DEPARTMENT OF MUSIC CARLETON COLLEGE CONCERT PROGRAM BOOKLET 2016-2017 NORTHFIELD, MINNESOTA 2016-2017 CONCERT PROGRAMS CONCERT SERIES AND VISITING ARTISTS pgs. 8-52 CHRISTOPHER U. LIGHT LECTURESHIP I September 16 Composer Andrea Mazzariello, Mobius Percussion, & Nicola Melville, piano CHRISTOPHER U. LIGHT LECTURESHIP II September 17 Symmetry and Sharing film screening Featured artists Andrea Mazzariello & Mobius Percussion GUEST ARTIST CONCERT September 30 Dúo Mistral plays Debussy Featuring pianists Paulina Zamora & Karina Glasinovic WOODwaRD CONCERT SERIES October 16 Larry Archbold Concert and Colloquium FaculTY AND GUEST ARTIST CONCERT October 29 “Music of China” Featuring Spirit of Nature & the Carleton Chinese Music Ensemble GUEST ARTIST CONCERT January 20 The Saint Paul Chamber Orchestra Featuring Jonathan Biss, piano & composer Sally Beamish GUEST ARTIST LECTURE February 1 Musicians from the Beijing Bamboo Orchestra LauDIE D. PORTER CONCERT SERIES February 9 MONTAGE: Great Film Composers and the Piano film screening Featuring Gloria Cheng, piano 2016-2017 CONCERT PROGRAMS CONCERT SERIES AND VISITING ARTISTS (Cont.) GUEST ARTIST CONCERT April 28 Malcolm Bilson, keyboard virtuoso ARTS @ CARLETON VISITING ARTISTS pgs. 53-57 THIRD COAST PERCUSSION April 11 Sponsored by Arts @ Carleton and the Department of Art and Art History FACULTY RECITALS pgs. 58-72 CONTEMPORARY VOICES FROM LATIN AMERICA January 15 Matthew McCright, piano Featuring Guest Artist Francesca Anderegg, violin CHINGLISH: Gao Hong, Chinese pipa April 7 HOMAGES: Nicola Melville, piano April 14 CARLETON MUSIC ORGANIZATIONS pgs. 73-136 AFRICAN DRUM ENSEMBLE November 15 Jay Johnson, director March 7 May 30 CHINESE MUSIC ENSEMBLE & GLOBAL MUSIC CHAMBER ENSEMBLE CONCERT Gao Hong, director February 19 Featuring Shu Yin Guzheng Ensemble from the Sichuan Conservatory of Music May 19 2016-2017 CONCERT PROGRAMS CARLETON MUSIC ORGANIZATIONS (Cont.) CHOIR CONCERT November 5 Lawrence Burnett, director May 18 JAZZ ENSEMBLE CONCERT November 6 Laura Caviani, director February 26 May 21 ORCHESTRA CONCERT November 11 Hector Valdivia, director March 3 May 26 SYMPHONY BAND CONCERT October 28 Ronald Rodman, director February 24 and 25 May 12 STUDENT AND STUDIO RECITALS pgs. 137-218 PIANO STUDIO RECITAL November 9 Nicola Melville, coordinator March 1 May 24 STUDENT CHAMBER RECITAL November 13 Nicola Melville, coordinator May 28 STUDENT CHAMBER RECITAL I March 1 Nicola Melville, coordinator STUDENT CHAMBER RECITAL II March 5 Nicola Melville, coordinator JAZZ CHAMBER RECITAL March 7 Zacc Harris, Laura Caviani, and Greg Keel, directors May 24 2016-2017 CONCERT PROGRAMS STUDENT & STUDIO RECITALS (Cont.) VIOLIN/VIOLA RECITAL I November 14 Hector Valdivia, director VIOLIN/VIOLA RECITAL II November 16 Hector Valdivia, director VIOLIN/VIOLA RECITAL March 8 Hector Valdivia, director May 29 VOICE SHOwcaSE RECITAL Lawrence Burnett, director October 22 February 11 Rick Penning, director May 6 MIDDLE EASTERN MUSIC ENSEMBLE May 30 Featuring Issam Rafea, oud 2017 SENIOR COMPREHENSIVE EXERCISE PRESENTATIONS April 15 Caroline Glazer Andy Tirro Molly Hildreth Yang Chen Joe Lowry Patrick O’Reilly Kaylee Shiao Josh Ruebeck Jin Lee JUNIOR/SENIOR RECITALS Yang Chen ’17, violin February 19 Molly Hildreth ’17, flute May 6 Kaylee Shiao ’17, piano & composition May 7 Vicky Wu ’17, guzheng May 13 Joe Lowry ’17, piano May 14 Hannah Marty ’17 & Claire O’Brien ’17, voice May 25 Koh Zhi You, piano May 29 Carleton is an exceptionally musical college, where excellent musical opportu- nities abound for all students, regardless of major. All Carleton students may choose from a wide variety of classroom courses embracing the study of not only western art music and its history, theory, and practices, but also rock, jazz, global pop, Motown and blues, film music, the philosophy and psycholo- gy of music, and musics of India, Africa, the Caribbean, and China. Over 800 Carleton students per year have also chosen to perform in Choir, Orchestra, Symphony Band, Jazz Ensemble, Chinese Music Ensemble, West African Drum Ensemble, and to study privately in an array of areas, including voice and all instruments typical of western art music ensembles, and also folk guitar, mandolin, banjo, sitar, Indian vocal music, African drums and karimba/ mbira, jazz, and Chinese musical instruments. For the student who wishes to make a career of music, the music major, which leads to a Bachelor of Arts degree, permits emphasis on performance, composition, history, and theory. Students who wish to become supervisors and/or elementary or high school teachers in music may follow a plan leading to a TA year of graduate study at another institution and a Master of Arts in Teaching. Starting in the Fall of 2017, the Music Department is pleased to add the music minor to its degree offerings. Many Carleton students take private lessons and/or participate in ensembles in addition to their three 6-credit courses. These programs show the wide variety of opportunities for all Carleton stu- dents to hear, study, and perform music. Carleton’s Music and Drama Center includes a concert hall seating 440, a 55-rank Holtkamp organ, two Steinway concert grand pianos, two concert harpsichords, and an 18th century (replica) forte-piano, as well as teaching, practicing, and rehearsal facilities in the Center and in Music Hall. Carleton College is working with HGA Architects and McGough Construc- tion to design and build a new music & performance commons addition to the Weitz Center for Creativity. The addition is being created to house the majority of the music program and create a new performance space of high acoustic quality to replace the existing Concert Hall. Music faculty offices, rehearsal spaces, the music resource library, and teaching studios are included in the project. The building will be completed and open in September 2017. CONCERT SERIES AND VISITING ARTISTS Music at Carleton presents Symmetry and Sharing Featuring Andrea Mazzariello, composer Mobius Percussion Nikki Melville, piano Friday, September 16, 2016 7:00 p.m., Concert Hall 8 PROGRAM Fall Down Five Times Get Up Six (2008) Nikki Melville, piano Electrobot (2012) Mobius Percussion Home Body (world premiere) David Degge, dulcimer, voice, kick, hi-hat Losses But Just (world premiere) Andrea Mazzariello, drums, voice, keyboard, electronics Symmetry and Sharing (2015) Mobius Percussion As a courtesy, please turn off all cell phones, do not use flash photography, and refrain from leaving during the performance. Your cooperation is greatly appreciated. 9 PROGRAM NOTES One way to think of tonight’s program is as a collection of pieces that engage, in various ways, the physiology of performance. I’m obsessed with the idea of bodies in motion and what they need to do and to know in order to make music, and I ask performers to re-wire these ways of doing and knowing as they prepare and perform my work. This comes out of an important aspect of my own prac- tice: the foregrounding of my own idiosyncratic physical relationship to keyboard and percussion instruments and to my voice, and a sense that tactile and kinetic experience is as important to me as more abstract, structural, syntactical ways of understanding music. And knowing this opens up another helpful, I hope, way of regarding this work: music that is concerned with the circumstances of its own making, with what these creative routines mean in the contours of daily life, its emotional realities, the costs of making together with its joys. A moment of despair inadvertently titled Fall Down Five Times Get Up Six; I no lon- ger remember my specific grievance, but my younger brother’s characteristically understated response, “fall down five times, get up six,” still rings in my ears. The idea of getting unstuck, of the next effort being the one to break a pattern of fall- ing short, saturates the piece. The hands start out in conflict, jockeying for position on the keyboard, but ultimately end up exploding out into their own territory at the extremes of the instrument’s range. The musical ambition that drove me to write the piece in the first place– how can I get unstuck from repetitive cycles, from static harmony– is given over to completely in the opening but reassessed and re-contextualized by the interior, inner life of the piece, some of the most static and repetitive music I have ever made. Getting up that final time might actually look more like yielding than like blasting through; the initial material returns and reconciles, as though the energy of repetition, of falling down over and over, pro- pels us to that next, or first, step. Electrobot asks Mobius to play the keyboard as well, except in this case the range is highly restricted and the most basic physical and musical assumption– press a key and a note comes out– is confounded. Each active key on the instruments triggers a short recording I made in my studio, beat fragments or synthesizer blasts or long, held tones, and each recording has its own rhythmic pulse and drive. The per- formers recombine these recordings into cycles that grow and evolve by playing keyboard patterns that dislocate their fingers from their ears. The sound world is more so-called “Intelligent Dance Music” than concert music, inspired by artists like Autechre and Aphex Twin, but in this specific crystallization of it, human bodies intervene and unlock the expressive power of live performance. 10 PROGRAM NOTES While Electrobot takes computer music and humanizes it, Home Body in a sense turns the performer’s body into a machine. David plays irregular patterns in the dulcimer in his hands while his feet lay down a basic 4/4 groove. His voice en- ters and adds another level of independence, and then the hands pull apart into a more contrapuntal texture as the vocal part continues to intensify. The words reshuffle and recycle over the course of the piece, folding the mundane details of daily life into something more profound, or perhaps discovering profundity in the seemingly mundane.