Solo and duo concert held with pianist Jessica Roderer and flutist Gabriella Roderer.https://digitalcommons.usu.edu/music_programs/1091/thumbnail.jp

Roderer, Gabriella

Roderer, Jessica

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Utah State University DigitalCommons@USU All Music Department Programs The Caine College of the Arts Music Program Archives 2-22-2017 An Evening of Drama: A Solo and Duo Concert with Jessica and Gabriella Roderer Jessica Roderer Utah State University Gabriella Roderer Follow this and additional works at: https://digitalcommons.usu.edu/music_programs  Part of the Music Commons Recommended Citation Roderer, Jessica and Roderer, Gabriella, "An Evening of Drama: A Solo and Duo Concert with Jessica and Gabriella Roderer" (2017). All Music Department Programs. 89. https://digitalcommons.usu.edu/music_programs/89 This Faculty/Guest Recital is brought to you for free and open access by the The Caine College of the Arts Music Program Archives at DigitalCommons@USU. It has been accepted for inclusion in All Music Department Programs by an authorized administrator of DigitalCommons@USU. For more information, please contact digitalcommons@usu.edu. AN EVENING OF DRAMA A SOLO AND DUO CONCERT WITH JESSICA AND GABRIELLA RODERER COLlEGE •f th•A RTS UtahState Universit~. An Evening of Drama: a solo and duo concert with Jessica and Gabriella Roderer February 22, 2017 Introdu ction and Variations for Flute and Piano on "Trockne Blumen" from Di e schone Miilleri11 Op. 160, D. 802 Franz Schubert (1797-1828) Sonata in A Major I. Allegretto hen moderato II. Allegro III. Recitativo-Fantasia, hen moderato IV. Allegretto poco mosso Intermission Sonata in B Minor Jessica Roderer Cesar Franck (1822 -1890) Franz Liszt (1811-1886) Currently an associate professor of piano at Utah State University, Ms. Roderer studied with Norman Krieger at the University of Southern California where she graduated with her Master and Doctorate of Musical Arts in piano performance with emphases in Theory and Analysis (Shenkarian Analysis specifically), Collaborative Arts, and Choral Music. She earned her Bachelor's degree from Utah State University under the instruction of Gary Amano where she performed with the Utah State University Symphony Orchestra as a student and again as an alumni. She has played for masterclass artists such as Emilio de! Rosario, Nina Lelchuk, Spencer Meyer, Stephen Hough, Byron Janis, and Sergei Babayan. I !ailed as a performer "rich in emotion and dramatic passion" by The Deseret Morning News, Ms. Roderer is in high demand as a collaborative artist and soloist, regularly performing with students and faculty from all over the world. Recent collaborative highlights include work as a member of the Collaborative Piano faculty at the Heifetz Institute at the Mary Baldwin College, extensive work with members of the Fry Street Qyartet, the USU string studios, and in recital with Elizabeth Beilman of the Utah Symphony. Gabriella Roderer De scribed as "polished,""cloquent," and "delightfully lyrical" by the Deseret News, Gabriella Roderer is an up and coming flutist for a new age. Ms. Roderer earned her Master of Musical Arts from Bowling Green State University, where she studied with Dr. Conor Nelson, and her Bachelor's degree with Linda Chesis at The Manhattan School of Music in New York City. She has played for greats such as Robert Langiven,Jeanne Baxtresser, Michel Debost, Susan Milan, and Sophie Cherrier, and worked more extensively with David Leisner, Paul Cohen, Marya Martin, and Steve Taylor. Gabriella is past winner and recipient of such prestigious awards as MTNA Nationals, two-time winner and performer with Utah Symphony's Salute to Youth, highly-coveted scholarships at both BGSU and MSM, and many more. Her International experience includes playing as Assistant Principal Flute with the Tuscia Opera Festival and International Lyric Academy orchestras in Italy. Ms . Rodercr recently returned from serving a non-profit mission for The Church ofJesus Christ of Latter-Day Saints in Frankfurt Germany, where she used her love of music to uplift and inspire people from all over the world. She currently teaches flute and voice privately, and co-conducts the Utah Festival Opera's Conservatory Children 's Chorus. It was autumn in Berlin in the year of 1816, and Wilhelm Muller and some of his good friends decided to compose a "Liederspiel" (song-play) together, based on the story of the miller girl (Hedwig} and the men who tried to win her heart. Each member of the group was given a different suitor, and Wilhelm wrote his poetry based on the miller boy and his unrequited loved for Hedwig. It was these poems, and the pitiful yet fanciful story of the miller boy that would become the basis for Franz Schubert's song cycle Die schi:ine Mi.illerin. In many ways, this song cycle aboui love and life tragicaUy unfulfilled became a soundtrack to Schubert's own life, as he began composition on the cycle not long after he contracted Syphilis in 1822-23. "Imagine a man whose health will never be right again ... "he penned in a letter to a friend, "whose most brilliant hopes have perished ... whom enthusiasm for all things beautiful threatens to forsake." Catherine Roche describes the 20 piece song cycle as being broken into five act-like sections: 1, the arrival at the mill; 2, falling in love; 3, brief happiness; 4,jealousy and despair; and 5, resignation and death. "Trockne Blumen" (withered flowers) is the eighteenth piece in the c,cle, depicts the brooding soliloquy known only to jilted lovers. In 1824 Schubert used "Trockne Blumen" to compose a theme and variations for flute and piano for Viennese flutist Ferdinand Bogner (1786-?).1he low, gentle introduction is followed by the theme and a series of seven variations ranging from mysterious to tender, to dramatic, to angry. In true form to Schubert and his art songs, tl1e piano and flute play as equal partners, trading off the melody and accompaniment, slipping in and out of minor and major, toying with the tonicizations, telling the story oflove and loss with each variation. -Gabriella Roderer All you dear flow er, 1hat 1he gav e to me, You ,hall be laid In my grave besidt me. Why do you all look At me 10 wdly, A, though you knew What would become of me? All you dear flow er,, Why so faded, why so pal,? All you dear flowerJ, What haJ made you JO damp? Ah! Tean will not bring 1he green of May, Nor make dead love bloom again. The Sonata in A Major was originally written for and presented to violinist Eugene Ysaye and Louise Bourdeau in 1886 at their wedding.1he sonata was quickly rehearsed, and then performed day of, as part of the wedding festivities. Hailed for its song-like melodies and cyclical nature, tl1e Sonata in A Major weaves an enchanting and dramatic narrative. l have written these poems in lieu of actual program notes, as] wanted to convey the deeply emotional and powerful imagery that l lind saturates this sonata. -Gabriella Rodcrer I . Light spill, acroJJ 1hadow, hu11grily, gently, reaching-aJ a child for it, mother', embrace. Like liquid it 1/ip1, drop,, Rou gold,faillt yet diJcernible, ii glows 1oflly, pooli11g into hwhed lorren/J with nowhere to go, bowing i11 011 itself, a gmp with 110 air, a 1igh with 110 releaJC. 1he mys 1himm er, like hope ,,upend ed, caught, mid-thought , mid-air, mid-breath then cry1tallized , u11explaiuable, lifa-cha11gi11g, life-thr eatening , 11ever truly undentood, never fidly gra1ped, wi1ps away, 1lip1 through the thumb, called ability, 1lip1 .. . 1lip1, likt wnd through a 1ieve, leavi11g only rart gem,, n11ggttJ of golden surprise, ,udden delight, an tpipha11y. II. 1be numory efyour hand in mine-Expelled from my Jou/ i11 011 explo1io11 of ,hards, fracturing agai111t my 1ki111 In a cloud ofsmokt madt real, madt lifa/tJs by the empti11m of the ,pa ce left behi11d by your touch. Colors fade, a tho111a11d ,yes 1111bli11ki11g-A thowand if onlys judg e and juror, you have condemned our fairy tale, you have cut tht Jtory 1hort, 110 rhyme or rea1011 left, the page, u11(,'ni1hed, blank, and u11wriJlw , a naked mockery lo our imdemess abandoned to bli1ter a11d crack. Why must I let you go, when you were what I wanted ? No . Wait. I am the aJJas1i11, the p erpetrator, the guilty. Cloaked in the deceit of tainted love and jilted hope, I fl ounder, despernte, cli11gi11gfar lift, yet losing hold on what I knew to be true . You wer e true. And now I have lo1t you . Betrayed by my own desire; fear, my weapo11 of choice, I have wielded like cold steel agafost tht! warmth of our yesterday1. Our yesterdays, that will still be your tomorrows. But not mine. Never again. Pain distills upon my soul and agony infuses my chest. 1he body heaves, unsure if ii is in pain or alive. A shout, a scream; hope mu.st be my bottle cry. My fight has begun. III Loneliness hangs from my drooping shoulders like a tattered shroud. In the hope of the future I hav, b11ri,d my love, whose desire for progress hos ,xacted its price by stealingfrom me my identity. I om childless, orphaned, and widowed, and the wind is cold, biting cold, like hunger gnawing, leaving a void, emptiness, I am confused. In distress I bow my head and howl at the moon, but she pulls dusk in closer around her, hiding her beautiful shun behind its mysterious folds. Evm she co11't stand to face my cries. Renting, ranting, writhing, in total darkne.u I wup. My breath rattles in my chest like the sound of distant muslut fire, and my heart beats to a steady canon. Its staccato rhythm shreds the walls of my inner sanctuary, and the open hills of my childhood hove become my gilded cage. The trees stand un/inel lo its treason, and I om left alone to grieve. Jv. Earth, that orbit where intelligence stumhlts on its consciouines.r, drunken with ill own se!f-importance, losing regard far precious moments. Ovtrtoken by sqft Jluomcence of gilded "suitable•, and yet it is still somehow all so beautiful. Pain, hope, love, and hate abound, sealed together come rhymed and round S,rond choncn,jirs/ romanus, lost forecasts, and endless fences. Confusing, messy, and sometime .r inarticulate, life co11ti1111es its endless, chuming turning rite, from death to life.from birth to grave, from farce to fancy,from things lost and things saved. It turns, and amidst the moss of genetics, chemicals, DNA, and cosmetics, The psychology, sociology, archaeology, and all the other apologies, lift turns, searching, ever leaning, ever learning, ever twisting, ever turning, we be, we are, we laugh, we cry, we live, we love, we danu, we die. And whatever waits in our own tunzing of events, whether welcomed or not, expected or 11omeme, buried beneath the comta11t dive, there is a rhyme, there is reason, which keeps us alive. A moment ofjoy, a moment of sin, A half-11/lered prayer, with a hope we'll still win. And 011t and about, and in quite close, Reality turns, yes pivots on what we love most. So th,re is the secret, and there is the dart, Lift's more about tr11th1 and less about fnir. It's nil about hope and searching.fiercely far lov,, and after all ef that digging to find out we're enough. Leamillg that joy con exist because of the pain, and if that's a must, then there's something to gain, from .second chanus,.ftrft romtmce.r, lost forecnsls, and mmd,d fences. Franz Liszt's Sonata in B Minor is, as described by Ahn Walker, "arguably one of the greatest keyboard works to come out of the nineteenth century". This work has attracted the most scholarly attention out of all of Liszt's compositions. There are a number of different theories as to what hidden meaning this piece embodies, though Liszt himself did not say much on the subject. Some of the more prominent views include: 1. The sonata depicts the Faust legend, with themes symbolizing the main characters of"Faust", "Gretchen" and "Mephistopheles". 2. 'foe sonata is biographical; the musical contrasts depicting Liszt's own journey in life. 3. 'Jl,e sonata is an interplay between God and Satan, based on the Bible and on Milton's Paradise Lost. 4. 1l1e sonata is an allegory of Adam and Eve in the Carden of Eden and portrays the Fall of Man. 5. 1l1e sonata is meant to be a piece of"expressive form"with no programmatic meaning beyond the music itself. Even though the actual meaning of the piece is debated, there is one aspect in which scholars tend to agree, and that is the architecture of the 30 minute composition.1he piece is considered to be "a sonata across a sonata", a four movement work seamlessly rolled into one but set against the background of a full-scale sonata form. The premiere performance of the sonata was not well received and caused a minor scandal among conservative critiques because of Liszt's forward-thinking techniques employed in its creation, but it has long since been heralded as one of Liszt's masterpieces. -Jessica Roderer coLLEbE oftheARTS UtahState University_ 

An Evening of Drama: A Solo and Duo Concert with Jessica and Gabriella Roderer

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An Evening of Drama: A Solo and Duo Concert with Jessica and Gabriella Roderer

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