Paul A. Lee, piano Doctoral Recital Series Katzin Concert Hall I January 20, 201717:30 p.m. Program Ludwig van Beethoven (1770-1827) Violin Sonata No. 2 in A Major, Op. 12, No. 2 Allegro vivace Andante piu tosto Allegretto Allegro piacevole Shelley Rich, violin Vier emste Gesange (Four Serious Songs), Op. 121 Denn es gehet dem Menschen wie dem Vieh Ich wandte mich und sahe an alle 0 Tod, o Tod, wie bitter bist du Wenn ich mit Menschen-und mit Engelszungen redete Johannes Brahms (1833-1897) Robert Allen Saunders, bass Intermission William Bolcom (b. 1938) mini cabs I Feel Good People Change Those Food Song #1 Food Song #2 I Will Never Forgive You Songette Not Even a Haiku Maxim#l Maxim#2 Anyone Finale: Mystery of the Song? Robert Allen Saunders, bass ARIZONA STATE UNIVERSITY School of Music Fantasiestiicke, Op. 73 Zart und mit Ausdruck Lebhaft, leicht Rasch und mit Feuer Robert Schumann (1810-1856) Genevieve Clarkson, tuba Suite from L 'histoire du so/dat Marche du Soldat Le Violon du Soldat Petit Concert Tango-Valse-Rag La Danse du Diable Igor Stravinsky (1882-1971) Shelley Rich, violin Cris Inguanti, clarinet Texts & Translations Vier ernste Gesiinge 1. Denn es gehet dem Menschen wie dem Vieh; wie dies stirbt, so stirbt er auch; und haben a/le einerlei Odem; und der Mann hat nichts mehr den das Vieh: denn es ist al/es eitel. For it is to the man as to the beast; as this one dies, so he also; and all have one and the same breath; and the man has nothing more than the beast for it is all vain. Es fiihrt al/es an einen Ort; es ist al/es von Staub gemacht, und wird wieder zu Staub. Wer weifl, ob der Geist des Menschen aufwiirts fahre und der Odem des Viehes unterwiirts unter die Erde fahre? Everything goes to one place; It is all made of dust, and returns again to dust. Who knows ifthe man's spirit may go upwards and the beast's breath downwards under the earth may go? Darum sahe ich, dass nichts Bessers ist, Therefore I saw, that nothing is better denn dass der Mensch frohlich sei in seiner Arbeit, than the joyful man in his work, denn das ist sein Tei/. for that is his part. Denn wer will ihn dahin bringen, For who will bring him there, dass er sehe was nach ihm geschehen wird? that he might see will happen after him? From Ecclesiastes 3: 19-22 2. !ch wandte mich und sahe an a/le, die unrecht leiden unter der Sonne, und siehe, da waren Triinen, derer, die Unrecht litten, und hatten keinen Traster, und die ihnen Unrecht tiiten, waren zu miichtig, dass sie keinen Traster haben konnten. I turned myself around and looked at all who suffer injustice under the Sun, and see there were tears, of those, who suffered injustice and had no comforter, and those who would do injustice to them were so strong that they were able to have no comfort. Then I praised the dead Da lobte ich die Toten, die schon gestorben waren, who already were dead who are happier than the living mehr a/s die Lebendigen, who still had life; die noch das Leben hatten; and yet better is the one that is not born und der noch nicht ist, ist besser, a/s a/le beide, and is not aware of the evil that is und des Bosen nicht inne wird, das unter der Sonne geschieht. done under the sun. From Ecclesiastes 4: 1-3 3. 0 Tod, wie bitter bist du wenn an dich gedenket ein Mensch, der gute Tage und genug hat und ohne Sorge /ebet; Und dem es wohl geht in alien Dingen und noch wohl essen mag! 0 Tod, wie bitter bist du. 0 Tod, wie wohl tust du dem Durftigen, der da schwach und alt ist, der in alien Sorgen steckt, und nichts Bessers zu hoffen, noch zu erwarten hat! 0 Tod, wei wohl tust du. Oh Death, how bitter are you when a man remembers you, who has enough good days and lives without care and for whom all things go well and who also may eat well. Oh Death, how bitter are you! Oh Death, how comforting you are to the needy one, who is weak and old, who is stuck in many troubles, and who has nothing better to hope for or expect! Oh Death, how comforting are you. From Ecclesiastes 41: 1-2 4. Wenn ich mit Menschen -und mit Engelszungen redete Ifl spoke with men's and angels' tongues und hiitte der Lieber nicht, so wiir' ich ein tonend and had not Love, l would only be a sounding Erz oder eine klingende Schelle. brass instrument or a tinkling cymbal. Und wenn ich weissagen konnte, un wusste alle Geheimnisse und alle Erkenntnis und hiitte alien Glauben, also, dass ich Berge versetzte; und hiitte der Liebe nicht, so wiire ich nichts. And if I could prophesy and understand all mysteries and all knowledge, and had all faith so that I could remove mountains; and had not love, so I should be nothing, Und wenn ich al/e meine Habe den Armen giibe, und liesse meinen Lieb brennen und hiitte der Liebe nicht, so wiire mir 's nicht nutze. And if I gave all my goods to the poor, and let my body bum and had not love, so it would not profit me anything. Wir sehen jetzt durch einen Spiegel in einem dunkeln Worte; dann aber von Angesicht zu Angesichte. Jetzt erkenne ich 's stuckweise; dann aber werd ich 's erkennen, gleich wie ich erkennet bin. We see now in a mirror in a dark word; then but from face to face now I know in part; then shall I know, even as I am known. Nun aber bleibet Glaube, Hoffeung, Liebe, diese drei: aber die Liebe ist die grosseste unter ihnen. And now remains Faith, Hope, Love, these three: but Love is the greatest among them From/Corinthians, 13: 1-3, 12-13 Translations adapted from Lois Phillips' Lieder Line by Line (New York, Oxford University Press, 1996). mini cabs I. I Feel Good I feel good about something! I feel good about something and I'm going to find out what it is! 8. Not even a haiku I rub your name. I rub your name. My life, my life appears. 2. People Change People change. People change into what they are. 9. Maxim #1 Half started, half begun. 3. Those Those who want to all the time do it less than those who don't. 10. Maxim #2 You can whack a baby's behind with a dead turkey but don't spill tomato aspic on the Law! 4. Food Song #1 Are you antipasto or provolone? 11. Anyone Anyone who cares enough about you to steal your mail can't be all bad. 5. Food Song #2 French food flambe. Mexican food, ole. Jewish food, oy vay. 12. Finale: Mystery of the Song? Mystery of the song? It means what it means and you mean what you mean and how the two do together spells the song. 6. I Will Never Forgive You I will never forgive you! I will never forgive you! Never forgive you for my behavior. 7.Songette You lie through your teeth! but one little tooth says, "How can you lie? You don't know the truth." Artist Biographies Violinist Shelley Rich has been a member of the string faculty at Northern Arizona University since 2007 as Instructor of Violin and Violin/Suzuki Pedagogy. She regularly performs on NAU faculty recitals, the Horizons Concert Series, and currently serves as the assistant concertmaster and principal second violin (rotating) of the Flagstaff Symphony Orchestra. Over the years, Ms. Rich has performed with numerous orchestras, including the Flagstaff Festival Orchestra, Oregon Festival of American Music, Oregon Coast Festival, Eugene Symphony, Ballet West Orchestra, Geneseeo Orchestra (NY), Rochester Philharmonic, Tanglewood Festival Orchestra, Music Academy of the West Opera Orchestra, and the Heidelberg Castle Festival Opera Orchestra in Germany. Ms. Rich is a 1991 graduate of the Eastman School of Music, where she earned a BM in violin performance and studied chamber music intensively for two years with members of the Cleveland Quartet. Jn 1997, she completed a Master's degree in violin performance at Northern Arizona University, where she taught string methods and served as vice president and co- founder of the Arizona Suzuki Association. From 1997-2005, Ms. Rich was the instructor and coordinator of the violin/viola Pedagogy Program at the University of Oregon, where she founded and directed the Community Music Institute Suzuki Strings Program and Chamber Players Program. While in Oregon, Ms. Rich was also the founder/director of the Northwest Suzuki Institute and the Northwest Advanced String Camp, which attracted students from across the western United States. Ms. Rich has served on the faculties of string workshops and Suzuki institutes across the country, including Oregon, Colorado, Washington, Utah, California, Arizona, and Hawaii. A dedicated teacher, Ms. Rich has taught numerous students who have gone on to successful careers in music and have achieved awards ii) competitions (State ASTA solo competitions, FischoffNational Chamber Music Competition, Junior category), performed with professional orchestras, and received scholarships to high profile music camps and music schools, including Rice, Colburn, Oberlin, and the University of Michigan. Ms. Rich has served as president of both the Arizona and the Oregon chapters of the American String Teachers Association. In addition to her NAU violin students, she currently teaches pre-college students through the NAU Community Music and Dance Academy, where her two daughters study violin and cello. Robert Allen Saunders (DM, MM Indiana University, BM Marshall University) was a voice pupil of Paul Kiesgen and Roy Samuelsen for modern voice, and Paul Elliott for instruction in early vocal practices. Saunders maintains an active performing schedule in opera, ensemble, and recital appearances. In August of2009, he performed the role ofSparafucile for the Montana Lyric Opera Company. Other opera roles he has sung include Sparafucile in Verdi's Rigoletto, Dr. Bartolo in Rossini's Barber ofSeville, The Doctor in Berg's Wozzec, Doctor Bartolo in Rossini's Barber ofSeville, Dr. Grenville in Verdi's La Traviata, and the Second Man in Armor in Mozart's The Magic Flute. In 2001, Saunders was the bass soloist for two performances of Mozart's Requiem Mass in Russia with the State Orchestra of Russia in Moscow and with the St. Petersburg State Orchestra in St. Petersburg. More recent performances include guest soloist appearances in Frigyes Hidas' Requiem at Middle Tennessee State University in October 2006 and bass soloist with The Viola da gamba Dojo of New York, directed by John Mark Rozendaal in November of2007. Allen frequently performs with the Fort Wayne Early Music Ensemble, specializing in early Baroque music. A Handel specialist, Allen recently presented a paper on Baroque ornamentation at The Hawaii International Conference on Arts and Humanities in January of2008. Jn July of2010, he co-presented a workshop on baroque ornamentation in Piobbico, Italy for "Music in the Marche" an opera and Italian language program in which he teaches during June and July. Prior to joining the voice faculty at the Northern Arizona University School of Music in August 2008 where he teaches private vocal lessons, master classes, and acts in an advisory role to the NAU Opera, he was the Coordinator of Voice at Indiana University-Purdue University Fort Wayne where he taught voice, diction, vocal pedagogy, song literature, and directed the IPFW opera workshop. Cris Jnguanti joined the woodwind faculty at Northern Arizona University in the fall of2014 after serving as the assistant principal and bass clarinetist of the Vancouver Symphony Orchestra for seventeen seasons. He has also been a member of the Pacific Northwest Ballet and Houston Ballet Orchestras, the New York City Opera National Company Orchestra, and the New Philharmonia of Portugal, and has appeared as a soloist with orchestras and in recital in Europe and North America. In addition, he has performed in a wide variety of chamber series, including guest appearances with the Hancock Chamber Players, the Pro Nova Ensemble, and the Blue River, Forster, and DiNovo Quartets. As a member of the Manhattan Wind Quintet, Mr. Inguanti has won numerous prizes in chamber music competitions and has commissioned a number of new works for this genre. He has recorded the Mozart Sinfonia Concertante for Winds with the New Philharmonia of Portugal, a CD of premieres for woodwind quintet with the Manhattan Wind Quintet, two solo CD's (one of which, VOX TERRA- music written for the clarinet from 1980 to 2010, was nominated for best CD in the Western Canada Music Awards), and is heard on many CBC recordings with members of the Vancouver Symphony Orchestra. Prior to his new post at NAU he taught at the University of British Columbia, where he was a member ofNu:BC, the School of Music's new music ensemble, and also taught at the Vancouver Academy of Music. Genevieve Clarkson (doctoral candidate Indiana University, MM Univeristy of Cincinnati College-Conservatory of Music, BM James Madison University) joined the brass faculty at Northern Arizona University in the fall of2016. Her past teachers have included John Mueller, John Cradler, Kevin Stees, Timothy Northcut, and Daniel Perantoni. Ms. Clarkson has won a variety of awards and recognition for her solo playing. In 2005, she was a semi-finalist in the Falcone International Young Artist Tuba Competition and the next year won runner-up in the International Tuba-Euphonium Association (ITEA) Young Artist Tuba Competition in Denver, Colorado. More recently, she was a semi-finalist in the Falcone Tuba Artist competition (2009) and the ITEA Artist Tuba Competitions (2010 and Wl2~ . . . Ms. Clarkson has performed with the Lexington Philharmonic (Lexington, KY), the Richmond Symphony Orchestra (Richmond, IN), the Lafayette Symphony Orchestra (Lafayette, IN), and the Terre Haute Symphony (Terre Haute, IN). In addition to professional symphonies, Ms. Clarkson has played with a wide variety of music festivals including the National Symphony Orchestra Summer Music Institute (Washington, DC), the Shenandoah Valley Bach Festival (Harrisonburg, VA), and the Spoleto Festival (Spoleto, Italy). She also plays contrabass tuba in the In Motus Quartet, a tuba-euphonium quartet made up of professional players and teachers from across the country. Assisted by a recording artist grant, the In Motus Quartet released their first CD in the spring of2016 through Emeritus Recordings.