This is the program for  The Twentieth Century Art Music of the Americas,  the faculty recital featuring pianist David Dennis and bass-baritone Craig N. Hodges. This recital took place on September 12, 1989, in the Mabee Recital Hall

Dennis, David

Hodges, Craig N.

English

Ouachita Baptist University

Ouachita Baptist University Scholarly Commons @ Ouachita Faculty Performances Faculty Publications 9-12-1989 Twentieth Centuray Art Music of the Americas: David Dennis and Craig N. Hodges in a Faculty Recital David Dennis Ouachita Baptist University Craig N. Hodges Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/fac_perform  Part of the Music Education Commons, and the Music Performance Commons Recommended Citation Dennis, David and Hodges, Craig N., "Twentieth Centuray Art Music of the Americas: David Dennis and Craig N. Hodges in a Faculty Recital" (1989). Faculty Performances. 94. https://scholarlycommons.obu.edu/fac_perform/94 This Program is brought to you for free and open access by the Faculty Publications at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Faculty Performances by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact mortensona@obu.edu. OUACHITA BAPTIST UNIVERSITY 0.,; ~~ ~L ~ [!JG ~ 0 ...... t"f\ c; 1:::) ~ ~<£ ~"~\'· ~.-1RKADt.'-'<? presents DAVID DENNIS, PIANIST CRAIG N. HODGES, BASS-BARITONE IN FACULTY RECITAL Twentieth Century Art Music of the Americas Tuesday, September 12, 1989 Mabee Recital Hall 7:30P.M. PROGRAM Six Preludes (1923) ****** Hymns for the Amusement of Children (1972) (Christopher Smart) For Sunday At Dressing in the Morning Paul Bowles (b.1910) Conrad Susa (b.1935) Against Despair (Old Ralph in the Wood) For Saturday At Undressing in the Evening The Conclusion of the Matter Three Moods (1921) I. Embittered II. Wistful Ill. Jazzy Sonata No. 1 (1952) I. Allegro marcato II. Presto m iste rioso ****** ****** Ill. Adagio molto appasionato IV. Ruvido ed ostinato ****** General William Booth Enters into Heaven (1967) (Vachel Lindsey) Aaron Copland (b. 1900) Alberto Ginastera (1916-1983) Bruce Broughton (b. 1945) SIX PRELUDES Author and composer Paul Bowles received his formal instruction at the Dannlng School of Music and the School of Design and Liberal Arts, both In Ne1~ York. After his studies, Bowles travelled to Paris and worked as a telephone operator for the Paris Herald Tribune. While in Paris he studied composition with Aaron Copland and counterpoint with Nadia Boulanger. He was also a student of Virgl I Thanson. Bowles has composed music In several genres including ballet, opera, incidental music, chamber sonatas, choral music and orchestral suites. His music shows a strong Influence of American jazz and Mexican dance and has been characterized as nostalgic and witty. Virtually all of his compositions are miniatures. His ~iano works include two sonatinas, and several smaller pieces Including the six preludes presented here. In 1949 Bowles published his first novelh th~ Shelt~l~g Sky, and has devoted himself to literature since t a !me. e as written several novels and an autobiography <1972). In 1980 he opened a wrItIng workshop 1 n Tang! er under the ausp 1 ces of the Schoo I of VIsual Arts In New York. HYMNS FOR THE AMUSEMENT OF CHILDREN Notes by Conrad Susa Christopher Smart wrote his Hymns for the Amusement of Children in 1771, the last year of his life, while he was in debtor's prison. No stranger to prisons and mental institutions, he seems to have been afflicted with a sort of religious mania which some of his detractors considered to be madness. Boswell records Dr. Johnson as saying, " Madness frequently discovers itself merely by unnecessary deviation from the usual modes of the world. My poor friend Smart showed the disturbance of his mind by falling on his knees and say ing his prayers in the street, or any other unusual place. Now although, rationally speaking, it is greater madness not to pray at all than to pray as Smart did, I am afraid there are so many who do not pray, that their understanding is not called into quest ion." Smart's collection consists of thirty-six hymns, together with three unnumbered hymns as a tailpiece. The poems are dedicated to His Highness Prince Frederick, the second son of George Ill, and "composed for his amusement. .. with all due submission and respect (and] humbly ascribed to him as the best of Bishops." The frontispiece to the collection shows the Prince as a bishop, aged seven, having held his See since he was six months old. Lighter and more accessible than Smart's best poems (Jubilate Agno and Hymn to David, familiar in the set-tings by Benjamin Britten). the Hymns for the Amusement of Children were meant to instruct through enter-tainment. Having decided the Hymns were already sufficiently instructive, I chose to emphasize their more amusing aspects by locating Smart's sensibility with American popular music forms and singing styles, as follows: 1. For Sunday, in calypso style as if for Harry Belafonte; 2. At Dressing in the Morning, modelled after (and for) Elton John; 3. Against Despair, in a flowing folksong style (with a tango thrown in) as if for Judy Collins; a brief piano cadenza leads directly to 4. For Saturday, a sort of "Carnival in Rio" that Louis Armstrong might have sung; 5. At Undressing in the Evening, moody blues suitable for, say, AI Green or Johnny Mathis; 6. The Conclusion of the Matter, as if for Roberta Flack or Barbara Streisand. In addition to the toying with singing styles and dance forms, the Hymns in the cycle are arranged to form a rudimentary plot: the first and last Hymns are sung by a parent, while the inner group is sung by the child. The whole set, like the classical sets of six (which commemorate the six days of Creation, Wednesday being the piano cadenza) spans a week in the child's life and symbolizes the span of one's whole life. 1 For Sunday 4 For Saturday Arise-arise-the Lord arose Now·s the t ime for mirth and play, On th is triumphant day; Saturday's an holiday; Your sou ls to piety dispose, Praise to heav'n unceasing yield, Arise to bless and pray. I've found a lark's nest in the f ield. Ev'n rustics do adorn them now, A lark's nest, then your playmate begs Themselves in roses dress; You'd spare herself and speck led eggs; And to the clergyman they bow, Soon she shall ascend and sing When he begins to bless. Your praises to th'eternal King. Their best apparel now arrays 5 At Undressing in the Evening The litt le girls and boys; And better than the preacher prays For heav'n 's eternal joys. These cloaths, of wh ich I now divest Myself, ALL SEEING EYE, 2 At Dressing in the Morning Must be one day (that day be blest) Reli nquish'd and laid by. Now I arise, empow'r'd by Thee, Thou cordia l sleep, to death akin, The glorious Sun to face; I court thee on my knee; 0 clothe me with humility, 0 let me ex ist, free from sin, Adorn me with thy grace. Be I ittle more than Thee. All evi l of the day fore-send, But if much agonizing pain Prevent the tempter's snare; My dying hour await, Thine Angel on my steps attend, The Lord be with me to sustain, And give me fruit to pray'r. To help and to abate. 0 make me usefu l as I go 0 let me meet Thee undeterr'd My pilgrimage along; By no fou l stains defi l'dl And sweetly sooth th is vale of woe According to thy holy word, By charity and song. Receive me as a Ch ild. Let me from Christ obedience learn, 6 The Conclusion of the Ma><er To Christ obedience pay; Each parent duteous love return, And consecrate the day. Fear God-obey his just decrees, And do it hand, and heart, and knees; 3 Against Despair For after al l our utmost care Old Ralph in the Wood There 's nought like penitence and prayer. Then weigh the balance in your mind, A raven once an Acorn took Look forward, not one glance behind; From Basham's tallest stoutest tree; Let no fou l fiend retard your pace, He hid it by a limpid brook, Hosannah! Thou hast won the race. And liv'd another oak to see. Thus Melancholy buries Hope, Which Providence keeps still alive,-And bids us with afflictions cope, Hymns for the Amusement of Children And all anxiety survive. by Christopher Smart ( 1722-1771) THREE MOODS Aaron Cop I and was born in Brook I yn to Harris Col> I and, a Russi an iDJDigrant and Sarah Mittenthal, originally of Lithuania. The youngest of five chi I dren, Cop I and was exposed to rwsi c in a variety of settings, Including family singalongs and the Jewish synagogue. Copland received his first plano Instruction from his sister, Laurine. At age thirteen ne secured the services of Leopold Wolfsohn a notea plano Instructor In the Brooklyn area. In 1917, Copland began studying harmony, counterpoint, and composition with Rubin Goldmark, at that time the f.remlere composition instructor In the United States. At Goldmark s suggestion, the young musician began plano studies with Victor Wlttgensteln. Four years later, Copland travelled to Europe and became the first American composition student of Nadia Boulanger, who also provided Instruction In orchestration and score reading. Copland's contribution to plano literature Is relatively small~ but slgnlflcant. His most notable works are the Passacaglia <192~>. a Sonata <1939-41), Plano Fantasy <1955-57), and Variations <1930). Reflected in his writing are elements of American jazz, American folksong, and the European Influence of Boulanger. Both the Fantasy and Variations are serla ll stlc. Since 1930 Copland's composition has taken two directions, one designed for the concert-going public, the other presenting a more experimental and Innovative style. SONATA NO. 1 Ginastera began his musical studies at age seven with plano lessons. At the age of twelve he entered the Williams Conservatory where he received private Instruction In plano, harmony, and compos ition graduating in 1935 with the Gold Medal in the latter. From 1936-1938 Glnastera studied composition with Josl Andre at the National Conservatory of Music and graduated with highest honors. G inaster a viewed his evo I u t 1 on as a c~oser as compr is 1 ng three periods: objective national Ism, subJective national Ism, and neo-expresslonlsm. Music of the first period is marked by Argentine traits and themes In a direct manner, often employing tonal melodic elements. Rhythm and melody are modelled on Argentine folksong and dance <musica crlolla). The flrst_piano sonata was composed during the second compositional period. Works of this period contain melodic and rhythmic motives of pampean music. A clear example of this Is the use of the chord formed by the open strings of the guitar <E, A, d, g, b, e'>, found in the second movement of the Sonata. HIs neo-expressl on ism 1 s characterized by the use of dodecaphon I c techniques, polytonality, quarter tones, and al!eatorlc procedures. Sonata No. 1, dedicated to Roy and Joanna Harris, was first performed by Joanna Harris in 1952. Serialism is found in both the second and third movements wh i I e the outer movements ref I ect the rhythmic substance found In Argentine folk and dance music. GENERAL WILLIAM BOOTH ENTERS INTO HEAVEN Born in Los Angeles In 1945, Bruce Broughton began his professional career working as a MUsic Supervisor for CBS Television In Hollywood. In 1977 he left the Network In order to work as a freelance composer for television and films. Since that time he has contributed hundreds of scores for television shM such as Amazing Stories, Quincy, The Blue and the Gray, and b the West Was Won. Nominated eleven times, he has won four Eumy awards for his scores to Dallas, Buck Rogers, and the mini-series, The First Olyaplcs: Athens - 1896. In 1985 his score for the mot ion picture Silverado was nominated for an Oscar. The soundtrack recording for Young Sherlock Holmes was nominated for a GraDIIly award ln 1986. In addition to the above, Broufilton has ccxqlosed the llllSlC to such films as Harry and the Henderson!!J The Presidio, The Boy Who Could Fly, SWeet Liberty, and Michael Jackson's noonwalker. Raised in the Salvationist tradition, Broughton was inspired in 1967 while a student at the University of Southern California to set Vachel Lindsey's classic poem General William Booth Enters Into Heaven, depleting the birth of the salvation Army. This unpublished work Is being performed tonight for the second time since its writing. GENERAL WILLIAM BOOTH ENTERS INTO HEAVEN VACHEL LINDSEY Booth led boldly with his big bass drum. <Are you washed in the blood of the Lamb?> The Saints smiled gravely and they said: 'He's cane.• <Are you washed in the blood of the Lamb?> Walking lepers followed rank on rank, Lurching bravos, bravos from the ditches dank. Drabs fran the a I 1 eyways and drug fIends pa I e--Minds still passion ridden, soul-powers frail; Vermin eaten saints with moldy breath Unwashed legions with the ways of Death--<Are you waShed in the blood of the Lamb?> Every slum had sent its half-a-score the round world over--<Booth had groaned for more.> Every banner that the wide world files Bloaned with glory and transcendant dyes. Big-voiced lasses made their banjos bang. Tranced, fanatical they shrieked and sanQ: 'Are you washed ln the blood of the Lamb?' HalleluJah! Lit was queer to see bul l-necked convicts with that land made free. Onoons with trumpets blowed a blare 1 blare, blare , on upward through the go lden a1r! <Are you washed In the blood of the Lamb?> Booth died blind, and still by faith he trod, Eyes still dazzled by the ways of God. Booth led boldly, and he looked the chief, Eagle countenance In sharp relief, Beard aflrlng, air of high command Unabated n that holy land. Jesus came from out the courthouse door, Stretched hls hands above the passing poor. Booth saw not, but led his queer ones there Round and round the mi!ilty courthouse square. Then, ln an Instant, all that blear review Marched on spotless, clad In raiment new. The lame were straightened, withered limbs uncurled, And blind eyes opened on a new, sweet world. Drabs and vixens In a flash made whole! Gone was the weaselhead, the snout, the Jowl! Sages and sibrls now, and athletes clean, Rulers of emp res, and of forests green! The hosts were sandalledf and their win~ were fire! <Are you washed In the b ood of the Lamb?> But their noise ~layed havoc with the anqel choir. <Are you washed 1n the blood of the Lamb?> Oh, shout salvation! Salvation! It was ~od to see Kings and Princes by the Lamb set free . The banJos rattled, and the tambourines Jing-jing-jlngled In the hands of Queens. And when Booth halted by the curb for prayer He saw his Master through the flag-filled air. Christ came gentlr with a robe and crown For Booth, tne so di er., wh ll e the throng kne I t down. He saw King Jesus. They were face to face. And he knelt aweeping ln that holy place. Are you washed In the blood of the Lamb? 

Twentieth Centuray Art Music of the Americas: David Dennis and Craig N. Hodges in a Faculty Recital

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Twentieth Centuray Art Music of the Americas: David Dennis and Craig N. Hodges in a Faculty Recital

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