guntram and STRAUSS his studies he was engaged as an assistant at the Warsaw Philharmonic Orchestra by Humperdinck’s Hänsel und Gretel. The orchestra was also the first to perform Strauss’s Don Juan, Macbeth and Death Witold Rowicki and was later appointed conductor of the Poznan´ Philharmonic. He and Transfiguration. After World War II Hermann Abendroth did much to restore the orchestra’s former status and Symphonia domestica collaborated with the Warsaw Grand Theatre, and from 1974 to 1977 was artistic director quality, ultimately establishing it as one of Germany’s leading orchestras. The Staatskapelle Weimar cultivates its of the Pomeranian Philharmonic, before his appointment as director of the Polish Radio historic tradition today, while exploring innovative techniques and wider repertoire, as reflected in its many recordings.
[Show full text]
Interpreting Race and Difference in the Operas of Richard Strauss By
Interpreting Race and Difference in the Operas of Richard Strauss by Patricia Josette Prokert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2020 Doctoral Committee: Professor Jane F. Fulcher, Co-Chair Professor Jason D. Geary, Co-Chair, University of Maryland School of Music Professor Charles H. Garrett Professor Patricia Hall Assistant Professor Kira Thurman Patricia Josette Prokert [email protected] ORCID iD: 0000-0002-4891-5459 © Patricia Josette Prokert 2020 Dedication For my family, three down and done. ii Acknowledgements I would like to thank my family― my mother, Dev Jeet Kaur Moss, my aunt, Josette Collins, my sister, Lura Feeney, and the kiddos, Aria, Kendrick, Elijah, and Wyatt―for their unwavering support and encouragement throughout my educational journey. Without their love and assistance, I would not have come so far. I am equally indebted to my husband, Martin Prokert, for his emotional and technical support, advice, and his invaluable help with translations. I would also like to thank my doctorial committee, especially Drs. Jane Fulcher and Jason Geary, for their guidance throughout this project. Beyond my committee, I have received guidance and support from many of my colleagues at the University of Michigan School of Music, Theater, and Dance. Without assistance from Sarah Suhadolnik, Elizabeth Scruggs, and Joy Johnson, I would not be here to complete this dissertation. In the course of completing this degree and finishing this dissertation, I have benefitted from the advice and valuable perspective of several colleagues including Sarah Suhadolnik, Anne Heminger, Meredith Juergens, and Andrew Kohler.
[Show full text]
Cynthia Cook Mezzo-Soprano
Cynthia Cook Mezzo-Soprano Cynthia Cook is the epitome of the modern bel canto mezzo soprano. Her large, lush voice, impeccable use of florid agility and her natural beauty serve her well in all of her repertoire. In 2016/17, she performed the dual roles of Baroness/Vanderdendur in Candide at Opéra National de Bordeaux and Théâtre du Capitole Toulouse. In 2014, she gave a shining performance in the lead role of Sondra Finchley in the World Premiere of the newly revised version of Tobias Picker’s An American Tragedy at Glimmerglass Festival where she returned this past year to play Baroness and Vanderdendur in Candide. In previous years, she continued her work with Francesca Zambello in Washington National Opera’s new production of Dialogues of the Carmelites as a Carmelite Nun while covering the role of Mother Marie, and sang the mezzo solo in Rachmaninov’s Vespers with Princeton Pro Musica. Cynthia Cook has received training and performed leading roles with some of the most prestigious Young Artist programs in the United States. At Florida Grand Opera, she appeared as Zweite Dame in Die Zauberflöte and Teresa in La Sonnambula (under the direction of Renata Scotto). With the Santa Fe Opera Apprentice Program she covered Calbo in Rossini’s Maometto II and Adelaide in Arabella. In the apprentice scenes concert, she gave a memorable performance as Princess Eboli in the Garden Scene from Don Carlo. A graduate from the renowned Academy of Vocal Arts, she sang a wide range of roles, including: Adalgisa in Norma, Meg Page in Falstaff, Dorabella in Così fan tutte, Zerlina in Don Giovanni, Smeton in Anna Bolena, Clairon in Capriccio, and Adelaide in Arabella.
[Show full text]
A Hero's Work of Peace: Richard Strauss's FRIEDENSTAG
A HERO’S WORK OF PEACE: RICHARD STRAUSS’S FRIEDENSTAG BY RYAN MICHAEL PRENDERGAST THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Music in Music with a concentration in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Adviser: Associate Professor Katherine R. Syer ABSTRACT Richard Strauss’s one-act opera Friedenstag (Day of Peace) has received staunch criticism regarding its overt militaristic content and compositional merits. The opera is one of several works that Strauss composed between 1933 and 1945, when the National Socialists were in power in Germany. Owing to Strauss’s formal involvement with the Third Reich, his artistic and political activities during this period have invited much scrutiny. The context of the opera’s premiere in 1938, just as Germany’s aggressive stance in Europe intensified, has encouraged a range of assessments regarding its preoccupation with war and peace. The opera’s defenders read its dramatic and musical components via lenses of pacifism and resistance to Nazi ideology. Others simply dismiss the opera as platitudinous. Eschewing a strict political stance as an interpretive guide, this thesis instead explores the means by which Strauss pursued more ambiguous and multidimensional levels of meaning in the opera. Specifically, I highlight the ways he infused the dramaturgical and musical landscapes of Friedenstag with burlesque elements. These malleable instances of irony open the opera up to a variety of fresh and fascinating interpretations, illustrating how Friedenstag remains a lynchpin for judiciously appraising Strauss’s artistic and political legacy.
[Show full text]
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
[Show full text]
Richard STRAUSS Intermezzo Elisabeth Söderström
RICHARD STRAUSS INTERMEZZO Elisabeth Söderström Glyndebourne Festival Opera London Philharmonic Orchestra Sir John Pritchard RICHARD STRAUSS © SZ Photo/Lebrecht Music & Arts Photo Library Richard Strauss (1864 –1949) Intermezzo A bourgeois comedy with symphonic interludes in two acts Libretto by the composer English translation by Andrew Porter Christine Elisabeth Söderström soprano Robert Storch, her husband, a conductor Marco Bakker baritone Anna, their maid Elizabeth Gale soprano Franzl, their eight-year-old son Richard Allfrey spoken Baron Lummer Alexander Oliver tenor The Notary Thomas Lawlor bass-baritone His wife Rae Woodland soprano Stroh, another conductor Anthony Rolfe Johnson tenor A Commercial Counsellor Donald Bell Robert’s Skat baritone partners A Legal Counsellor Brian Donlan baritone { A Singer Dennis Wicks bass Fanny, the Storchs’ cook Barbara Dix spoken Marie, a maid Susan Varley spoken Therese, a maid Angela Whittingham spoken Resi, a young girl Cynthia Buchan soprano Glyndebourne Festival Opera London Philharmonic Orchestra Sir John Pritchard 3 compact disc one Time Page Act I Scene 1 1 ‘Anna, Anna! Where can the silly creature be?’ 5:52 [p.28] The Wife, the Husband, Anna 2 ‘Have you got all the master’s things?’ 6:02 [p.32] The Wife, Anna, the Husband 3 ‘And now I’ll have my hair done!’ 11:16 [p.35] The Wife, Anna, The Son, Housemaid, Cook 4 'Oh! Frau Huß! Good morning' 2:59 [p.39] The Wife, Anna Scene 2 5 ‘You blockhead! Can’t you see, this is a toboggan run?’ 4:08 [p.39] The Wife, Baron Lummer 6 Waltz 1:55 [p.40]
[Show full text]
Hearing Wagner in "Till Eulenspiegel": Strauss's Merry
Hearing Wagner in Till Eulenspiegel: Strauss's Merry Pranks Reconsidered Matthew Bribitzer-Stull and Robert Gauldin Few would argue the influence Richard Wagner has exerted upon the history of Western art music. Among those who succeeded Wagner, this influence is perhaps most obvious in the works of Richard Strauss, the man Hans von Biilow and Alexander Ritter proclaimed Wagner's heir.1 While Strauss's serious operas and tone poems clearly derive from Wagner's compositional idiom, the lighter works enjoy a similar inheritance; Strauss's comic touch - in pieces from Till Eulenspiegel to Capriccio - adds an insouciant frivolity to a Wagnerian legacy often characterized as deeply emotional, ponderous, and even bombastic. light-hearted musics, however, are no less prone to posing interpretive dilemmas than are their serious counterparts. Till, for one, has remained notoriously problematic since its premiere. In addition to the perplexing Rondeauform marking on its title page, Till Eulenspiegels lustige Streicbe also remains enigmatic for historical and programmatic reasons. In addressing these problems, some scholars maintain that Strauss identified himself with his musical protagonist, thumbing his nose, as it were, at the musical philistines of the late romantic era. But the possibility that Till may bear an A version of this paper was presented at the Society for Music Theory annual meeting in Seattle, 2004. The authors wish to thank James Hepokoski and William Kinderman for their helpful suggestions. 'Hans von Biilow needs no introduction to readers of this journal, though Alexander Ritter may be less familiar. Ritter was a German violinist, conductor, and Wagnerian protege. It was Ritter, in part, who convinced Strauss to abandon his early, conservative style in favor of dramatic music - Ritter*s poem Tod und Verklarung appears as part of the published score of Strauss's work by the same name.
[Show full text]
Richard Strauss Reception in America After World War II. My Straussian
Richard Strauss – Der Komponist und sein Werk MÜNCHNER VERÖFFENTLICHUNGEN ZUR MUSIKGESCHICHTE Begründet von Thrasybulos G. Georgiades Fortgeführt von Theodor Göllner Herausgegeben seit 2006 von Hartmut Schick Band 77 Richard Strauss Der Komponist und sein Werk Überlieferung, Interpretation, Rezeption Bericht über das internationale Symposium zum 150. Geburtstag München, 26.–28. Juni 2014 Richard Strauss Der Komponist und sein Werk Überlieferung, Interpretation, Rezeption Bericht über das internationale Symposium zum 150. Geburtstag München, 26.–28. Juni 2014 Herausgegeben von Sebastian Bolz, Adrian Kech und Hartmut Schick Weitere Informationen über den Verlag und sein Programm unter: www.allitera.de Juni 2017 Allitera Verlag Ein Verlag der Buch&media GmbH, München © 2017 Buch&media GmbH, München © 2017 der Einzelbeiträge bei den AutorInnen Satz und Layout: Johanna Conrad, Augsburg Printed in Germany · ISBN 978-3-86906-990-6 Inhalt Vorwort . 9 Abkürzungsverzeichnis ............................................. 13 Richard Strauss in seiner Zeit Hans-Joachim Hinrichsen Des Meisters Lehrjahre. Der junge Richard Strauss und seine Meininger Ausbildungszeit bei Hans von Bülow ................................................ 17 Dietmar Schenk Berlins »Richard-Strauss-Epoche«. Richard Strauss und das Musikleben im kaiserlichen Berlin .............. 37 Dörte Schmidt Meister – Freunde – Zeitgenossen. Richard Strauss und Gerhart Hauptmann ............................. 51 Albrecht Dümling »… dass die Statuten der Stagma dringend zeitgemässer Revision
[Show full text]
Strauss' Capriccio
Richard Strauss’ Capriccio - A survey of the discography by Ralph Moore Strauss’ swansong opera Capriccio is not especially well represented in the catalogue; of the 22 complete recordings listed in the CLOR catalogue, only around a dozen have ever been available on CD and the rest were on video. Of those CD issues, several are no longer available and only three are studio recordings; two are radio broadcasts and the remainder are live or live composite stage performances. I consider here ten recordings, including all three of those studio accounts. The libretto was based on an original concept by Stefan Zweig, who had fled to the USA after the rise of the Nazis and committed suicide earlier in the year of the opera’s premiere, 1942. It was further developed by his successor as Strauss’ librettist, Josef Gregor, then Strauss himself took it over before passing it to his conductor friend Clemens Krauss – incidentally, possessor of one of the most blatant comb-overs in history - who completed it with continued input from the composer. The text is witty and more enjoyable if the libretto is to hand or you speak German. Like Strauss’ domestic comedy Intermezzo, Capriccio is wordy and conversational, but its intellectual and philosophical content is certainly higher and couched in some of the most sublime music Strauss ever penned. As a result, it is more popular and frequently performed than other of his late works. It is a vehicle for a supreme singer-actress with a creamy voice and a gift for enlivening text; noted performers who made recordings include Krauss’ second wife, Viorica Ursuleac, Lisa Della Casa, Elisabeth Schwarzkopf, Gundula Janowitz, Kiri Te Kanawa and, more recently, Renée Fleming.
[Show full text]
Strauss US 13/8/07 2:59 Pm Page 5
570297bk Strauss US 13/8/07 2:59 pm Page 5 offered four songs with orchestral accompaniment, with ‘o Glück!’( ‘O happiness!’) in music penetrated again Hilko Dumno four more songs in 1898 in Op. 36. Op. 37, in the same and again by shafts of light. Hilko Dumno studied the piano, chamber music and song form at the year, offered six songs, with texts by various writers, The present recording contains songs from the Musikhochschule in Detmold and Franfurt am Main. His teachers included Gregor STRAUSS dedicated to Strauss’s wife. Ich liebe dich (I love you) # earlier part of Strauss’s long career, but he continued to Weichert, Rainer Hoffmann, Tabea Zimmermann and Charles Spencer. He held takes a poem by the soldier-writer Detlev von write songs throughout his life, with the Four Last Songs scholarships from the German Music Council, Villa Musica Mainz and the Yehudi Liliencron, a heroic pledge of loyalty. composed in 1948, the year before his death. They make Menuhin Foundation. Hilko Dumno has appeared regularly with Christoph Songs of Love and Death Op. 39 brings five more songs and chronologically up an important and essential part of German Lieder Prégardien, Christine Schäfer, Hedwig Fassbender, Julia Kleiter and Johannes the last of those included here, Befreit (Set Free) ^, a tradition, a remarkable contribution by a musician of the Schende as their partner at the Schleswig-Holstein Festival, the Schwarzenberg Allerseelen • Zueignung • Rote Rosen setting of a poem by Richard Dehmel, a friend of greatest versatility. Schubertiade, the Dresden Music Festival, the Lucerne Festival and the Amadeus Liliencron and a prolific writer.
[Show full text]
Strauss During the War Years Author(S): Willi Schuh Source: Tempo, No
Strauss during the War Years Author(s): Willi Schuh Source: Tempo, No. 13 (Dec., 1945), pp. 8-10 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/944389 Accessed: 08-11-2017 01:41 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Tempo This content downloaded from 70.103.220.4 on Wed, 08 Nov 2017 01:41:41 UTC All use subject to http://about.jstor.org/terms 8 TEMPO STRAUSS DURING THE WAR YEARS By Willi Schuh little in common as with those previous to WJ HEN arrangements the second for the world celebration war of began, it. Strauss has always gone his own way, Strauss's seventy-fifth birthday had as the artist he wanted solely to be, without been. completed despite the shadows cast caring for worldly favours. As a member by the approaching catastrophy. They of an older generation he was unable to culminated in performances of six Strauss perceive that things were happening which operas which, given before an audience were not only at variance with the world he still international in character at the Munich had grown up in, but were alien to the whole State Opera in August 1939, testified to concept of European civilization.
[Show full text]
Embedded and Parenthetical Chromaticism: a Study of Their Structural and Dramatic Implications in Selected Works by Richard Strauss Sarah K
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Embedded and Parenthetical Chromaticism: A Study of Their Structural and Dramatic Implications in Selected Works by Richard Strauss Sarah K. Sarver Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC EMBEDDED AND PARENTHETICAL CHROMATICISM: A STUDY OF THEIR STRUCTURAL AND DRAMATIC IMPLICATIONS IN SELECTED WORKS BY RICHARD STRAUSS By SARAH K. SARVER A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2010 Copyright © 2010 Sarah K. Sarver All Rights Reserved The members of the committee approve the dissertation of Sarah K. Sarver defended on July 1, 2010. ______________________________ Michael Buchler Professor Co-Directing Dissertation ______________________________ Joseph Kraus Professor Co-Directing Dissertation ______________________________ Douglass Seaton University Representative ______________________________ Evan Jones Committee Member ______________________________ Matthew Shaftel Committee Member The Graduate School has verified and approved the above-named committee members. ii ACKNOWLEDGEMENTS This project would not have been possible without the unending support, guidance, and encouragement I received from my co-advisors Michael Buchler and Joe Kraus. No matter the question or task, I could count on them throughout the entire process. They have helped me become a better scholar and writer, and I will be forever grateful to them. I would also like to express my sincere gratitude to the rest of my committee—Evan Jones, Matthew Shaftel, and Douglass Seaton—for their discerning editorial comments and suggestions.
[Show full text]