6-4-11 Senior Recital

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Williams College Department of Music Class Day Recital 2011 Graduating Seniors Franz Schubert (1797-1828) Impromptu, opus 90 in E-flat Major Christine Bowman, piano Ludwig van Beethoven (1770-1827) Sonata, opus 7 Allegro molto e con brio Andrew Liu, piano Béla Bartók (1881-1945) 6 Dances in Bulgarian Rhythm from Mikrokosmos III. VI. Akemi Ueda, piano Arnold Schoenberg (1874-1951) “Du lehnest wider eine Silberweide” from The Book of the Hanging Gardens Robert Silversmith, tenor; Scott Smedinghoff ’09, piano Wolfgang Amadeus Mozart (1756-1791) “Aprite un po' quegl' occhi” from Le Nozze di Figaro Timothy Lengel, bass; Robin Kibler, piano Glacomo Puccini (1712-1781) “O mio babbino caro” from Gianni Schicchi Lauren Glaves, soprano; Lauren McDonald, piano Tobias Picker (b. 1954) Old and Lost Rivers Chaz Lee, piano Benjamin Britten (1913-1976) “Night covers up the rigid land” from Six Settings of W. H. Auden Katherine Yosua, soprano; Robert Silversmith, piano Johannes Brahms (1833-1897) Sonatensatz Erdem Sahin, viola; Chaz Lee, piano Johann Sebastian Bach (1685-1750) Sonata in A Minor of Violin Solo, BWV 1003 I. Grave IV. Allegro Joshua Rim, violin Niccolò Paganini (1782-1840) Caprice No. 13 Leo Brown, violin Jacob Walls (b. 1989) Treehouses Leo Brown, violin; Noah Fields, viola Otto Ketting (b. 1935) Intrada Jacob Walls, trumpet Roland Dyens (b. 1955) Tango en Skai Joshua Blanco, guitar Jacob Walls (b. 1989) Overimage Joshua Rim and Leo Brown, violin; Noah Fields, viola; Adam Lee, cello Lady Gaga (b. 1986) Bad Romance Aspen Jordan, vocals; Robert Pasternak, piano; Jonathan Morgenstern, bass; Geoffrey Rodriguez, trumpet Saturday, June 4, 2011 – 11:00 a.m. Brooks-Rogers Recital Hall Williamstown, Massachusetts Please turn off or mute cell phones. No photography or recording is permitted. Joshua Blanco - born at Clark American Air Force Base in the Philippines Music and Biology major Christine Bowman - Saint Joseph, Michigan Math major Leo Brown - Schenectady, New York. Russian and American Studies major Noah Fields - Rochester, New York English Literature major Lauren Glaves - Peekskill, New York Music and Art History major Aspen Jordan - Seattle, Washington Literature major with concentration in Africana Studies Adam Lee - Penfield, New York Political Science and Asian Studies major Chaz Lee - Seoul, South Korea Music major Timothy Lengel - Devon, Pennsylvania History major Andrew Liu - Austin, Texas Math and Economics major Jonathan Morgenstern - Santa Monica, California Economics major with a concentration in Legal Studies Robert Pasternak - Baltimore, Maryland Music and Philosophy major Joshua Rim - New York, New York Biology major Geoffrey Rodriguez - Arlington, Massachusetts Biology major Robert Silversmith - Clinton, New York Math major Akemi Ueda - Clinton, Connecticut English major Jacob Walls - Forest Grove, Oregon Music and Philosophy major Katherine Yosua - Portland, Maine Music major.

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Pacific 231 (Symphonic Movement No
Pacific 231 (Symphonic Movement No. 1) Arthur Honegger (1892–1955) Written: 1923 Movements: One Style: Contemporary Duration: Six minutes As a young man trying to figure his way in the world of music, Miklós Rózsa (a Hollywood film composer) asked the French composer Arthur Honegger “How are we composers expected to make a living?” “Film music,” he said. “What?” I asked incredulously. I was unable to believe that Arthur Honegger, the composer of King David, Judith and other great symphonic frescos, of symphonic poems and chamber music, could write music for films. I was thinking of the musicals I had seen in Germany and of films like The Blue Angel, so I asked him if he meant foxtrots and popular songs. He laughed again. “Nothing like that,” he said, ‘I write serious music.’ As a young man, Honegger was part of a group of renegade composers in Paris grouped around the avant-garde poet Jean Cocteau called “Les Six.” Unlike, the other composers in “Les Six,” Honegger’s music is weightier and less flippant. In the 1920s, Honegger worked on three short orchestral pieces that he called Mouvements symphonique. In his autobiography, I am a Composer, he recounts his intent with the first: To tell the truth, In Pacific I was on the trail of a very abstract and quite ideal concept, by giving the impression of a mathematical acceleration of rhythm, while the movement itself slowed. It was only after he wrote the work that he gave it the title. “A rather romantic idea crossed my mind, and when the work was finished, I wrote the title, Pacific 231, which indicates a locomotive for heavy loads and high speed.” Given a title, people heard things that weren’t there.
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