Center for the Performing Arts Tuesday Evening March 18, 2003 8:00p.m

Block, Glenn, Director

Vought, Michelle, Director

English

Center for the Performing ArtsTuesday EveningMarch 18, 20038:00 p.m

Vought, Michelle

Block, Glenn

ISU ReD: Research and eData

Illinois State University ISU ReD: Research and eData School of Music Programs Music 3-18-2003 Le Nuove Musiche Michelle Vought Director Illinois State University Glenn Block Director Follow this and additional works at: https://ir.library.illinoisstate.edu/somp  Part of the Music Performance Commons Recommended Citation Vought, Michelle Director and Block, Glenn Director, "Le Nuove Musiche" (2003). School of Music Programs. 2431. https://ir.library.illinoisstate.edu/somp/2431 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact ISUReD@ilstu.edu. I Illinois S-ccrte Univel"sity I School of Music I ,I I 1 I I I I I I I I Illinois St.ate Unive-rsity ~acuity New Music ~nsemble Michelle Vought,, ~ounde-r and Ca-Di-redo-r Glenn Black, Ca-Di-redo-r Lf; NUOVf; MUSICHf; "N M II ew US'IC M .. ...di 18. 2003 8 :00p.m . I Th;, ;, th, Q,..J,",J-Jth ,,...,... of ,h. ,=, = s~-· Beckoning N"th<>n Wmel,nk. changgo GT'eg W<>milton, cello Se-n:ia ~wang. gong~ Serra Hwang Listening to the Night (World Premiere) Nancy Van de Vate (born 1930) After the big rain, surfbooms ruffled the tent flaps. I put my ear to the ground, listening for strangers. "Who are you?," I said to the darkness , "who are you?" But I heard bird voices calling, and saw stars through the tent flaps . A little later, I pressed my heart to the tent floor. "Beat softly, beat softly, softly," I said to my heart. Nothing must waken. Between heartbeats, I heard a heart beating, beating. Mysterious Habitats M,chelle Vought. ,oprano k:T'i,ti Benedick. Pute SaT'ah Genl-,-,y, v,Oln Beth ~rwin, v,Oln ChT'i, k:elh. v,ola Ying 'W<>ng, cello 'W,[liam k:oehleT', JouUe ba» 'W;lli<>m Cuthben, v,braphone Angelo .f=avi~. gudar Intermission Dusan Bogdanovic (born 1955) I I I ·1 I I I I I I I I I I I I I I I I I I I I I I I I I Ancient Voices of Children ( 1970) I. The little boy was looking for his voice DANCES OF THE ANCIENT EARTH II. I have lost myself in the sea many times III. From where do you come, my love, my child? DANCE OF THE SACRED LIFE-CYCLE IV. Each afternoon in Granada, a child dies each afternoon GHOST DANCE V. My heart of silk is filled with lights. Michelle Vought, ,oprano T )eT' l=oehT', boy ,oprano Bruce 8uT't.on, manJo/-n PeteT' W enlwo-rt.h, muf;/ca/ f;aw ~ harmoni'ca , Julia Jamieson, harp Paul Borg, efectr,,C p,"ano OaviJ CollieT', percuf;r,On 'W,lliam Cuthben. percuman ScoH Simon, per>euH10n Glenn Block. conduclo'f' Excerpts from Selected Poems by Federico Garcfa Lorca. Copyright 1955 New Directions Publishing Corporation. Copyright Aguilar Ediciones. All rights reserved. Used with permission of the publisher, New Directions Publishing Corporation, New York, U.S.A English Translations: W.S. Merwin (I) Stephen Spenaer and J.L. Gill (II) J .L. Gill (III, V) Edwin Honig(IV) George Crumb (born 1935) I El niiio busca su voz, (La tenfa el rey de los grillos.) En una gota de agua buscaba su voz el niiio. No la quiero para hablar; me hare con ella un anillo que llevara mi silencio en su dedo pequeiiito. II Me he perdido muchas veces por el mar con el oido Ueno de flores recien cortadas, con la lengua llena de amor y de agonfa. Muchas veces me he perdido por el mar, como me pierdo en el coraz6n de algunos niiios. III lDe d6nde vienes, amor, mi niiio? De la cresta del duro frio. lQue necesitas, amor, mi niiio? La tibia tela de tu vestido. jQue se agiten las ramas al sol y salten las fuentes alrededor! En el patio ladra el perro, en los arboles canta el viento. Los bueyes mugen al boyero y la tuna me riza los cabellos. lQue pides, niiio; desde tan lejos? Los blancos montes que hay en tu pecho. jQue se agiten las ramas al sol y salten las fuentes alrededor ! Te dire, niiio mio, que sf, tronchada y rota soy para ti. jC6mo me duele esta cintura donde tendras primera cuna! lCuando, mi niiio vas a venir? Cuando tu came huela ajazmin. jQue se agiten las ramas al sol y salten las fuentes alrededor! IV Todas las tardes en Granada, todas las tardes se muere un niiio. V Se ha Jlenado de Juces mi coraz6n de seda, de campanas perdidas, de lirios y de abejas. Y yo me ire muy lejos, mas alla de esas sierras, mas alla de los mares, cerca de las estrellas, para pedirle a Cristo Seiior que me devuelva mi alma antigua de niiio. The little boy was looking for his voice. (The king of the crickets had it.) In a drop of water the little boy was looking for his voice. I do not want it for speaking with; I will make a ring of it that my silence will wear on its little finger. have lost myself in the sea many times with my ear full of freshly cut flowers, with my tongue full of love and agony. I have lost myself in the sea many times as I lose myself in the heart of certain children. From where do you com, my love, my child? From the ridge of hard frost. What do you need, my love, my child? The warm cloth of your dress. Let the branches ruffle in the sun and the fountains leap all around! In the courtyard a dog barks, in the trees the wind sings. The oxen low to the ox-herd and the moon curls my hair. What do you ask for, my child, from so far away? The white mountains of your breast. Let the branches ruffle in the sun and the fountains leap all around! I' JI tell you, my child, yes, I am tom and broken for you. How painful is this waist where you will have your first cradle! When, my child, will you come? When your flesh smells of jasmine-flowers. Let the branches ruffle in the sun and the fountains leap all around! Each afternoon in Granada, a child dies each afternoon. My heart of silk is filled with lights, with lost bells, with lilies, and with bees, and I will go very far, farther than those hills, farther than the seas, close to the stars, to ask Christ the Lord to give me back my ancient soul of a child. I 11 I 11 I I 11 11 I I 1 11 fl I fl ll I I [I ll I I I I I I I PT'OgT'am Noies by Geo-rge C-rumb ANCIENT VOICES OF CHILDREN was composed during the summer of 1970 on commission from the Elizabeth Sprague Coolidge Foundation, while I was in residence at Tanglewood, Massachusetts. This work forms part of an extended cycle of vocal compositions based on the poetry of Federico Garcia Lorca, which has absorbed much of my compositional energy over the past eight years. In ANCIENT VOICES OF CHILDREN, as in my earlier Lorca settings, I have sought musical images that enhance and reinforce the powerful yet strangely haunting imagery of Lorca' s poetry. I feel that the essential meaning of this poetry is concerned with the most primary things: life, death, love, the smell of the earth, the sounds of the wind and the seas. These "ur-concepts" are embodied in a language which is primitive and stark but which is capable of infinitely subtle nuance. In a lecture entitled THEORY 'AND FUNCTION OF THE "DUENDE," Lorca has, in fact, identified the essential characteristic of his own poetry. DUENDE (untranslatable, but roughly: passion, e'lan, bravura in its deepest, most artistic sense) is for Lorca "all that has dark sounds . . . This 'mysterious power that everyone feels but that no philosopher has explained' is in fact the spirit of the earth .. .. All one knows is that it bums the blood like powdered glass, that it exhausts, that it rejects all the sweet geometry one has learned . .. " The texts of ANCIENT VOICES OF CHILDREN are fragments of longer poems which I have grouped into a sequence that seemed to suggest a "larger rhythm" in terms of musical continuity. The two purely instrumental; movements - "Dance of the Ancient Earth" and "Ghost Dance" - are dance-interludes rather than commentaries on the texts. These two pieces, together with the 3'd song, subtitled "dance of the Sacred Life-Cycle" (which contains a rising-falling ostinato bolero rhythm in the drums), can be performed by a solo dancer. The vocal style in the cycle ranges from the virtuosic to the intimately lyrical. Perhaps the most characteristic vocal effect in ANCIENT VOICES is produced by the singer singing a kid of fantastic vocalise (based on purely phonetic sounds) into an amplified piano, thereby producing a shimmering aura of echoes. The inclusion of a part for boy soprano seemed the best solution for those passages in the text where Lorca clearly implies a child's voice. The boy soprano is heard offstage until the very last part of the work, at which point he joins the soprano onstage for the closing vocalise. The instruments employed in ANCIENT VOICES were chosen for their particular timbral personalities. Certain special instrumental effects are used to heighten the "exyressive intensity" - e.g., "bending" the pitch of the piano by application of a chisel to the strings (2" song); use of a paper-threaded harp (in "Dances of the Ancient Earth"); the frequent "pitch-bending" of the oboe, harp and mandolin. The mandolin has one set of strings tuned a quarter-tone low in order to give a special pungency to its tone. The Jhree percussionists command a wide range of instruments, including Tibetan prayer stones, Japanese temple bells and tuned tom-toms. The instrumentalists are frequently called upon to sing, shout and whisper. In composing ANCIENT VOICES OF CHILDREN I was conscious of an urge to fuse various unrelated stylistic elements. I was intrigued with the idea of juxtaposing the seemingly incongruous: a suggestion of Flamenco with a Baroque quotation ("Bist du bei mir," from the Notebook of Anna Magdalena Bach), or a reminiscence of Mahler with the breath of the Orient. It later occurred to me that both Bach and Mahler drew upon many disparate sources in their own music without sacrificing "stylistic purity." It is sometimes of interest to a composer to recall the original iompulse - the "creative germ" - of a compositional project. In the case of ANCIENT VOICES I felt this impulse to be the climactic final words of the last song:" . .. and I will go very far .... to ask Christ the Lord to give me back the ancient soul of a child." Kristi Benedick is a second year graduate student at !SU. She received her BME from Southeast Missouri State in 2001. Glenn Block is in his 13 th year as Director ·of Orchestras and Opera at Illinois State University. In addition, he has served since 1983 as Music Director of the Youth Symphony of Kansas City, which was invited to perform throughout Spain and at the World's Fair in Seville in June of 1992. A frequent guest conductor, he has appeared in over 27 states with all-.state and profession orchestras. Paul Borg, Professor of Music, has taught at Illinois State University since 198 I. His teaching assignments have included music history and literature, music theory, piano accompanying, early music ensemble, as well as general education courses. He remains active as a pianist both as chamber musician and as accompanist and has participated on recital series at !SU, as well as at Indiana University, the University of Georgia, Bradley University, Western Illinois University, and Butler University. His musicological research interests include Spanish Renaissance Music, Music in the Spanish New World, and Guatemalan music. Bruce Burlon is a professional graphic artist and member of the Irish folk band, the BOGS/DE ZUKES, most recently heard in concert with the !SU Symphony Orchestra on Valentine's Day. David Collrer, Professor of Percussion at Illinois State University, and also serves as Principal Timpanist with the Illinois Symphony Orchestra and the Illinois Chamber Orchestra. He is active with computers, electronic music, MIDI, and multi-media and performs with the Digital Arts Consort and a faculty MIDI ensemble. He also serves as the Webmaster for the School of Music web site. Bill Cuthberl is a graduate student at Illinois State University. He is also a member of the Peoria Symphony Orchestra and plays with the Illinois Symphony Orchestra. Judith Dicker, Professor of Oboe at Illinois State University, Principal Oboe with Opera Illinois, and Bands of America Clinician. Judith has performed as principal oboist with the Wichita Symphony Orchestra and the South Bend Symphony and as oboist with the Toledo Symphony and the Gelsenkirchen Philharmonic Orchestra in Germany. Elizabeth Erwin is a sophomore speech pathology major minoring in music and serves as the assistant concertmaster of the Illinois State Symphony Orchestra. Angelo Favis received his OMA from the Manhattan School of Music, and his BM and MM from the San Francisco Conservatory of Music. His major teachers have included Lawrence Ferrara, David Tanenbaum, Nicholas Goluses and David Starovin. A major prizewinner at the 1990 Asta National Solo Competition and the i990 GFA International Solo competition, he has performed both solo and chamber recitals in the US and the Philippines and with the Little Orchestra Society of New York. Twelve year old, Tyler Foehr has performed frequently in the Bloomington/Normal area where he has sung the role of Amahl twice in Gian Carlo Menotti's opera Amahl and the Night Visitors with Prairie Fire Theater. In addition, he played Oliver in the Normal Parks and Recreation Summer Theater production of Oliver. During the summers he attends Northwestern University's Center_ for Talent Development. Sarah Gentry is Associate Professor of Violin at Illinois State University, where she also teaches music theory. Dr. Gentry currently performs as Concertmaster of the Illinois Opera Orchestra, first violinist of the !SU Faculty String Quartet and violinist of the Ricard Trio. Other recent activities include solo performances with the Lake Charles Symphony Orchestra (LA), Baroque Artists of Champaign-Urbana (IL), Millennium Strings of Morris, NY and performing and teaching as Faculty Artist at Blue Lake Fine Arts Camp in Michigan. l I 1 I I I I I I I I I I I I I I I I I I I I I I I Gregory Hamilton re~eived his MM degree in Cello Performance from Northern Illinois University and c?unts among his me_ntors Bernard Greenhouse and Raya Garbousova. He has concretized extensively, both as a sol01st and orchestral cellist. He was principal cello for the Spoleto Festival Opera _Orchestra, a member of the Columbus Symphony Orchestra, and is currently a member of S1Dforna da Camera. An Artist-in-Residence at the SUNY London Piano Festival in the UK Hamilton is currently pursuing his DMA at the University of Kansas. ' Nat_han. Hesselink pursued studies in cello performance as an undergraduate at Northwestern U01vers1_ty. A~ orchestral audition led him to Japan, where his interests turned to ethnomusicology. He received ~s M.M. from ~e ~niversity of Michigan and his Ph.D. in Ethnomusicology (on Japanese music) from the U01vers1ty of London. His current research focuses on the Korean percussion ensemble tradition, p 'ungmullnongak. Sella H":a_ng was b~m and raised in Seoul, Korea. She moved to the United States at the age of J 8, later rece1v1Dg a BA m Composition from the University of California, Santa Barbara and an MA and OM~ in ~ompo,sition from the University of Michigan, Ann Arbor. Since completing her degr~es she has h~ed ID London and in Chonju, Korea, where she continued her music research, performances, and teaching. Musical activities include the performance of her orchestral piece "Pinari" by the Halle Orchestra for the BBC Composer's Platform and the winning of first prize in the International League ~or Women Composers, Search for New Music Competition. Serra Hwang's music has been performed ID Korea, England, the West Indies, Mexico, Puerto Rico, Costa Rica, and Brazil. Chris Kelis, violist, is a graduate student at !SU. In 2002, Chris received his BM in viola performance from Southwest Missouri State University. He has studied with Amy Muchnick and currently works with Kate Hamilton. W~liam Koehler, Professor of Music at Illinois State University where he teaches applied double bass, ~tnng pect_agogy, graduate courses in music education including psychology of music, and 1mprov1satton. Dr. Koehler has performed in England, Belgium, Germany, Austria, Russia, Belo-Russia, Puerto Rico and throughout the U.S. He is currently Principal Bassist with the Peoria Symp~ony and freelance jazz bassist. Bill has completed a new Solo Bass CD entitled "Glimpse", featunng original compositions in jazz and world fusioµ idioms as well as classical pieces for unaccompanied solo bass. Maria Pao is assistant professor of Spanish in the Department of Foreign Languages at Illinois State ~niversity. She dedicates this evening's recital to the students in her poetry seminar, who are turning 1Dto fine readers of Garcia Lorca and the other poets of his generation. Scott Simon is a senior percussion student at Illinois State University. l: ft!ich~lle Vought is Assistapt Professor of Voice and Opera at Illinois State University and has disttngmshed herself as an opera singer and recitalist throughout the country. A specialist in ~ontem~orary musi~, the soprano has been featured on three compact discs for the prestigious 1Dtei:nattonal recordmg company Vienna Modem Masters, a company committed to recording new music, and has performed the music of Nancy Van de Vate worldwide. Y~ng Wang, a graduate student and member of Champaign/Urbana's Sinfonia da Camera, was a recent ~oner of the !SU Concerto Competition. On March 5, 2003, she played the Walton Cello Concerto . with the !SU Symphony. She graduated with her undergraduate degree from the Central Conservatory of Music in Beijing, China. Pete~ Wentwort_h plays the musical saw and harmonica, and last appeared at !SU in last spring's musical production of BIG RIVER. Peter's harmonica debut was in Kfar Shmaryahu, Israel and his saw d~~ut ~as at ~astLight Theatre in East Peoria. Peter would like to welcome prospective saw players to v1s1t his web Sile: www.musicalsaw.com I Upcoming .{;vents M,,T'Ch 19 KRH 6:00p.m. Junior Recital, David Bostik,french horn 19 CPA 8:00p.m. Combined Trombone Choir & Tuba/Euphonium Ensemble 1· 20 CPA 8:00 p.m. Guest Artist, Roland Szentpali, tuba 21 KRH 6:30 p.m. Senior Voice Recital, Kyle Merkle, bass I 21 KRH 7:30 p.m. Graduate Recital, Chris Render, hom 21 KRH 9:00p.m. Graduate Recital, Sara Giovanelli, hom I 22 CPA 2:00p.m. Guest Artist, Stephen Lange, trombone 22 KRH 5:00p.m. Senior Recital, Laura Doherty, soprano 22 KRH 6:15 p.m. Junior Recital, Dennis Tobenski , tenor I 22 CPA 8:00p.m. Guest Artist, Fujimoto/Both, piano duet 23 CPA 3:00 p.m. Madrigal Singers & Concert Choir I 23 KRH 6:30p.m. Graduate Recital, William Cuthbert, percussion 25 CPA 8:00 p.m. Faculty String Quartet I 26 KRH 6:00p.m. Junior Recital, Ivory Sevastion, clarinet 26 CPA 8:00p.m. Bastien and Bastienne & other acts operas I 27 KRH 7:00p.m. Graduate Recital, Trevor Headrick, trombone 27 CPA 8:00p.m. Bastien and Bastienne & other acts operas I 28 KRH 6:00p.m. Graduate Recital, Matt Lorz, baritone 28 CPA 8:00p.m. Encore Jazz Choir 29 KRH Noon Senior Recital, Ellen Skolar, trombone I 29 KRH l:30p.m. Senior Recital, Michelle Kopay, percussion 29 KRH 2:45 p.m. Senior Recital, Corey Harris, soprano I 29 KRH 4:30p.m. Senior Recital, Scott Simon, percussion 29 KRH 6:00p.m. Graduate Recital, Elivi Varga.flute 29 KRH 7:30 p.m. Graduate Recital, Ying Wang, cello 29 KRH 9:00p.m. Senior Recital, Vanessa Passini, English hom & oboe CPA Center for the Performing Arts KRH Kemp Recital Hall I 

Le Nuove Musiche, March 18, 2003

https://ir.library.illinoisstate.edu/cgi/viewcontent.cgi?article=3430&amp;context=somp

Le Nuove Musiche

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