Table Of Content

BRIGHAM YOUNG UNIVERSITY COLLEGE OF FINE ARTS AND COMMUNICATIONS School of Music PERFORMANCE PROGRAMS September 2005-December 2005 BRIGHAM YOUNG UNIVERSITY College ofFine Arts and Communications School ofMusic presents Claudia Adriana Badillo Piano Student of Marlene Bachelder Required for Bachelor ofMusic Degree with an Emphasis in Performance. 7:30 p.m. September 2005 1 Madsen Recital Hall Harris Fine Arts Center The Brigham Young University School ofMusic welcomes you to this event. We are grateful foryourattendance and support. Sothateveryone can enjoythisperformance, we ask foryourattention toseveral issues: • Please take a moment to turn offyour cellular phone, pager, or any audio alerts. Since tonight's concert is being recorded, we ask you to be as quiet as possible duringtheperformance. • Please notice the organization of the program so that your applause will be offered at appropriate intervals. Entireworksorgroupings ofpieceswillusuallybeper- formedwithoutinterruption. Ifyoumustleaveduringtheperformance,pleasewaitfor applausetodoso. Please help us maintain a more formal atmosphere appropriate in performances sponsoredbythe School of Music. Shoutingtoperformers,whistling,ortalkingdur- ingtheperformanceis inappropriate here. • Thankyou fornotbringingbabiesorchildren too youngto enjoy this concert. 5 PROGRAM French SuiteNo. 4 inE-flatMajor,BWV81 Johann SebastianBach Allemande (1685-1750) Courante Sarabande Gavotte Air Gigue SonataNo. 13—inE-flat—Major,op.—27,no. 1 LudwigvanBeethoven Andante Allegro Andante Allegromoltoe vivace (1770-1827) Adagioconespressione Allegrovivace Nocturne inCMinor,op.48,no. 1 FryderykFranciszekChopin Polonaise inCMinor, op. 40,no. 2 (1810-1849) TwelveAmericanPreludes AlbertoGinastera Octaves (1916-1983) TributetoJuanJoseCastro TributetoRobertoGarciaMorillo Thismusical event isthefirstperformance sponsoredbythe BYU School ofMusic forthe 2005-2006 season. performances,byu.edu BRIGHAM YOUNG UNIVERSITY College ofFine Arts and Communications School ofMusic presents American Piano Duo Shumway Jeffrey Del Parkinson 7:30 p.m. 2 September 2005 Madsen Recital Hall Harris Fine Arts Center ProgramNotes Camille Saint-Saens wrote four symphonic poems. Danse macabre, the third and best known, emerged in both an orchestral and a two-piano version in 1874. Thisweirdandeeriewaltzwas inspiredbyapoemofHenriCazalisthatinturnis basedonanancientmythabouttherevelsofghostsonthenightofAllSouls'Day. In a graveyard at midnight Death begins the nocturnal goings-on by striking a tombstonewithhisheel twelvetimes. Thewitchinghourhavingsounded, thecall to the dance is given by the shrill notes ofDeath playing a fiddle whose highest string—is tuned a halfstep flat. This summons brings forth the dead for a spectral waltz brisk,jerky rhythms set the pace forthe rigid and mechanical dancing of the skeletons.Asecond theme, more flowing and lyrical, emerges and eventually joinshandswiththemaintheme.AfainthintisheardoftheDies iraetheme from therequiemmass forthe dead. The two mainthemes merge as the pace quickens feverishly. The frenzied dancingis at itsheightwhen suddenlyisheardthe crow- ingofacock,heraldingthearrivalofdawn.Thissignalbreaksthespell,andtothe vanishing strains ofDeath's tune, the dancers scatterhurriedlytotheirabodes. Robert Schumann composed this melodious "Etude in the Form ofa Canon" in 1845. It is taken from a group ofsix StudienfurdenPedal-Flugelwhich were written forapiano with apedal keyboard similarto that ofan organ. He hadfirst become acquainted with this instrument while he was teaching at the Leipzig Conservatory, where it had been installed for the benefit ofthe organ students. He was so impressed by its possibilities that he had a pedal attachment put on his own piano, and subsequently wrote two sets of compositions for it. Since the instrument became obsolete, Claude Debussy transcribed this canon for two pianos, preserving with remarkable fidelity Schumann's style to the exclusion of Debussy's own stylistic devices. George Gershwin's Porgy andBess is a drama oflove and violence among the inhabitants ofCatfish Row ("a former mansion ofthe aristocracy, now a Negro tenement") on the Charleston, South Carolina, waterfront. The novel by DuBose Heyward, a native ofthat seaport, appeared in 1925. Two years after its publica- tion, the author and his wife turned the story into a successful play. Although Gershwin first proposed collaborating on a "folk opera" as early as 1926, he de- layed the project for seven years while he churned out ten musicals and refined his composition and orchestration skills. Once he started the opera in late 1933, heworkedon itfeverishly fornearlytwoyearsuntil itspremiere in Bostonon 30 September 1935.Already influenced by the music ofHarlem's clubs, he moved out ofhis sumptuous upperManhattan apartment and rented a waterfront cabin near Charleston to drink in the physical and musical atmosphere of Catfish Row. Fromthere Gershwinvisited Carolinachurches, homes, nightclubs, and prayermeetings, soaking up everything in search ofinspiration forhis music. Heyward continued working on the libretto, but eventually George's brother PROGRAM Dansemacabre,op. 40 Camille Saint-Saens (1835-1921) Etude intheFormofaCanon,op. 56,no. 4 RobertSchumann TranscribedbyClaudeDebussy (1862-1918) FantasyonGeorgeGershwin'sPorgyandBess PercyGrainger (1882-1961) PAUSE Rondo, op. 73 FryderykFranciszekChopin (1810-1849) Toccata, op. 2 HenrykGorecki (b. 1933) Scaramouche DariusMilhaud Vif (1892-1974) Modere Brazileira Ira was enlisted as co-lyricist. In an amalgamation ofjazz and the classical, plus hispersonalexperienceonCatfishRow,Gershwinevokesadepthoffeelingrang- ing fromheartbreakandpathos topassionandexaltation. Perhaps the seven-year delay allowed him to tap into the musical maturity needed to produce the bench- mark inAmerican. FryderykFranciszekChopininitiallyconceivedhis"Rondo" forpiano solo, but at the age ofnineteen rewrote it for two pianos. This expression of the young composerbreathesafreshness,analmostnaivequality. Filledwiththewistfulness and melancholic charm ofhis youth, a period untouched as yet by the bitterness and disillusionment of his later years, this piece is permeated with delicate grace and melodic beauty. Polish rhythms, expressive rubato, and enchanting modulations abound, while each entrance ofthe captivating main theme brings with it arefreshing interlude ofunmistakable elegance. From its improvisational and expectant opening to the grand finish, it strides freely from moods ofidyllic lyricismtobrilliantly effectivebravurapassages. Henryk Gorecki was born in 1933 in Poland, where he still lives with his wife Jadwiga and their two grown children in Katowice, an industrial city 185 miles southwest ofWarsaw. He surged to fame through his Symphony No. 3, "Sym- phony of Sorrowful Songs," which topped the classical charts in the USA and Britain, and amazingly rose as high as no. six on the British pop charts as well. Histwo-piano"Toccata"isanearlywork,dating from 1955. Itsincessantmotoric motionbuilds to an excitingand imposingclimax. Darius Milhaud's "Scaramouche," written in 1937, is an enduring favorite in the two-piano repertoire. "Scarmouche" is one of the iconic characters in the Punch andJudypuppet shows (aperformance art with roots in Italian commedia dell'arte). Hehas an extendableneckand is the ownerofThe Dog, anotherstock character.Thefirstmovement,whichaboundsinpolytonalityandpolyrhythms, is full ofgaiety and humor andprojects the atmosphere ofthe theatre orthe ballet. Thesecondmovementis inthemoodofagentlecradlesong.Thethirdmovement is based on the samba, a popular Brazilian dance rhythm ofAfrican origin that impressed MilhaudduringhisWorldWarI years in Brazil. This musical event is the secondperformance sponsoredbythe BYU School ofMusic forthe 2005-2006 season. performances,byu.edu