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PROGRAM 

• 10 am

Crowden Student Musicians

Piano Trio No. 4 in E minor, Op. 90 (Dumky)            Antonín Dvorák

            I. Lento maestoso — Allegro quasi doppio movimento

            II. Poco adagio — Vivace non troppo — Vivace


Felix Fein, violin

Eamon Riley, cello

Munan Cheng, piano

Violin Sonata No. 5 in F major, Op. 24 (Spring)   Ludwig v. Beethoven

            IV. Rondo: Allegro ma non troppo


Isaiah Iny-Woods, violin

Kamil Iny-Woods, violin

 

Piano Quintet No. 1 in C minor, Op. 1                             Erno Dohnányi

            III. Adagio, quasi andante

Sina Kalkan, violin

Samuel Seetapun, violin

Kenji Sor, viola

Dorothy Nemeth, cello

Jesse Distiller, piano

 

Concerto for Violin, Piano and String Quartet, Op.21     Ernest Chausson

            II. Sicilienne: Pas vite

Dustin Breshears, solo violin

Trajan Nim, solo piano

Samuel Seetapun, violin

Kenji Sor, violin

Sina Kalkan, viola

Dorothy Nemeth, cello

 

Piano Trio in B Major, Op. 8                                             Johannes Brahms

            I. Allegro con brio
 

Nautilus Trio:

Magali Pelletey, violin

Raquel Matthews, cello

Estella Zhou, piano

      

• 11 am

Monica Chew
 

Book 1 of Studies in African Rhythm by Fred Onovwerosuoke (b. 1960)

Notes from the composer:
 

I. Okoye, fuses a commonality I found in some Edo (Nigeria) and Baganda (Uganda) polyrhythms. 
II. Edo, is an old Bini (Nigeria) folk melody sandwiched by two layers of balafon (wooden xylophone) ostinato pattern for an ancient Wollof (Senegal) royal dance. 
III. Udje, is based on an Urhobo (Nigeria) dance with the same name. 
IV. Ayevwiomo Dance 1
V.Tunis, is based on an old tune I fell in love with among the Tuaregs in Tunisia and Burkina Faso. 
VI. Jali, was fashioned from my years hanging out with kora playing griot friends from West Africa and kraar-playing friends from the Abyssinian subregion of northeastern Africa. 
VII. Iroro, draws from the 'trance-like' dances of the "River-goddess" cults I observed across the West African coast. 
VIII. Herero Wedding Dance, is a cross between my travels in Namibia and Ethiopia. Studies  

IX. Ayevwiomo Dance 2 and X
X. Barka, brings us back to Arabia and Foula regions of Africa. 
XI. Ayevwiomo Dance 3
XII. Agbadza, draws from the royal and funeral dances of Ghana and Dahomey regions of West Africa.

Selections from Elena Kats-Chernin's Unsent Love Letters

1. love token

7. garden gothique

8. very shiny

9. absinthe cocktail

12. eggshell

17. maple in the evening

18. tuesday suit

26. for whom it tolls

Notes from the composer:

“Satie was a complicated, funny, talented man. I have loved him from the first note I ever heard. This book is both a tribute to him and a series of thoughts and ideas that he has inspired in me over the years. These pieces are intimate, some are questions, some are feelings. Many started as a one-bar meditation written down as an afterthought...”

Elizabeth Dorman


Partita #1 in B-flat Major, BWV825                  J.S. Bach 

Praeludium

 Allemande

Corrente

Sarabande

Menuet I 

Menuet II

Gigue

 

English Suite #5 in e minor, BWV810                 J.S. Bach                 

Prelude
Allemande
Courante
Sarabande
Passepied I
Passepied II
Gigue

 

Passacaille in b minor, from VIII Ordr                  F. Couperin 

• 1 pm

Tammy Hall and Leberta Lorál

original compositions

American songbook standards

The Nearness of You and Blue Divine – an original by Tammy Hall

Marcos Silva

 

All Tunes By Marcos Silva Except Lamento* by Pixinguinha.

Chôro Sem Lágrimas (Crying Without Tears) 
A Simple Thing                         
Not Enough Notes
Caipirinha
All in it
Lamento*
Odalisque
Hathor
White & Black
Finale
Guinga-ish

• 3 pm
Allegra Chapman

Joseph Bologne, Chevalier de Saint-Georges - Adagio in F minor
 

J.S. Bach -  from Partita in G Major, BWV 829: Praeambulum and Allemande


Grazyna Bacewicz - from 10 Studies for Piano: IV and V. Andante


Reena Esmail - Rang de Basant

 

Dylan Mattingly

Improvisations

Sarah Cahill
 

Troubled Water (1967)                                      Margaret Bonds (1913-1972)

 

Margaret Bonds was a brilliant pianist as well as composer: she was the soloist for the premiere of her friend Florence Price’s Piano Concerto.  While she is best known for her vocal music, her Troubled Water, which is part of her Spiritual Suite, is a virtuoso fantasy on the Spiritual “Wade in the Water.”

 

Two Entwined (2011)                                        Paul Dresher (b. 1951)

 

Two Entwined was commissioned by Sarah Cahill as part of her concert program  'A Sweeter Music' - a collection of new compositions based on the theme of peace and war.   The work premiered at the Spoleto Festival in June 2011, where it was accompanied by a video created by John Sanborn.

 

The composer writes:

“I've always felt that the large-scale conflicts represented by war and other forms of confrontation, originate from our sense of ourselves as separate from some other part of humanity.   And once there is separateness in identity, what typically follows is some form of conflict, whether it's personal, family, at the office, between races, political parties, religions or nations.

 

“In responding to Sarah’s commission for 'A Sweeter Music,' I felt the need to look at the subject by starting from the more intimate and personal world rather than the grand world of political conflict.  I decided to deal directly with the subject of love, as opposed to conflict.   But rather than embody the subject as a “feeling” or atmosphere, I wanted the musical structure and dialogue itself to somehow reflect the subject.   Thus, I’ve chosen to explore the idea of two separate entities that are nonetheless linked and dependent upon one another, largely through simple musical means, most typically as counterpoint created by the musical materials in a tempo relationship of 3 against 2, 4 against 3 and various permutations of these ratios.  

 

“Accepting that our bodies in some way make us physically separate, I wanted to create a world that accepts the separateness but at the same time sees the potential beauty of the entwining of two separate identities. The music is an exploration of how these two entities retain their separateness yet hopefully make something more compelling than what either could produce by itself.”​

 

Humanitas, mvt. 1 (2020)                                  Frederic Rzewski (b. 1938)

 

Humanitas is a six-movement composition in honor of Terry Riley’s 85th birthday.  There are Latin texts which Rzewski notes “are not to be declaimed, or pronounced ‘correctly.’  On the contrary, they should be heard simply as sounds, almost as if the pianist does not understand their meaning.“  The texts for the first movement, on today’s program, are by Plautus, Catullus, and Cicero.  Humanitas is typical of Rzewski’s style of the last decade or so, in which fragments and phrases are presented like bits of recollected memories, rather than bound together as continuous musical material.

 

Barcarola Latinoamericana (2007)          Gabriela Lena Frank (b. 1972)

 

“Barcarola Latinoamericana for solo piano is a folkloric piece inspired by the vital folk-fusion musical culture in Latin America today. It is not uncommon nowadays to encounter Andean panpipe ensembles infused with the drumbeats of Colombian cumbia, Central American marimba music spiced with South American sesquiáltera ("changing sixes") rhythms, or Mexican mariachi bands that also play Venezuelan joropos, albeit with a rather brassy flare. It is in this spirit that Barcarola Latinoamerica was composed, drawing on harmonies, rhythms, and tremolos common to the various guitar-playing genres of Latin America. The characteristic lyricism of vocal music is also evoked, such as in the use of sudden changes in dynamics and registers.“
— Gabriela Lena Frank

 

Two unpublished works by Lou Harrison (1917-2003):

 

A Little Gamelon                                               

A Happy Journey 

 

• 5 - 7 pm
Robert Fleitz 


ACHILLES DREAMS OF EBBETS FIELD
by Dylan Mattingly

A note from the composer:
For hundreds of years, bards would travel the Aegean and sing from memory the 15,693 lines of the Iliad. Each time the story might change a little bit depending on the bard’s surroundings and memory. With thousands of years between us and then, uncountable waves on the shore, a speckling across the universe of momentary loves and victories and
breakfasts and hands running through hair, I wonder what the Iliad in which I find myself might look like — evolved in some cases like fish on land and in others torn asunder like the endless reconfiguration of the continents, or perhaps transformed like the green Sahara only 10,000 years
ago. These are the days I’ve grown up in — from the divine intervention in a walk-off home run to the river gods in the Hudson to the soft breathing of someone sleeping beneath the window.

 

Achilles Dreams of Ebbets Field is in 24 parts, with an intermission after movement XIII.

I. Invocation
II. Catalogue of Heroes
III. First Winter
IV. Dance 1
V. Gods and Insects
VI. First Spring
VII. First Funeral
VIII. Dance 2, Second Fall
IX. Music
X. Brutality
XI. For Jackie Robinson
XII. Third Fall
XIII. Lost 


INTERMISSION
 

XIV. Dance 3, Second Winter
XVI. Love, Death, Paleoclimates
XVII. Heart
XVIII. Rising
XIX. Found
XX. Fourth Fall
XXI. Muddy River (Aristea: “If I had wings…”)
XXII. Death of Hektor
XXIII. Ebbets Field
XXIV. Last Spring