Joie de Vivre
ANNY CHENG
PIANO

Laraine Kaizer, VIOLIN
Dane Philpsen, OBOE
Julie Schlafer, BASSOON
Hope Shepherd, CELLO
C ourtney Sherman, SOPRANO

DOCTORAL RECITAL SERIES
KATZIN CONCERT HALL
SATURDAY, DECEMBER 2, 2006 • 2:30PM

MUSIC
-4-ferbergerCollege
of Fine Arts

ARIZONA STATE UNIVERSITY

Program
Trio pour Piano, Hautnois et Basson (1926)
Presto: Lent-presto
Andante: Andante con moto
Rondo: Tits vif
Trio pour Piano, Violon et Violoncelle, Op. 120
Allegro, ma non troppo
Andantino
Allegro vivo

Francis Poulenc
(1899-1963)

Gabriel Faurd
(1845-1924)

**There will be a 10-minute intermission**

Poemes pour Mi (1936)
Messiaen
i. Action de graces
ii. Paysage
iii. La maison
iv. Epouvante
II.
v. L'epouse
vi. Ta voix
vii. Les deux guerriers
viii. Le collier
ix Priêre exaucee

Oivier Messiaen
(1908-1992)

****** *********

This recital is given in partial fulfillment of the performance requirements
for the degree Doctorate of Musical Arts in Collaborative Piano performance.
Army Cheng is a student of Eckart Sellheim.
In respect for the performers and those audience members around you, please turn
all beepers, cell phones and watches to their silent mode.
Thank you.

Program Notes
This afternoon's recital consists of works from early 20-century
France. The composers presented today, Gabriel Faure, Francis Poulenc
and Olivier Messiaen, each have their own unique compositional language,
and their music has opened up an important pathway for those who have
followed. Their compositions have become established as landmarks in
the history of modern French music. Each of these composers not only
wrote magnificent vocal works but splendid instrumental pieces as well.
Their music portrays the legacy of literature and perpetual recollection.
Poulenc, one of Les Six composers, was true to his emotions and
not afraid to share them in his music. He consciously pursued a neoclassical ideal with Stravinsky and Debussy as models. In his Trio for
piano, oboe and bassoon, he adopted elegant symmetries with an
introduction in the French Baroque style. This work shows his interest in
traditional forms and reveals an ironic attitude towards the Baroque
tradition. He explained that the firs( movement follows the form of a
Haydn Allegro, and the final Rondo, the Scherzo of Saint-Saens's Second
Piano Concerto. This work is one of Poulenc's mature compositions,
which illustrate the highest qualities of his music: balance, proportion,
lyricism, humor, simplicity and clarity. The oboe and bassoon are ensured
that they would never become secondary instruments in this piece and so
the piano never dominates the musical discourse throughout this trio.
Faure, a composer, an educator and a devout Catholic, dedicated
his entire life to music which predominantly features piano and chamber
works. Faure's chamber music spanned through his entire life from his
first Violin Sonata in 1876 to the. String Quartet written in his final year.
One of his most celebrated pupils was Maurice Ravel, who was quite
devoted to him. While he was composing the last Trio in 1922, he suffered
from declining health, with worsening symptoms of sclerosis and
breathing and hearing problems. In this last period he pursued a solitary
and authentic course in his musical style with greater expressiveness, bold
harmonies and rich polyphony. The work to be performed this afternoon
reveals his characteristic qualities refined to the point of perfection; it also
illustrates his well-known personal quality of gentleness.

Messiaen is a towering figure in twentieth-century music, not only
as a tremendously important innovator, but also as an educator who
influenced his fellow avant-garde composers. Messiaen's music opens up
a creative world of infinite possibility which is made possible by our
increased understanding today of his musical language and techniques.
Fames pour Mi was written' in 1936, the year he married the violinist
Clarie Delbos . Mi was a nickname Messiaen gave his wife and this was
the first major song cycle in which'he included a dedication. Messiaen
wrote thle poems himself, into which are integrated thoughts on the
,sacramental and spiritual aspects of marriage. Poemes pour Mi is divided
into two books and consists of nine songs. There are many varieties of
styles in these songs. Some are pure poetic impressions, evoking colors,
perfume or a specific time of day. Others contain theatrical scenes,
psalmodies and ecstatic religious vocalizations. Messiaen used rhythmic
patterns from Indian deci-tala, Greek meters, and non-retrogradable
rhythms in this cycle, and in these songs we can see these techniques
developing during his experimental period in 1949-1951. Messiaen
'composed the poems and the music at the same time and his choice of
rhythm and melodic line reflects the speaking inflections of the poetry.

Translations
Poêmes pour Mi

Poems for Mi

i. Action de graces
Le ciel
Et l'eau qui suit les variations des nuages,

i. Thanksgiving

Sky
And water, following the changes
of cloud,
And earth and mountains, ever
Et la terre, et les montagnes qui attendent
waiting,
touj ours,
And light, transforming.
Et la lumiere qui transforme.
And an eye close to my eye,
Et un ceil pits de mon ceil,'
A thought close to'my thought,
Une pensee pres de ma pensee,
Et un visage qui sourit et pleure avec le mien, And a face that smiles and weeps
with mine,
And two feet behind my feet
Et deux pieds derriere mes pieds
As wave to wave is joined.
Comme la vague a la vague est tulle.
And a soul,
Et une ame,
Invisible, full of love and
Invisible, pleine d'amour et d'immortalite
immortality,
And garments of flesh and bone
Et un vetement de chair et d'us qui germera
to germinate for the resurrection,
pour la reurrection,
And Truth, and Sprit, an:J. Grace ,
Et la Write, et l'Esprit, et la Grace avec son
with its luminous heritage.
heritage de lumiere.
All that, you have given me.
Tout cela, vous me l'avez donne.
And you have given yourself too,
Et vous vous etes encore donne vous-meme,
Dan l'obeissance et dans le sang de votre Croix, In the obedience and blood of
your Cross,
Et dans un Pain plus doux que la fraicheur des In Bread sweeter than the
coolness of stars,
&ones,
My
God.
Mon Dieu.
Alleluia,
alleluia.
Alleluia, alleluia.
ii. Paysage
Le lac comme un gros bijou bleu.
La route pleine de chagrins et de fondrieres,
Mes pieds qui hesitant dans la poussiere,
Le lac comme un gros bijou bleu.
Et la voila, verte et bleue comme le paysage!
Entre le ble et le soleil je vois son visage:
Elle sourit, la main sur les yeux.
Le lac comme un gros bijou bleu.

Lanscape
The lake like a big blue jewel.
The road full of sorrows and
pot-holes,
My feet faltering in the dust,
The lake like a big blue jewel.
And there she is, green and blue
like the landscape!
Between corn and sun I see her ,
face:
She smiles, one hand shading
her eyes.
The lack like a big blue jewel.

iii. La maison

iii. The house

Cette maison nous allons la quitter:
Je la vois dans ton ceil.
Nous quitteroris nos corps aussi:
Je les vois dans ton ceil.
Toutes ces images de douleiur
qui s'impriment dans ton ceil,
Ton ceil ne les retrouvera plus:
Quand nous contemplerons la Write,
Dans des corps purs, jeunes,
eteniellement lumineux.

We shall be leaving this house:
I can see it in your eye.
We shall be leaving our bodies too:
I can see them in your eye.
All these images of pain imprinted
on your eye,
Your eye shall not find them again:
When we come to gaze on Truth
In bodies pour, young, and ever
luminous.

iv. Epouvante

iv. Terror

Ha, ha, ha, ha, ha, ha, ha, ho!
Ha, ha, ha, ha, ha, ha, ha, ho!
N'enfouis pas tes souvenirs dans la terre, Don't burry your memories in earth,
to ne les retrouverais plus,
you will not find them again.
Ne tire pas, ne froisse pas, ne dechire pas. Don't' pull, don't crease, don't tear.
Des lambeaux sanglants te suivraient
The bloodied shreds would pursue
dns les tenebres
you in the dark
Comme une vomissure triangulaire,,
Like a triangular lump of vomit,
Et le choc bruyant des anneaux
And the clanging of rings on the door
sur la porte irreparable
beyond repair
Rythmerait ton olesepoir
Would beat time to your despair
Pour rassasier les puissances du feu.
To satiate the powers of fire.
Ha, ha, ha, ha, ha, ha, ha, ho!
Ha, ha, ha, ha, ha, ha, ha, ho!

v. L'epouse
Va on l'Esprit te mêne,
Nul ne peut separer ce que Dieu a nui,

v. The bride

Go whither the Spirit lead you,
No one can put asunder what God has
united,
Va on l'Esprit te merle,
Go whither the Spirit lead you,
L'epouse est le prolongement de l'epoux, The bride is the extension of the
bridegroom,
Va on l'Esprit te melte,
Go whither the Sprit lead you,
Comme l'Eglise est le prolongement du As the Church is the extension of
Christ.
Christ.

vi. Ta voix

vi. Your voice

Fenetre pleine d'apres-midi,
Oui s'ouvre sur l'apres-midi,
Et sur ta voix fraiche
(Oiseau de printemps qui s'eveille).
Si elle s'ouvrait sur l'eternite
Je to verrais plus belle encore.
Tu es la servante du Fils,
Et le Pere t'aimerait pout cela.
Sa lumiere sans fin tomberait sur tes
epaules,
Sa marque sur ton front.
Tu complêterais le nombre des anges
incorporels.
A la gloire de la Trinite sainte
Un toujours de bonheur eleverait
ta voix fraiche
(Oiseau de printemps qui s'eveille):,
Tu chanterais.

Window' brimming with afternoon,
Opening onto the afternoon,'
And onto your fresh voice
(Awakening bird of spring).
Were it to open on eternity,
I'd see you fairer yet.
You are the maidservant of the Son,
And for that the Father would love you.
His unending light would fall on your
shoulders,
His sign on your brow.
You would complete the number
of incorporeal angels.
To the glory of the Holy Trinity.
A joyous ever-after would raise up
your fresh voice
(Awakening bird of spring):
You would sing.

vii. Les deux guerriers
De deux nous voici un. En avant!
Comme des guerriers bardes de fer!
Ton ceil et mon ceil parmi les statues
qui marchent,
Parmi les hurlements noirs,
Les dcroulements de sulfureuses
geometries.
Nous gemissons: ah! ecoute-moi,
Je suis tes deux enfants, mon Dieu!
En avant, guerriers sacram,entels!
Tendez joyeusement vos boucliers.
Lancez vers le ciel les fleches du
devouement d'aurore:
Vous parviendrez aux portes de la Ville.

vii. The two warriors
The two of us now are one, Onwards!
Like iron-clad warriors!
Your eye and mine among walking
statues, '
Among black shrieking,
Among Sulphurous geometries
tumbling down.
We moan: ah! listen to me,
I am your two children, my God!
Onwards, sacramental warriors!
Joyfully hold up your shields!
Cast to the heavens the arrows of
dawn devotion:
You shall reach the City gates.

viii. The necklace
Spring enchained, light rainbow
of morning,
Ahl my necklace! Ah! my, necklace!
Small living support of my weary ears,

viii. Le collier
Printemps enchaine, arc-en-ciel
leger du martin,
Ah! mon collier! Ah! mon collier!
Petit soutien vivant de mes oreilles
lasses,
Collier de renouveau, de sourire
et de grace,
Collier d'Orient, collier choisi
multicolore
Aux perles dures et cocasses!
Paysage courbe, dpousant l'air
frais du matin,
Ah! mon collier! Ah! mon collier!
Tes deux bras autour de mom cou,
ce matin.

With hard, whimsical pearls!
Curving landscape, espousing the fresh
morning air,
Ah! my necklace! Ah! my necklace!
Your two arms round my neck,
this morning.

ix. Priere exaucee

ix. A prayer granted

Ebranlez la solitaire, la vieille
montagne de douleur,
Que le soleil travaille les eaux
ameres de mon cceur!
0 Jesus, Pain vivant et qui donnez
la vie,
Ne dites qu'une seule parole, et mon
ame sera guerie.
Ebranlez la solitaire, la vieille
mongagne de douleur,
Que le soleil travaille les eaux
ameres de mon cceur!
Donnez-moi votre grace,
Donnez-moi votre grace!
Carillonne, mon cceur!
Que ta resonance soit dure,
et longue et profonde!
Frappe, tape, choque pour ton roi!
Frappe, tape, choque pour ton Dieu!
Voice ton jour de gloire et
resurrection!
La joie est revenue.

Shake up the solitary, ancient mountain
of pain,
May the sun work over the bitter waters
of my heart!
0 Jesus, living bread, giver of life,

Necklace of renewal, of smiles,
of grace,
Oriental necklace, chosen, multicoloured

Say but one word and my soul shall
be healed.
Shake up the solitary, ancient
mountain of pain,
May the sun work over the bitter waters
of my heart!
Give me your grace,
Give me your grace!
Ring out, my heart!
May your ringing resound hard,
long, and deep!
Strike, knock, smite for your king!
Strike, knock, smite for your God!
Behold the day of your glory and
resurrection!
Bliss has returned.

Anny Cheng, a native of Taiwan, came to the United States in 2000 to pursue
studies in Collaborative Piano. She received her Master of Music in Piano
Accompanying and Coaching from Westminster Choir College, Princeton, NJ, in
2002, studying with J. J. Penna and Dalton Baldwin. After moving to Boston, Ms.
Cheng enrolled at the Longy School of Music, Cambridge, where she earned a
Graduate Performance Diploma in Collaborative Piano in 2004 under the
guidance of Brian Moll. In the summer of 2005, Anny Cheng joined the faculty of
the Tanglewood Institute's Young Artist Vocal Program as a principal Vocal
Coach and Musical Director, working with such varied artists as Director of BU
Opera Institute Sharon Daniels; vocal pedagogues Phyllis Hoffman, Penelope
Bitzas and Amy Schneideq, Metropolitan Opera Bass Simon Estes; and the
legendary soprano Phyllis Curtin. Anny is currently completing her Doctorate in
Collaborative Piano at Arizona State University.
Dane Philipsen is in his first year of MM study at Arizona State University. Prior
to beginning graduate studies here, he lived in Iowa where he earned a BM in
Oboe Performance from The University of Northern Iowa in Cedar Falls. While
in Iowa, Dane performed with the Waterloo-Cedar Falls Symphony Orchestra
from 2003 to 2006. He has also performed throughout the U.S. on two tours with
the American Wind Symphony Orchestra. The most recent tour in 2006 was
centered in southern Louisiana bringing music to the areas that suffered and
endured hurricanes Katrina and Rita.
Laraine Kaizer was born 1976 in Peoria, IL. She earned her Bachelors Degree in
1998 majoring in violin performance at her home town school, Bradley University
studying with Marcia Henry. After which she studied violin with Mauricio Fuks at
Indiana University in Bloomington, IN where she received her Masters Degree in
2000 also majoring in violin performance. Laraine completed her doctorate degree
in 2004 at the University of Cincinnati College-Conservatory of Music majoring
in violin performance, studying with professor Sassmannshaus. With all three
degrees Laraine has studied violin pedagogy as her secondary concentration. For
two years she served as director of the Starling Kids program at the University of
Cincinnati. In 2004 she launched a visual arts career with her paintings which can
be viewed at www.larainespainting.com. Laraine is a free lance violinist
performing with the Phoenix Symphony and Musica Nova Orchestras.
Throughout the year she performs as a strolling violinist in local restaurants and
venues and sometimes with friend and virtuoso ,accordion player, Agostino
Figurelli. Laraine currently serves as a teaching artist for both the Phoenix
Symphony and Phoenix Conservatory of Music at Bethune and Emmerson
Schools respectively.

Julie Schlafer (D.M.A. Arizona State University, M.M: and B.M. University of
Cincinnati, College Conservatory of Music) is a native of rural New York state,
where her early musical training including playing the violin for her parent's
cows. She later switched to bassoon and completed bachelor and master degrees
at the University of Cincinnati, College Conservatory of and a doctor of musical
arts at Arizona State University. She has performed around the country and the
world in various events including the Sarasota Music Festival, Texas Music
Festival, Opera Theatre and Music Festival of Lucca, Italy, and performances in
Japan. Past teachers include William Winstead, Mark Timmerman and Jeffrey
Lyman. Her interests have recently branched out to include language. She
currently is a master student in teaching English as a second language at Arizona
State University, teaches English as a second language privately and both through
Mesa Community College and Arizona State University's American English and
Cultural Program.
Hope Shepherd, a native of Mesa Arizona, began playing the cello at the
age of ten. She is currently a student of Thomas Landschoot at Arizona
State University. She will graduate with her Bachelor's degree in May.
Courtney Sherman, soprano, is a native of Ludington, Michigan. After
graduating from high school, she began her undergraduate work at Michigan State
University, majoring in music education. After transferring schools, she received
her Bachelor of Music degree in voice performance in 2003 from Western
Michigan University. In 2005, Ms. Sherman received the Master of Music degree
in opera performance from Arizona State University. Now, she is pursuing the
Doctor of Musical Arts degree in voice performance from ASU. Ms. Sherman is a
student of Dr. Jerry Doan. Past teachers include Marie Valade and Meredith Zara.
Her role credits include Susanna in The Marriage of Figaro, Pamina in Die
Zauberfloete, Adina in L'elisir d'amore, Blanche in Dialogues of the Carmelites,
as well as many opera scenes performances of Mozart roles. Ms. Sherman
recently gave her first Doctoral recital at ASU, a program consisting of 20`11
Century American music.

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