Chamber Music Recital

sung at Songfest in Malibu, CA where she was awarded the prestigious Craig Smith and. Marc and Eva Stern ... Roger Petersen, story performer. Daniel Barta ...
3MB Größe 5 Downloads 398 Ansichten
Chamber Music Recital Sarah Shafer, soprano D. Ray McClellan, clarinet Timothy Shafer, piano

Ps. 33:3 Friday, November 18, 2011 — 7:30 pm

Tenth Concert Series Sarah Shafer, soprano D. Ray McClellan, clarinet Timothy Shafer, piano Welcome & Invocation

Dr. Paul S. Jones Music Director

From Sechs Deutsche Lieder II. Zwiegesang III. Wiegenlied VI. Wach auf!

Louis Spohr (1784-1859)

“Nimm, was dein ist, und gehe hin” BWV 144 Aria: Genügsamkeit

J. S. Bach (1685-1750)

Grand Duo Concertante in E-flat Major, Op. 48 I. Allegro con fuoco II. Andante con moto III. Rondo: Allegro Offering

Carl Maria von Weber (1786-1826)

INTERMISSION

Hommages for Clarinet Solo à J. S. Bach à Manuel DeFalla

Béla Kovács (b. 1937)

From Années de Pèlerinage Deuxième année: Italie I. Sposalizio V. Sonetto 104 del Petrarca

Franz Liszt (1811-1886)

From Hermit Songs III. St. Ita’s Vision V. The Crucifixion IX. The Praises of God

Samuel Barber (1910-1981)

Der Hirt auf dem Felsen (The Shepherd on the Rock), D. 965

Franz Schubert (1797-1828)

Artist Biographies Soprano Sarah Shafer studies in the opera program at the Curtis Institute of Music with Joan Patenaude-Yarnell. Sarah's engagements for the 2011-12 season include her professional operatic debut in the role of Barbarina and the cover role of Susanna in Le Nozze di Figaro at the Glyndebourne Festival, and soprano soloist in Mahler's Fourth Symphony with the Curtis Chamber Orchestra in Asia. Her credits for the Curtis Opera Theater include over fifteen productions, notably Idomeneo (Ilia), Il Barbiere di Siviglia (Rosina), and Il Signor Bruschino (Sofia). This spring she will sing Giulietta in Bellini's I Capuleti e i Montecchi. Sarah was recently heard as soprano soloist in the Mozart Requiem and Bach's Cantata 51 with the Quad City (IA) Symphony. She has also appeared as soloist with the Richmond Symphony Orchestra, the Boca Raton Symphonia and Master Chorale of South Florida, and the Pennsylvania Centre Chamber Orchestra. Sarah recently performed at the Mozart and Handel Residency of the Aix Festival in Aix-enProvence, France. She spent the last two summers singing at the Marlboro Music Festival, working with Richard Goode, Benita Valente, and Martin Isepp. She has also sung at Songfest in Malibu, CA where she was awarded the prestigious Craig Smith and Marc and Eva Stern Fellowships. Clarinetist D. Ray McClellan is in his 11th year as clarinet professor at the University of Georgia, and as a member of the Georgia Woodwind Quintet. Prior to his appointment at University of Georgia he held professorships at James Madison University and Henderson State University. Dr. McClellan is a former clarinetist and soloist with “The President’s Own” United States Marine Band, he has appeared internationally in recitals and as concerto soloist in Canada, Taiwan, Japan, Italy, Brazil, Kenya, Tanzania and the Czech Republic. He has been principal clarinetist of The Savannah Orchestra, guest principal clarinetist with the Augusta Symphony, Charleston Symphony, Alexandria Symphony, and the Garden State Philharmonic. He has performed with The Ying Quartet, the M. Nostich Quartet of the Czech Republich, the Magellen Quartet and members of the Maia Quartet. Dr. McClellan has performed recitals at the International Clarinet Convention on four separate occasions in 2005, 2006, 2007 and 2010. He has recorded solo and chamber music discs with ACA Digital and in 2012 will release the Clarinet Concerto by Gerald Finzi with Phoenix USA. Dr. McClellan holds three degrees from The Juilliard School where he studied with world-renowned pedagogue David Weber. Formerly the Co-Artistic Director and Host of ClarinetFest® 2006 in Atlanta, McClellan is an Artist/Clinician for Buffet Crampon clarinets. He teaches an ongoing hymn singing class at Monroe Presbyterian Church (PCA) in Monroe, Georgia where he attends with his wife and four children. Pianist Timothy Shafer has concertized extensively throughout the United States, performing, teaching, and discussing the rich heritage of piano repertoire. With degrees from Oberlin Conservatory and Indiana University (Bloomington), Dr. Shafer is the recipient of Oberlin’s Rudolf Serkin Outstanding Pianist Award, Indiana University’s Annual Concerto Competition, and the Pennsylvania Music Teachers Association Teacher of the Year Award. He has twice appeared at Carnegie Hall's Weill Recital Hall, and as a member of Duo Concertant, also recorded a CD entitled Out Standing in Our Field, featuring the works of Stravinsky, Strauss, and Debussy. Appointed in 1986, Shafer is currently Professor at Penn State where he teaches piano, coordinates class piano and pedagogy programs. He is a frequent concerto soloist with regional orchestras, and is active as a chamber musician and soloist, having performed throughout the U.S. and in Korea, Taiwan, Hong Kong, and Brasil. Shafer’s writings about piano teaching and repertoire have been published by Prentice Hall, Scarecrow Press, Clavier Companion, and the American Music Teacher, among others. Shafer is currently serving as music consultant on the Psalter Hymnal Committee of the Orthodox Presbyterian Church.

Upcoming Tenth Concert Series Events An a cappella Christmas Sunday, December 18, 2011 — 6:00 pm (pre-service mini concert) Philadelphia Chamber Choir Paul S. Jones, director Christmas Eve Lessons & Carols Friday & Saturday December 23 & 24, 2011 — 7:15 pm Tenth Church Choir Westminster Brass Tenth Chamber Players An Evening with Hans Christian Andersen Friday, February 24, 2012 — 7:30 pm Roger Petersen, story performer Daniel Barta, composer Good Friday Choral Concert Friday, April 6, 2012 — 7:30 pm Mozart: Mass in C Minor (Great) Beethoven: Choral Fantasy Tenth Church Choir & Soloists Tenth Chamber Players Thomas Hong, guest conductor Paul S. Jones, piano/conductor Easter Hymn Festival Sunday, April 8, 2012 — 6:15 pm Tenth Church Choir & Soloists Tenth Chamber Players Spring Choral Worship Service: Reformation Psalms Sunday, May 20 — 6:15 pm Tenth Church Choir Schola Cantorum Choirs Dr. Derek Thomas, guest speaker

Texts and Translations From Sechs Deutsche Lieder

From Six German Lieder

II. Zwiegesang

II. Duet

Im Fliederbusch ein Vöglein saß in der stillen, schönen Maiennacht, darunter ein Mägdlein im hohen Gras in der stillen, schönen Maiennacht. Sang Mägdlein, hielt das Vöglein Ruh, sang Vöglein, hört das Mägdlein zu, und weithin kelang der Zwiegesang das mondbeglänzte Tal entlang.

In a lilac bush sat a little bird in the quiet, lovely May night, below in the high grass sat a girl in the quiet, lovely May night. The girl sang, if only the bird would be quiet, the bird sang, if only the girl would listen, and far and away rang their duet The length of the moonlit valley.

Was sang das Vöglein im Gezweig durch die stille, schöne Maiennacht? Was sang doch wohl das Mägdlein gleich durch die stille, schöne Maiennacht? Von Frühlingssonne das Vögelein, von Liebeswonne das Mägdelein; wie der Gesang zum Herzen drang, vergeß ich nimmer mein Lebelang.

What was the bird singing through the quiet, lovely May night? And what sang the maid through the quiet, lovely May night? Of spring sunshine sang the bird, of love's delight sang the girl; how that song pierced my heart, I shall never forget my whole lifelong.

IV. Wiegenlied

IV. Lullaby

Alles still in süßer Ruh, drum mein Kind, so schlaf auch du. Draußen säuselt nur der Wind, su, su, su, schlaf ein mein Kind!

All is still in sweet repose, therefore my child, you too must sleep. Outside is but the rustle of the wind, su, su, su, go to sleep my child!

Schließ du deine Äugelein, laß sie wie zwei Knospen sein. Morgen wenn die Sonn' erglüht, sind sie wie die Blum erblüht.

Close your little eyes, let them be two little buds. Tomorrow when the sun shines, they will blossom like flowers.

Und die Blümlein schau ich an, und die Äuglein küß ich dann, und der Mutter Herz vergißt, daß es draußen Frühling ist.

And I gaze at the little flowers, and I kiss the little eyes, and a mother's heart forgets, that it is spring outside.

VI. Wach auf

VI. Awaken

Was stehst du lange und sinnest nach? Ach schon so lange ist Liebe wach! Hörst du das Klingen allüberall? Die Vöglein singen mit sußem Schall; Aus Starrem sprießet Baumblättlein weich, das Leben fließet um Ast und Zweig. Das Tröpflein schlüpfet aus Waldesschacht, das Bächlein hüpfet mit Wallungsmacht; der Himmel neiget in's Wellenklar, die Bläue zeiget sich wunderbar, ein heitres Schwingen zu Form und Klang, ein ew'ges Fügen im ew'gen Drang! Was stehst du bange und sinnest nach? Ach schon so lange ist Liebe wach!

Why do you stand there brooding with fear? Ah, so long does love stay awake! Do you hear the ringing all around? The birds are singing with such sweet sounds, soft leaves are sprouting from the rigid branches, life is flowing through bough and twig. Little drops are gliding from the forest holows, the brook leaps with abundant strength; the heavens bow towards the clear waves, the blueness is wonderfully revealed, a bright flourish of shape and sound, an endless yielding to endless impulse! Why do you stand there brooding with fear? Ah, so long does love stay awake!

Genügsamkeit

Contentedness

Genügsamkeit Ist ein Schatz in diesem Leben, Welcher kann Vergnügung geben In der größten Traurigkeit, Genügsamkeit. Denn es lässet sich in Allem Gottes Fügung wohl gefallen Genügsamkeit.

Contentedness, In this life it is a treasure Which is able to bring pleasure In the greatest time of grief, Contentedness. For it findeth in whatever God ordaineth satisfaction, Contentedness.

Hermit Songs III. Saint Ita’s vision “I will take nothing from my Lord,” said she, “unless He gives me His Son from Heaven In the form of a Baby that I may nurse Him.” So that Christ came down to her in the form of a Baby and then she said: “Infant Jesus, at my breast, Nothing in this world is true Save, O tiny nursling, You. Infant Jesus at my breast, By my heart every night, You I nurse are not a churl But were begot on Mary the Jewess By Heaven's light. Infant Jesus at my breast, What King is there but You who could Give everlasting good? Wherefore I give my food. Sing to Him, maidens, sing your best! There is none that has such right To your song as Heaven's King Who every night Is Infant Jesus at my breast.” V. The crucifixion At the cry of the first bird They began to crucify Thee, O Swan! Never shall lament cease because of that. It was like the parting of day from night. Ah, sore was the suffering borne By the body of Mary's Son, But sorer still to Him was the grief Which for His sake Came upon His Mother. IX. The praises of God How foolish the man who does not raise His voice and praise with joyful words, As he alone can, Heaven's High King. To whom the light birds with no soul but air, All day, everywhere laudations sing.

Der Hirt auf dem Felsen, D. 965 (text after Wilhelm Müller’s poem “The mountain shepherd”)

The Shepherd on the Rock, D. 965 (Translation: Lionel Salter)

Wenn auf dem höchsten Fels ich steh, ins tiefe Thal herneider seh, und singe, fern aus dem tiefen, dunkeln Thal schwingt sich empor der Wiederhall, der Wiederhall der Klüfte.

When on the highest cliff I stand, gaze down into the deep valley and sing, the echo from the ravines floats upwards from the dark valley far away.

Je weiter meine Stimme dringt, Je heller sie mir wiederklingt, von unten. Mein Liebchen wohnt so weit von mir, drum sehn ich mich so heiß nach ihr hinüber.

The further my voice travels, the clearer it returns to me from below. So far from me does my love dwell that I yearn for her more ardently over there.

In tiefem Gram verzehr’ ich mich, mir ist die Freude hin, auf Erden mir die Hoffnung wich, ich hier so einsam bin.

With deep grief I am consumed, my joy is at an end; all hope on earth has left me; I am so lonely here.

So sehnend klang im Wald das Lied, so sehnend klang es durch die Nacht, die Herzen es zum Himmel zieht mit wunderbarer Macht.

So longingly sounded the song in the wood, so longingly it sounded through the night, drawing hearts heavenwards with wondrous power.

Der Frühling will kommen, der Frühling meine Freud, nun mach ich mich fertig zum Wandern bereit.

Spring is coming, Spring, my joy; now I will make ready to go journeying.