ANNY CHENG

PIANO

COURTNEY SHERMAN
SOPRANO

SHANNON THOMAS
VIOLIN

ALLYSON WUNSCHEL
VIOLA

MATT RYANICELZENBERG
VIOLONCELLO

ROSSINE PARUCCI
DOUBLE BASS

DOCTORAL RECITAL SERIES
KATZIN CONCERT HALL
TUESDAY, APRIL 15, 2008 5 PM

Program Notes
The repertoire in this afternoon's program
ranges from early 19th century to contemporary
compositions. The songs, the drama and the
chamber music present a wide range of emotion
from the most intimate to passionate and
extroverted expression.
Turina, a native of Seville was drawn to
Paris where his music was influenced by French
musical style. He studied with D'Indy and met
Albeniz who urged him to seek the folk music
elements of Spain. Poema en forma des
canciones, Op.19, is one example of using
colorful Spanish elements. This cycle contains
extreme emotions, intense rhythm, lyrical
melodies, and sensitive text setting. Turina uses
Spanish dance rhythms, Andalusian melodic
effects like alternating with major and minor
modes, and guitar figures in the piano.
The Painted Skin is an ancient Chinese
folk tale retold and translated by Jeannette
Faurot. There are seven characters in the story
portrayed by the narrator/singer: l . the scholar, 2
& 3. the beautiful woman, who is also the
demon, 4. the scholar's wife, 5. the Daoist priest,
6. the scholar's younger brother, and 7. the
madman. The narrator delivers the text mostly in
a Sprechgesang style, but at climatic moments,
she sings three small arias. The pianist freely
plays these arias and musically paints the
characters, each of whom have their own
motives. This short drama consists of continuous
sound textures, frequently changing meters and
tempi, extreme dynamic ranges, and fluctuating
psychological states.
Schubert's Piano Quintet in A major,
D677 is commonly named The Trout Quintet
because the fourth movement references the
"Trout" melody in his song, Die Forelle.
Sylvester Paumgartne, a wealthy music patron
and amateur cellist, suggested to Schubert that
he use the instrumentation of Hummel's Quintet.
The first movement opens with an upwardsweeping arpeggio in the piano. The second
movement has a very tuneful quality. The
scherzo follows with sharp contrasts of
dynamics and unexpected accents. The fourth
movements consists of a series of six variations
on a quotation of the "Trout" theme. The last
movement begins with a lively tune in the
Hungarian style.

Program
Poema en Forma de Canciones Joaquin Turina
(1918) (Ramon de Campoamoar) (1882-1949)
Dedicatoria
Nunca olvida...
Cantares
Los dos miedos
Las locas por amor

The Painted Skin (2003) Armand Qualliotine
(Jeannette Faurot)
(b.1954)

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

Quintets in A major, D667

Franz Schubert
(1797-1828)

Allegro vivace
Andante
Scherzo
Andantino-Allegretto
Allegro giusto

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

This recital is given in partial fulfillment of the
performance requirements
for the degree Doctorate of Musical Arts
in Collaborative Piano performance.
Anny Cheng is a student of Eckart Sellheim.
ti

0

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.

Translation
II. Nunca olvida...

II. Never forget

Ya que este mundo abandono
antes de dar cuenta a Dios,
aqui para entre los dos
mi confesien te dire.
Con toda el alma perdono
hasta a los que siempre he odiado.
A ti que tanto te he amado
nunca te perdonare!

Since I am leaving this world,
and before I give my account to the lord,
I will confess to you,
here, between the two of us.
With all my soul I forgive those
whom I have always hated.
You, whom I have deeply loved,
I will never forgive!

III. Cantares

HI. Songs

Mas cerca de mi te siento
Cuanto mas huyo de ti
Pues to imagen es en mi
Sombra de mi pensamiento.

Flee as I may your embraces,
closer forever I'm caught;
my ev'ry dream, ev'ry thought
your haunting vision retraces.

Vuelvemelo a decir
Pues embelesado ayer
Te escuchaba sin oir
Y te miraba sin ver.

Speak more to me,
for yesterday, as I was enraptured,
I listened to you without bearing,
I looked at you without seeing.

IV. Los dos miedos

IV. The two fears

Al comenzar la noche de aquel dia
Ella lejos de mi,
zPor que te acercas tanto? Me decia,
Tengo miedo de ti.

With the onset of that night,
she, remote from me, said:
Why do you come so close to me?
I am afraid of you.

Y despues que la noche hubo pasado
Dijo, cerca de mi:
zPor que te alejas tanto de mi lado?
iTengo miedo sin ti!

And after the night had passed,
she, close to me, said:
Why do you move away from me?
I am afraid without you!

V. Las local por amor

V. The extremes of love

Te amare diosa Venus si prefieres
que te ame mucho tiempo y con cordura
y respondie la diosa de Citeres:
Prefiero como todas las mujeres
que me amen poco tiempo y con locura.

I will love you, Divine Venus, if you desire
that I love you eternally and with discretion.
The goddess of Cythera replied to me:
I prefer, as all women do,
that you love me for a short time and
passionately.
I will love you, Divine Venus, I will love you.

Te amare diosa Venus, te amare.

(

A Blade of Grass

%.

A glimmering light,
A gentle breeze,
A sprinkling rain,
A blade of grass gradually grows night
after night.
I am here to fulfilling my destiny,
and often I think upon the cold memories
of my home.
A glimmering light,
A gentle breeze,
A sprinkling rain,
A blade of grass gradually grows night
after night.
The blade of grass is deeply wounded;
I want to be the wind and the rain
flowing back to my home.

!a