PROGRAM
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• 10 am
Crowden Student Musicians
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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
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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
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Piano Quintet No. 1 in C minor, Op. 1 Erno Dohnányi
III. Adagio, quasi andante
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Sina Kalkan, violin
Samuel Seetapun, violin
Kenji Sor, viola
Dorothy Nemeth, cello
Jesse Distiller, piano
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Concerto for Violin, Piano and String Quartet, Op.21 Ernest Chausson
II. Sicilienne: Pas vite
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Dustin Breshears, solo violin
Trajan Nim, solo piano
Samuel Seetapun, violin
Kenji Sor, violin
Sina Kalkan, viola
Dorothy Nemeth, cello
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Piano Trio in B Major, Op. 8 Johannes Brahms
I. Allegro con brio
Nautilus Trio:
Magali Pelletey, violin
Raquel Matthews, cello
Estella Zhou, piano
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• 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.
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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
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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...”
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Elizabeth Dorman
Partita #1 in B-flat Major, BWV825 J.S. Bach
Praeludium
Allemande
Corrente
Sarabande
Menuet I
Menuet II
Gigue
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English Suite #5 in e minor, BWV810 J.S. Bach
Prelude
Allemande
Courante
Sarabande
Passepied I
Passepied II
Gigue
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Passacaille in b minor, from VIII Ordr F. Couperin
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• 1 pm
Tammy Hall and Leberta Lorál
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original compositions
American songbook standards
The Nearness of You and Blue Divine – an original by Tammy Hall
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Marcos Silva
All Tunes By Marcos Silva Except Lamento* by Pixinguinha.
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Chôro Sem Lágrimas (Crying Without Tears)
A Simple Thing
Not Enough Notes
Caipirinha
All in it
Lamento*
Odalisque
Hathor
White & Black
Finale
Guinga-ish
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• 3 pm
Allegra Chapman
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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
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Dylan Mattingly
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Improvisations
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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
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• 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
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