North Central College - Naperville, IL

Recitals

11th Annual Rall Symposium Research Abstracts
2008 Recitals
10:30 a.m. - 11:30 a.m.
Harold and Eva White Activities Center
Recitals will take place in the following order:

“Vedrai Carino” from Mozart’s opera Don Giovanni
Christine Ross ’11, Elementary Education
Advisor: Ms. Linda Ogden Hagen, Music
As one of the most admired composers in the history of Western music, Wolfgang Amadeus Mozart contributed many classical masterpieces to the opera. In 1787, Mozart composed music for his famous opera Don Giovanni. It has been said that the opera is “a work without blemish, of uninterrupted perfection.” One of the arias is “Vedrai, Carino,” meaning “You will see, dearest.”The song is sung by Zerlina, a young peasant woman assuring her fiancé that her love can heal all wounds. In addition to refining my vocal techniques, this piece has helped me learn how to explore the meaning behind the words of a song and put more emotion into my performance.

“Ballade” by Albert Perilhou
Gwendolyn Bowman ’09, Political Science, Sociology
Advisor: Dr. Lawrence Van Oyen, Music
Albert Perilhou was born in 1846 and died in 1936. He was a French composer and one of his most famous pieces is “Ballade,”composed in 1903. Ballade is French for ballad. A musical ballad is a piece with one movement, which includes dramatic and lyrical narrative qualities. In fact, medieval ballads generally featured an upper voice and two lower voices. This theme is reflected during the allegro sections, the very expressive runs spanning the range of the flute. The beginning of the piece starts out in a slow lento section. The introduction is very dramatic, further echoing the qualities of a ballad. The transition into the allegro section is very abrupt. The lento sections are song-like, with a distinctive melody. This melody from the beginning lento section can be heard throughout each phrase, and the melody returns at the end.

“By a Fountainside” by Roger Quilter
Weston Henry ’10, Music Education
Advisor: Ms. Linda Ogden Hagen, Music
“By a Fountainside” is by the famous English composer Roger Quilter who was born in 1877 and died in 1953. He is known primarily as a composer of elegant songs which are superbly crafted. This song is one of his “Seven Elizabethan Lyrics, Op.12” with words by the eminent Elizabethan playwright Ben Jonson. This is the fourth Quilter song that I have studied and my favorite so far. I enjoy the picture that the words convey to the listener. This song demands legato phrasing of each line. It also has a wonderful moment when Quilter decides to change keys using a common tone of a C#/Db. I have been building the vocal techniques required by this piece in my voice lessons and recently performed it in an honors voice recital. It is both a challenge and a pleasure to acquaint myself with the music of Roger Quilter.

“Die Lotosblume” by Robert Schumann
Jennifer Berosek ’08, Theatre, Psychology
Advisor: Ms. Linda Ogden Hagen, Music
Robert Schumann, born in 1810 in Germany, utilized the poems of fellow German Heinrich Heine to write “Die Lotosblume.”This piece is No. 7 in Schumann’s Myrthen, Op. 25 collection of 1840. “Die Lotosblume,” German for The Lotus-Flower,tells the story of a flower’s love for the moon and how she longs for the night when they can be together. This piece enhanced my skills as a singer and performer through the musicality and expression that were required to make a seemingly simple song more complex and interesting.

“Concertino da Camera” Mvt. I by Jacques Ibert
Mark Kahovec ’08, Music Education
Advisor: Dr. Lawrence Van Oyen, Music
“Concertino da Camera” is a piece for alto saxophone that was composed in the early 1930s. The composer, Jacques Ibert,wrote it for saxophonist Siguard Rascher to be a solo with an accompanied instrument orchestra. For the recital, the piece will be played with a piano in lieu of the orchestra. This tends to be common today as the piece has become recital repertoire—a situation that would not allow a larger ensemble. The first movement is lively and may pull certain musical emotions such as joyfulness, intensity and, in some cases, calmness. However, other musicians may also interpret a frantic and worried feel.

“I’ll Sail Upon the Dog Star” by Henry Purcell
Jonathan Schroerlucke ’09, Music Education
Advisor: Ms. Linda Ogden Hagen, Music
“I’ll Sail Upon the Dog Star” was a piece of incidental music written by Henry Purcell for a play entitled, A Fool’s Preferment,by playwright Thomas D’Urfey in 1688. The song tells about the Dog Star, which is also known as Sirius, the brightest star in the night sky and part of the constellation Canis Major. In the song the narrator is singing about adventure and having the Dog Star lead the way. He speaks of great feats such as climbing frosty mountains and tying both ends of a rainbow together. The song includes word-painting in different places; when singing about climbing, the melody goes up and when singing of tearing down, the melody moves down. It challenged me vocally to exercise clear articulation of the many melismas and in negotiating wide intervallic leaps. I enjoy this bright piece full of energy and excitement

“Flute Concerto No. 2 in D Major K. 314” by Wolfgang Amadeus Mozart
Nicole Dickson ’08, Elementary Education
Advisor: Dr. Lawrence Van Oyen, Music
“Flute Concerto No. 2 in D Major K. 314,” composed by Wolfgang Amadeus Mozart in 1777, was reworked from the “Oboe Concerto in C Major, K. 271k” into a concerto for flute. According to Mozart, Ferdinand Dejean, a surgeon with the DutchEast India Co. whom Mozart had met in Mannheim, commissioned three flute concertos from the composer. This, one of the concertos, was originally scored for an orchestra of two oboes, two horns and strings. Mozart once wrote that he despised the flute, but the elegance of this movement makes this difficult to believe. This piece has allowed me to portray the style of the classical period and convey the musical intent through my own interpretation and performance of the piece and the cadenza.

“V’adoro, pupille” from Handel’s opera Giulio Cesare
Bailey Hinz ’09, Music
Advisor: Ms. Linda Ogden Hagen, Music
Behind every piece of music an audience enjoys is a tremendous amount of work from various fields of study. When singing“V’adoro, pupille” from Handel’s Giulio Cesare, I combine months of intensive study from several areas of my education. As a music student at North Central, I take weekly voice lessons to improve my instrument. Additionally, I take acting classes, which I use in musical performance to better portray the character I am singing. This past summer, I was given the opportunity to participate in the “Spoleto Vocal Arts Symposium” in Italy. There I studied voice, acting and the Italian language. This fall I continued vocal study in Salzburg, Austria, through the College’s SIROL program. There, my voice teacher introduced “V’adoro, pupille.” My work on this piece continued upon returning to college. After nearly six months of musical, theatrical and Italian study, “V’adoro, pupille” is ready for performance.

“Allegro con brio” from Peter Tanner’s Sonata Marimba and Piano
Mark Baglione ’08, Music Education
Advisor: Dr. Lawrence Van Oyen, Music
Peter Tanner’s Sonata for Marimba and Piano was first composed in 1957 as an assignment in modal writing. This piece is most well known for its impulsive and lively rhythms and an aura of impressionistic exoticism. Three sharply accented chords begin the “Allegro con brio,” a lively dialogue in traditional sonata form. The marimba’s first theme of dancing sixteenth notes is accompanied by the piano’s syncopated staccato chords and attempts of imitation. In the waltz-like second the methe marimba soars lyrically above the piano. Tanner treats both themes playfully before he ends the movement with a burst of energy in G major. This piece has helped me develop not only my musicality but my technical skills on the marimba by forcing me to constantly analyze each section to develop their musical intent across the piece as a whole.

“Scherzo No. 2 in B-Flat Minor” by Frédéric Chopin
Sean Mooney ’10, Actuarial Science
Advisor: Ms. Barbara Vanderwall, Music
The many beautiful and masterful works of Chopin are often recited today in ways that Chopin would not want them expressed. Although Chopin’s works, such as his “Scherzo No. 2 in B-Flat Minor,” are meant to be played expressively, they should not be played with too much rubato nor exaggerated ritardandos. Through my intensive study of this work with Barbara Vanderwall, I have learned to express Chopin’s work as it should be. Through the study of this work in particular, I have also found that memorizing a work allows one to actually know, understand and recite it in a much deeper way than when playing from music. With my performance, I intend to share that deep expressional and emotional understanding with the audience.