ffi W Arizona State UniversitY ffi* !:;i:iif"!:fii School of Music DOCTORAL RECITAL SERIES PIANOAC Jo Arrington, S a :t: HALL 13, 1999. PROGRAM Sonata in e minor Adagio ma non tanto Allegro J.S. Bach r685-1750 Andante Allegro Kortney James, flute Sonata for Trumpet and Piano (1995) l.ento-Allegro Molto Allegrctto Allegro con fuoco Stefan P latamone, trumpet Eric Ewazen b. 1954 ***There will be a I}-minute intermission*** A Bouquet of Lieder Hugo Wolf Blumengruss Gleich und Gleich 1860-1903 Schneegl6ckchen Du bist wie eine Blume Robert Schumann 1810-1856 R0selein, Rtlselein! Lynne Floyd, soprano A Sarah Binks Songbook, Op. 9 (1988) John Greer Reflections while translating Heine (Fantasia on a theme of R. Schumann) Hi Sooky, Ho Sooky, (Valse Serenata) Ode to a Star (Arioso di camera) The Song of the Chore (Canzone rustica) Elegy to a CaH (Lamento pastorello) Square Dance (Hoe-Down) Amy Jo Arrington, soprano ****,1.d<*r(******* This recital is given in partial fulfillment of the performance requirements for the degree Doctor of Musical futs in solo performance. Mory Ortman is a student of Eckart Sellheim. Manager Staff Manager Gary Events Staff aker Cook Wood P.O. Box 870405, Tempc, AZ 85287'0405 EVENTS HOTLINE CALL 965-TUNE (96s-8863) Translations Prosram Notes Sonola in e minor J.S. Bach was by farthe most prolific composer of the Baroque perioq composing in all the musical forms of the day, with the notable exception of opera. Bach's chamber works irrclude pieces for solo violin and cello, as well as sonatas for violin and harpsichor4 for viola da gamba and harpsichor4 and for flute and harpsichord. Like the sonata de chiesa (sonatas for church use), most of these were composed in four movements in slow-fast-slow-fast order- Among the distinguishing features of Bach's chamber sonatas are the combinations of instruments he employs, differing from those customary at the time of writing for one or two upper parts and continuo. Instea4 Bach writes compositions for solo melodic intstnrments without accompaniment as well as works for violin, flutg or gamba with harpsichord obbligato, a conc€pt which Bach developed Aom the hio sonata This particular ssnata was one of two that Bach composed for flute and thorouglrbass, or basso eontinuo. Bach wrote this sonata (as well as a large portion of his chamber works) while he served as director of music for Prince Leopold of Anhalt at Cothen (1717-1723). Sonata for Trumpet and Piono Eric Ewazen, born in 1954 in Cleveland, studied under Samuel Adler, Milton Babbitt, Warren Bensor; Gunther Schuller, and Joseph Schwantner at the Eastman School of Music, Tanglewood, and The Juilliard School, where he has been a mernber of the faculty since 1980. A recipient of num€rous composition awards and prizes, his works have been commissioned and performed by many chamber ensembles and orchestras in the US and overseas. The Sonata for Trumpet and Pieno was written in 1995 and premiered at The International Trumpet Guild Convention by Chris Gekker in May of that year. Andrew Thomas of The Juilliard School writes of Ewazen's style, "...in developing his own voicg he never lost a sense of the audience for whom he was composing. Vocal line is the key to understanding Eric's music. His works for voice and instruments sing with a breathing line that reveals a wide emotional rsnge. Eric is interested in the psychological momentum of a piece. He builds expressive sections with meticulous control. In the rise and fall of tension" his music becomes intemely theafiical. He knows what a performer does, and what happens on stage. He knows deeply and directly how both music and performance affect the audience." A Sarah Binks Songbook John Gres currantly serves as one of the music directors of the Eastman Opera Theatre at the Eastnan School of Music inNew York. In additio4 he is highly respected as a vocal accompanist and coactr His conrpositions include solo vocal works, as well as works for chorus and childrens' choirs. His texs range from the Biblical and sublime to some that are p€rhaps a bit more whimsical, which rnay bethe case with Sarah Binks, the sweet songstress of Saskatchewan. I would like to dedicate the performance ofthis cycle to my parents, who still work as farmers up inthe cold north. Sarah's love of animals is paralleled only by my father's, who still gets mrstyeyed every time he sells a load of cattle or is forced to say goodbye to a four-footed friend. A Bouquet of Lieder Blumengruss Fl ow er Gr e eting (G o eth e) Der Strausq den ich gepfl0cka Grtisse dich viel tausendmal! Ich habe mich oft gebiicket Ach, wohl eintausendmal Und ihn ans Herz gedriicket Wie hunderttausendmal ! May the bouquet I have plucked Greet you many thousands of times! I have bent often- Gleich und Gleich The Ones Alike (Goethe) Ein Blumengl6ckchen vom Boden hervor War friih gesprosset in li$lichem Flor; Da kam ein Bienchen und naschte fein: Die mtissen wohl beide ftr einander sein- A little flower bell sprouted forth Early in lovely blossom; Schneegkickchen Sno'wdrop (Riickert) Der Schnee, der gestern noch in Fl6kchen Vom Himmel fiel, Hiingt nun geronnen heut als Gl6ckchen The snow, that only yesterday in little flaks Fell from the sky, Hangs now congeale4 a Iittle bell, On tender stem. Snowdrop, its little bell is ringing; what does Mean in the still wood? Oh quickly come! There in the wood It rings in spring. Oh come you leaves, blossom and flower, You that yet drearg Come all into spring's holy bower! Am zarten Stiel. Schneegl6ckchen lfiutsq was bedzutet's Im stillen Hain? O komm geschwind! ImHaine l6utet's Den Friihling ein. O kommt, ihr Bl6tter, Bliit und Blume, Die ihr noch tr6umt, All zu des Friihlinp Heiligtume! Kommt ungeslumt! AtU at least a thousand times, And pressed it to my heart Something like a hundred thousand! There came a bee and nibbled enjoyingly. They must have been made for each other. Comg tarry not! Flower (Heine) Du bistwie eine Blume You Are Like a Du bist wie eine Blume, So hold und sch6n und rein; Ich schau dich arL und Wehmut Schleicht mir ins Herz hinein Mir ist, als ob ich die Hlnde Aufs Haupt dir legen sollt', Beten4 dass Gott dich erhalte So rein und schOn und hold- You are like a flower, So lovely and fair and pure, I look at you, and sadness Steals down into my hert. I feel as if my hands I should lay upon your hea4 Praying that God may keep you So pure and lovely andfair. it Little Rdselein, Rdselein! Rose, Little Rose (Nem) R6seleiq Rdselein! miissen denn Dornen sein? Little rosg little rose! Must there be thorns? By the shady brooklet once Schlief am schatt'gen Bdchelein Einst zu siissem Trdumen ein, Sah in goldner Sonne Schein, Dornenlos ein R6selein, Pflfickt es auch und ktisst es fein; "Dornloses Rdselein!" Ich erwacht und schaute drein: "Hatt ich's doch! Wo mag es sein? Rinp im weiten Sonnenscheitr Standen nur Dornr6selein! Und das Biichlein lachte mein: "Lass du nur dein Tr6umen sein! Merk dir's fein, merk dir's fein, Dornr6slein m0ssen seirl mtissen sein!" I fell asleep and dreamed sweet dreams, ln the sun's good light I saw Without thorns a little rose. I picked it too and gently kissed it: *Little rose without tlorns!" I woke and looked around: 'I had it thougtL where can it be?" All about in sunlight far Only thorny roses bloomed! And the brooklet laughed at me: "Do not ever dream again! Remember well, remember well, Little roses must have thorns, must have tlorns!" A Sarah Binlrs Songhook (Text from-Sarah Bkks. by Paul Hiebert, 1917) Reflections while tronlating Heine (Fantasia on a theme of Schumann) You are like one flower, So swell, so good and clean, I look you on and longing, SIinlG me the heart between: I'm a genius, I'm o genius, I desire, I toot upon my littletlute, What more can And twang upon my lyre; I dabble in oil paint, In cinnebar and ochre, At night I get dissipated, And play poker. In my little book, in my little book, I write verses, Sometime they don't rhymeCurses! Me is as if the hands I On head yours put them shoul4 Praying that God you preserve, So swell, so clear4 and good- Hi, Sooky, Ho, Sooky (Yake Serenata) Ode to a Star (Arioso di comera) Otu I heard your voice at daybreak, Calling loud and sweet and cleal; I was hiding in the turnips Me thought I heard the tinkling of a star, My heart did wih withirn, and wihering we€pe4 And snivelling tears did splash the little stones, And muffled sobs did rnske, ard sobbing pee@ With a cricket in my ear; A millq-moth inone ear, And a cricket in the other, But I heard your dear voice calling To the pigl*s and their mother; Heard your own voice rising falling Loud and long and sharp and shrill, Calling *SooLy, Sooky, Sooky!' To the piglets on the hill; *Hi, Sooky, ho Sooky, Come and get your swill!" Oh, I've hid among the turnips, And I've hid between the stooks, With barley barbs all down my back, And beetles in my boots; But I've s€€n you in the dwindling. And I've seen you in the rain, With an armful full of kindling When you fell and rose agaln; ['ve seen you plodding through the dust, And plugging ttrough the wet, And at night ageinst the window-blin{ I've seen your silhouette; But "Sooky, Sooky, S@ky,'o I never can forget; "Hi Sooky, hq Sooky, Come and get your pep!" And oh I think I'll hide again Forjust a sight ofyou, And hear your own sweet voice again *Sooky, Sooky, Soo, Call *Hi, Sooky, ho, Sooky, Come and get the stew, Sooky, Come and get your gew, Sooky, Sooky, Sooky, Soo!" With red-rimmed eyes, and through this moist, damp weep, I glanced alo& and husb, no more descrid The tinkling star, its tinkling it had cease4 Rsoundingly I blew my nose and sighed. The Song of the Chore (Canzone rustica) I sing a song of the simple chorg Ofquitting the downy bed at four, And chipping ice from the stable door-Ofthe simple chore I sing: To the forty below at break of day, To climbing up, and tlrowing down hay, To cleaning out and carting away, A paean ofpraise I bring. Otu it's time to milk or it's time to not, Olu it's time for breakfast and time I got The pot of coffee in the coffee pot- I sing of the chorg *Hurray!" Ob it's time for this and it's time for that, For mending unending and tending the brat, And it's time to turn in and put out the cat, Tomorrow's another day. Eleg to a Calf (Lanento pastorello) Oh calf, that gambolled by my door, Who made me rich who now am poor, That licked my hand with milk bespread, Oh cal[, caH! Art dead, art dead? Oh calf, I sit and languish, calf. With sombre facg I cannot luugtu Can I forget thy playful bunts? Oh call calf, that loved me once! With mildewed optics, deathlikq still, My nigtrts are damp, my days are chill, I weep again with doleful sniff Otr, caE calf, so dea4 so stiff. Square Dance (Hoe-Down) Sing ho, for the dance, To shuffle and prancq Sing "Ladies, do-si-do!' And fiddles engagq With *Bird-in-the-cage, " Sing *Eleben-left !"-Sing Give me the squarg ho ! Where harmonicas blare, And the Iadies are set for the swing-- And SquiQ Malarty Has made up the party, With a handkerchief tied to his wing: Swing Olg4 swing Len4 Sing Kate and Katrinq Swing Gudrun, and Bjorg, and Gertrude, Swing heavy, swing h*tty, Swing SquiQ Malarty, The life of the party-and stewed- Swing Daisy, swing Betty, Swing Maisie and Letff, Swing Mirabel, M-g,g and Joy Swing Mrs. McGinty, Six feet and squinty, Two hundred and twentyand coy. Give me the dance, Where the girls take a chance, With seam and with button and string, And swing them up higher, Before thcy retire-Sing ho, heigh-ho, for the swing! Sing ho, for the swirls, And the breathless girls, With the swimming delight in their eyes-Come smaller or taller, Take offthe collarSing ho, for the exercise!