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Category: Faculty Artist Concert Series

Emily Butterfield: Musical Tributes

Musical Tributes
5PM Sunday, Feb. 5, 2023
Radke Fine Arts Theatre

Emily J. Butterfield, flute and alto flute

Collaborating Musicians:
Samuel Magrill, piano
Hwaju Lee, piano


Program

 

J. Rosamond Johnson (1873-1954)
Arr. By Evelyn Simpson-Currenton (b. 1953)
Lift Ev’ry Voice and Sing

Samuel Magrill, piano

 

Charles DeLaney (1925-2006)
Hymn of Pan (solo flute)

 

Paul Taffanel (1844-1908)
William I B. Bennett, editor (1936-2022)
Grande Fantaisie on Themes from “Mignon” by Ambroise Thomas

Hwaju Lee, piano

 

Intermission

 

Amanda Harberg (b. 1973)
Feathers and Wax

Samuel Magrill, piano

 

Clifford Benson(1946-2007)
A Song for Wibb

Hwaju Lee, piano


Lift Every Voice and Sing sheet music - page 1
Lift Every Voice and Sing sheet music - page 2

Lift Every Voice and Sing sheet music - page 3


Biographies

Emily Butterfield

Emily Butterfield

Emily J. Butterfield, D.M.A, is a professor of flute and head of the winds and percussion division in the UCO School of Music. She performs in the Enid Symphony Orchestra and in the chamber ensemble, “Heavy Metal.” In August 2022, the UCO College of Fine Arts and Design recognized Butterfield for her excellence in teaching with the presentation of the Vanderford Distinguished Teacher Award.

Prior to her appointment at UCO, Butterfield taught at Muskingum College, Mt. Vernon Nazarene University, Morehead State University, and the University of Wisconsin-River Falls. She was also a coach, performer and administrator for Chamber Music Connection, Inc. in Columbus, OH, and a founding member of Favorable Winds, a professional woodwind quintet based in Columbus, OH. As an orchestral musician, Butterfield has performed in the Fargo-Moorhead Symphony Orchestra, Southeast Ohio Symphony, Ashland Symphony, Columbus Bach Ensemble, Newark-Granville Symphony, Lansing (MI) Symphony, and the New Sousa Band. She also taught K-12 band, strings, classroom music and vocal music at school districts in Michigan, California, and Minnesota.

Butterfield has appeared as a guest artist for various universities and flute festivals and has also performed at several national music conventions including those hosted by the National Flute Association, International Double Reed Society, College Music Society, and the International Horn Society. She has served as an adjudicator for the National Flute Association (NFA), Oklahoma Flute Society, Central Ohio Flute Association, Upper Midwest Flute Association, MTNA and the Madison, Wisconsin Flute Festival. Butterfield, who is currently a Board Delegate, has served on the board of the Oklahoma Flute Society in various capacities, including most recently as the Competition Chair for Flute Fair. She was a member of the 2013 NFA Young Artist Competition Repertoire Committee and is a past president of UCO’s Pi Kappa Lambda chapter.

In competition, she placed third in the 2002 Kentucky Flute Society Young Artist Competition, won a 2004 NFA Convention Performer’s Certificate, and in 2005, the NFA selected her D.M.A. document, “The Professional Life and Pedagogy of Clement Barone,” as a winner in its Doctoral and Dissertation Competition. Her writings have also appeared in “Flute Talk” and “The Flutist’s Quarterly.”

Butterfield received a Bachelor of Music in instrumental music education from Michigan State University, a Master of Music in Flute Performance from Florida State University and a Doctor of Musical Arts in Flute Performance from The Ohio State University. Her teachers include Katherine Borst Jones, William Bennett, Charles DeLaney, Clement Barone, and Jack Wellbaum.

 

Sam Magrill

Sam Magrill

Samuel Magrill, D.M.A., is coordinator of Graduate Studies, professor of Music and a Composer-in-Residence in the School of Music at the University of Central Oklahoma, where he has taught music theory and composition since 1988. Previously, he taught at the University of Wyoming and California State University, Long Beach. He obtained his Bachelor of Music in Composition from Oberlin Conservatory and his Master of Music and Doctor of Musical Arts degrees in Composition from the University of Illinois, Champaign-Urbana.

Magrill has written more than one hundred compositions for a variety of instruments, from solo piano and chamber music to choir, wind ensemble and symphony orchestra. His works have been performed throughout the United States and abroad and at many regional and national conferences including the Society of Composers, Inc, the National Flute Association, the North American Saxophone Alliance, and the College Music Society. His CDs include electro-acoustic music (“The Electric Collection”), his four operas, wind symphony compositions (“Oklahoma Bandscapes”), and collections of music for cello and other instruments, many of which he wrote specifically for his colleague Dr. Tess Remy Schumacher and the UCO Cello Ensemble.  He has received numerous awards and commissions, including ones from the National Endowment for the Arts, the American Music Center, the Mid-America Arts Alliance, the Illinois Arts Council, ASCAP (American Society of Composers, Authors and Publishers), the Oklahoma Music Teachers’ Association, the American Composers’ Forum’s Continental Harmony Program and faculty research grants and merit credit awards from the University of Central Oklahoma. In the spring of 2000, he was inducted into SAI as an Arts Associate and won the AAUP-UCO Distinguished Creativity Award. Other memberships include ASCAP, Phi Kappa Phi and Pi Kappa Lambda. Dr. Magrill is also an active collaborative pianist.

His interest in World Music led him to collaborate with M.V. Narasimhachari. Together they produced two volumes of The Music of India: An Introduction (1996-2003). His work with Indian music came to fruition when he presented his “East-West Duo” for violin, cello and mridangam in a concert of his music in Chennai, India on January 1, 2005.

Recent compositions and performances include “Cello Dance”, performed by Linda Jennings, cello and Chindarat Charoenwongse, piano, on their Thailand tour (June 2013), “The Winding Way”, performed at the V Festival Internacional de Musica de Campina Grande in Brazil by the UCO Concert Chorale, Karl Nelson, D.M.A., director (July 2014), and “Stone Poems”, performed by Natalie Syring, flute and the composer at the piano, at the National Flute Association Conference in Chicago (August 2014). “Five Bagatelles” (2018), for flute, violin, cello and piano was performed 4/17/18 by Mira Magrill, flute; Gregory Lee, violin; Jonathan Ruck, cello; Samuel Magrill, piano, at Saint Paul’s Cathedral, Oklahoma City on a brightmusicconcert entitled “Old and New.” “Celloklavier: Beethoven Deconstructed” was written especially for cellist Dr. Tess Remy-Schumacher to celebrate the 200th anniversary of Beethoven’s death and was premiered 8/30/22 on the Faculty Artists Concert Series at the UCO Jazz Lab.

 

Hwaju Lee

Hwaju Lee

Hwaju Lee is an Adjunct Instructor of Piano and a Collaborative Pianist at the University of Central Oklahoma, performing for Cantilena Women’s Chorus, Concert Chorale, Chamber Singers, University Choir, and Department of Dance ballet classes. In addition to her responsibilities at UCO, she also teaches piano lessons for students at UCO’s Central Community Music School.

 

Prior to teaching at UCO, Ms. Lee has taught piano courses at Indiana Wesleyan University, Oklahoma State University, and Ball State University and was a piano instructor at In-Home Music Teacher, LLC in Dallas, Tx. She also maintained a private studio for over 15 years. Ms. Lee has also given masterclasses at Arkansas State University and Mongolia International University. She has served as a collaborative pianist and class piano instructor at Oklahoma State University, an instructor at Arkansas Governor’s School, and a pianist for the Stillwater Chamber Singers.

 

Ms. Lee performs regularly as a soloist and collaborative artist around the United States
and South Korea. She has performed in a variety of ensemble settings including choirs, wind ensembles, and orchestras, and has been invited to perform as a guest collaborator for recitals. Recently, Ms. Lee was invited to judge the Pohang Arts High School and CBS National Competition in S. Korea. She also has earned various awards and scholarships including the University of North Texas Organ/Harpsichord Scholarships, Dean’s Camerata, Texas Public Education Grant.

 

Ms. Lee completed her doctoral coursework at Ball State University in Piano Performance. There, she was awarded a full scholarship and a graduate assistantship working as a teacher and collaborative pianist. She received her M.M. from the University of North Texas where she studied harpsichord and forte piano with Prof. Christopher Hammer, piano with Prof. Joseph Banowetz, and collaborative piano with Dr. Steven Harlos. Ms. Lee earned a B.M. from Gangneung-Wonju National University with academic scholarships and has also studied at Pohang Arts High School as a Piano Performance Major in S. Korea.


The UCO School of Music’s Faculty Artist Concert Series (FACS) showcases faculty musicians while also raising scholarship funds for UCO students. Proceeds from every performance generate scholarship funds to support UCO School of Music students in financial need.

To make an additional tax-deductible donation to the School of Music, visit centralconnection.org/facs and scroll to the bottom of the page.


View the College of Fine Arts and Design Artistic Expression Statement.

Learn more about the UCO School of Music.

Get discounts on the things you love while supporting the next generation of artists, designers & performers at UCO.

The Central Arts Card is a fundraising effort benefiting UCO’s College of Fine Arts and Design and a community outreach effort. As a cardholder, your donation supports the arts and grants you discounts at our partner organizations. Visit go.uco.edu/cac to learn more!

Partner Organizations

Blue J’s Rockin’ Grill — 10% off purchases*

Commonplace Books — 10% off purchases*

Edmond Historical Society & Museum — 10% off gift shop purchases / 1 free admission to “1940s RadioTheatre” show*

Edmond Fine Arts Institute — 10% off classes*

UCO Jazz Lab — $5 off select productions (see a list of qualifying UCO events below)*

Mitchell Hall Theatre — 10% off select productions (see a list of qualifying UCO events below)*

Mt Everest Cuisines — 10% off purchases over $20 / Free drinks on purchases over $30*

School of Rock — $50 off first-month private lessons enrollment. $75 off first-month group or lesson+group enrollment*

This is just the beginning! Our list of partner organizations in this new program is growing every week.
*Some restrictions may apply. Contact the partner organization for additional details.

Posted on January 25, 2023 by Scott Hale
Comments (0)

FACS: Sounds of Antiquity

The Brisch Center for Historical Performance presents:

Sounds of Antiquity
4:15PM January 29, 2023
Radke Fine Arts Theatre


Program 

Carl Ditters von Dittersdorf (1739-1799)
Concerto No. 2 for Violone and Orchestra in Eb Major, Kr. 172
1. Allegro moderato
2. Adagio
3. Allegro 

Felice Gardini (1716-1796)
Duet for Violin and Viola in Bb Major 
1. Allegro
 
2. Adagio 
3. Allegro 

Martin Berteau (1691-1771)
Cello Sonata No. 3 in G Major, Op. 1 
1. Allegro
 
2. Grave 
3. Allegro  

Florian Leopold Gassmann (1729-1774)
Trio in Bb Major for Two Violas and Violone, H. 377 
1. Allegretto
 
2. Andante 
3. Menuetto: Grazioso 
4. Allegro 

Johann Sebastian Bach (1685-1750)    
Christmas Oratorio, BWV 248, Part IV. Aria: “Flößt mein Heiland” 

No Intermission


Translation

BWV 248 Oratorio, Part IV, No. 4 “Flößt, mein Heiland” (Echo aria) (1734-5)
Translated by Michael Marissen

 

Flößt, mein Heiland, flößt
Is it, my Savior, is it [true] that

dein Namen
your name instills

Auch den allerkleinsten Samen
even the very tiniest seed

Jenes strengen Schreckens ein?
of that stark horror [of the Day of Judgment]?

Nein, du sagstja selber nein; (Nein!)
No, yes you yourself say, “no”; “No!”

Sollt ich nun das Sterben scheuen?
Now shall I shy away from having to die?

Nein, dein stifies Wort ist da!
No, your sweet word is there!

Oder sollt ich mich erfreuen?
Or shall I rejoice?

Ja, du Heiland sprichst selbst ja. (Ja!)
Yes, you yourself. Savior, declare, “yes;” “Yes!”


Personnel

Natalie Syring, barqoue flute
Dr. Margaret Brisch, harpsichord
Dylan Madoux, harpsichord
Dr. Danielle L. Herrington, soprano
Katayla Mongold, soprano
Dr. Hong Zhu, baroque violin
Theodora Morris, baroque violin
Dr. Ralph Morris, baroque viola
Orlando Ramirez, baroque viola
Dr. Tess Remy-Schumacher, baroque cello
Sophia Darvin, baroque cello
Dr. Michael Geib, violone


Tonight’s FACS performance is generously sponsored by Dr. Margaret Brisch.

The UCO School of Music’s Faculty Artist Concert Series (FACS) showcases faculty musicians while also raising scholarship funds for UCO students. Proceeds from every performance generate scholarship funds to support UCO School of Music students in financial need.

To make an additional tax-deductible donation to the School of Music, visit centralconnection.org/facs and scroll to the bottom of the page.


View the College of Fine Arts and Design Artistic Expression Statement.

Learn more about the UCO School of Music.

Get discounts on the things you love while supporting the next generation of artists, designers & performers at UCO.

The Central Arts Card is a fundraising effort benefiting UCO’s College of Fine Arts and Design and a community outreach effort. As a cardholder, your donation supports the arts and grants you discounts at our partner organizations. Visit go.uco.edu/cac to learn more!

Partner Organizations

Blue J’s Rockin’ Grill — 10% off purchases*

Commonplace Books — 10% off purchases*

Edmond Historical Society & Museum — 10% off gift shop purchases / 1 free admission to “1940s RadioTheatre” show*

Edmond Fine Arts Institute — 10% off classes*

UCO Jazz Lab — $5 off select productions (see a list of qualifying UCO events below)*

Mitchell Hall Theatre — 10% off select productions (see a list of qualifying UCO events below)*

Mt Everest Cuisines — 10% off purchases over $20 / Free drinks on purchases over $30*

School of Rock — $50 off first-month private lessons enrollment. $75 off first-month group or lesson+group enrollment*

This is just the beginning! Our list of partner organizations in this new program is growing every week.
*Some restrictions may apply. Contact the partner organization for additional details.

Posted on January 18, 2023 by Scott Hale
Comments (0)

FACS: Eclipse Chamber Ensemble

Faculty Artist Concert Series
7:30PM Tuesday, Jan. 17, 2023
UCO Jazz Lab


Beyond Borders

Eclipse Chamber Ensemble
Natalie Syring, flute
Gerald Warlick, oboe
Jenny Rucker, clarinet
Miho Fisher, piano


PROGRAM

Trio pour Flûte, Hautbois, et Clarinette avec accompagnement de Piano (1892)
Louis-Adolphe Mayeur (1837-1894)

Morning Dew (2022)
(World premiere–commissioned by Eclipse)
Dillan Francis (b. 1990)

Suite dans le style ancient, Op. 127 (1928)
Mel Bonis (1858-1937)

  1. Prélude
  2. Fuguette
  3. Choral
  4. Divertissement

INTERMISSION

Na Berdyczów (2012)
Ewa Fabiańska-Jelińska (b. 1989)

Relative Theory (2019)
Robert Patterson (b. 1970)

  1. Pascal’s Triangle
  2. Noether’s Theorem
  3. Einstein’s Daydream
  4. The Hammers of Pythagoras

ABOUT ECLIPSE

Group photo of Eclipse chamber ensemble.

left to right: Miho Fisher, piano; Natalie Syring, flute; Gerald Warlick, oboe; Jenny Rucker, clarinet

Eclipse is a unique chamber ensemble consisting of flute, oboe, clarinet, and piano. The members of Eclipse are Natalie Syring, flute; Gerald Warlick, oboe; Jenny Rucker, clarinet; and Miho Fisher, piano. Eclipse has been together as an ensemble for about 9 years. Our ensemble began at Oklahoma Christian University, where we are all faculty members. We are also members of the Oklahoma Community Orchestra, and we also have connections to the University of Central Oklahoma—either degrees or as faculty members. It would be safe to say that this is the only long-term ensemble of this instrumentation in Oklahoma, and most likely in a multi-state region—even possibly in the US. Needless to say, there is not a lot of music written for our combination of instruments. We have played the standard pieces that exist—mostly from the late Romantic or early 20th century—so part of our journey is always the exploration and search for new repertoire. We have enjoyed practicing and preparing this brand-new program for you, which includes many premieres and first-time performances. We hope you enjoy listening!

Gerald Warlick performs regularly as principal oboist with the Enid Symphony Orchestra, the Oklahoma Community Orchestra and chamber music groups Cimarron Wind Quintet and Eclipse. He is also an adjunct professor of oboe at Oklahoma Christian University. Formerly, Mr. Warlick played oboe with the Oklahoma Symphony Orchestra, the Lawton Philharmonic and Lyric Theatre. Mr. Warlick retired as a public-school music educator and taught oboe at the University of Central Oklahoma and Southern Nazarene University. His oboe instructors include Francine Schutzman, Helen Baumgartner and Richard Killmer.

Miho Fisher is a collaborative pianist from Japan, serving as a staff accompanist at Oklahoma Christian University. She studied at the University of North Texas and the University of Central Oklahoma under Steven Harlos and Valery Kuleshov, and completed BM/MM in Piano Performance. She was a prize winner of the 2004 Van Cliburn IPCOA competition and appeared in UCO’s FACS, CollabFest at UNT, among others. She is a pianist for the Oklahoma Community Orchestra, a member of the woodwind/piano quartet Eclipse, and serves as a company pianist at Oklahoma City Ballet. Most recently, Miho was awarded as the Third Place Winner of the 2022 PRCCP Virtual International Collaborative Piano Competition.

Jennifer “Jenny” Rucker has been the principal clarinetist with the Oklahoma Community Orchestra since its inception in 1982. She is a frequent substitute for the Oklahoma City Philharmonic Orchestra, playing clarinet, bass clarinet and saxophone. In addition, Jennifer has competed in the International Clarinet Association’s “Clarinetfest” Orchestral Excerpt Competitions, where in 2006-2008, and 2010, was chosen as a semifinalist, and in 2007, won second place in Vancouver, B.C. Jenny earned both her Bachelor’s and Master of Music Education degrees from the University of Central Oklahoma. She is a member of the Eclipse Quartet, the Cimarron Wind Quintet, The Lyric Theatre Orchestra, and the Oklahoma Chamber Symphony. She is currently an adjunct clarinet instructor at Oklahoma Christian University and the University of Central Oklahoma and has a highly successful private clarinet studio at her home in Edmond. Jenny was recently chosen by audition, to perform the Mozart Clarinet Concerto, K.622, with the Oklahoma Chamber Symphony, on May 6, 7:30 pm at the First Church of OKC on 5th and Broadway, in downtown OKC.

Natalie Syring is on the faculty of the University of Central Oklahoma, Oklahoma Christian University, and Herbert Armstrong College, where she teaches both flute and piano. Ms. Syring performs professionally with the chamber group Eclipse and is a member of the Oklahoma Community Orchestra. She is also a baroque flutist with the Brisch Center for Historical Performance. She is the founder and conductor of the Oklahoma Flute Society Honor Flute Choirs for youth in grades 7-12, and has been leading these ensembles for 19 years. Ms. Syring is a member of the Oklahoma Flute Society, the OKC Pianists’ Club, the Music Teacher National Association, and the National Flute Association—playing at national conferences in Chicago, New York, Dallas, Los Angeles, San Diego, and Kansas City. She holds a Bachelor of Music Education degree (University of S.D.) and a Master of Flute Performance degree (Sam Houston State University).


PROGRAM NOTES
About the Music and the Composers

Trio pour Flûte, Hautbois, et Clarinette avec accompagnement de Piano (1892)
Louis-Adolphe Mayeur (1837-1894)

Little has been written about Belgian-born Louis Mayeur. He studied clarinet at the Paris Conservatoire with Klosé and was in Adolphe Sax’s first saxophone studio, once it opened in 1860.  He went on to become one of the most brilliant saxophone performers of his era and is probably best known today for the repertoire he wrote for that instrument. Few of his pieces have been recorded and fewer appear to be in print.
As a performer, he appeared with both the Brussels Opera and the Paris Opera (1871), and spent many years in the French military bands. In 1879 he is listed as a member of Taffanel’s illustrious quintet as a clarinetist.
This Trio is sometimes known by an alternate name of “Quartet for Piano and Winds.” It is scored for the three upper wind voices, which in itself is somewhat unique. The piano part is more of an accompaniment that supports the solo lines of the wind instruments but is still an integral part of the composition. The composition makes no innovative musical statement but rather is a trifle of a showcase that reminds one of the popular parlor music of the late 19th century.

 

 Morning Dew (commissioned by Eclipse in 2022)
Dillan Francis (b. 1990)

Dillan Francis (b. 1990) is an Oklahoma-based musician specializing in composition, conducting, and woodwind performance. As a composer, his works often focus on combining the sounds of popular music with the form and development of classical music. Dillan’s concerto for bass clarinet, The Traveling Bass Clarinetist, will premiere with the Oklahoma City University Wind Ensemble in late January 2023 with Dillan as the soloist.
Morning Dew explores the peaceful serenity and joyfulness of watching the dew form on the grass in the early hours of the morning. The piece begins before the sun rises in the cool of the morning with the listener gazing out and reflecting on the dew drops with a cup of coffee or tea in hand. As the sun rises, color begins to fill the drops and blades of grass, bringing warmth to the morning. As the sun completes its ascent, the dew on the grass begins to sparkle and dance in the light of the morning.

Suite dans le style ancient (1928)
Mel Bonis (1858-1937)

The life of Mélanie Bonis could be compared to a modern-day soap opera. She was born into a middle-class Parisian family with no particular musical background or connections to the music world. Mélanie taught herself the piano and started to compose, but she was 12 before her parents finally consented to music lessons. At age 16, she studied with César Franck. He showed interest in her compositions and convinced her parents to send her to the Conservatoire, although at this time period, musical composition could not be a profession for a woman, as it was believed that a woman could not compose anything of value. Mélanie gave herself the pseudonym Mel Bonis to avoid any feminine connotation in her name.
At the Conservatoire, Mélanie met and fell in love with Amédée Landély Hettich, a 22-year-old student, poet, and journalist. This relationship was strongly opposed by Mélanie’s parents, who forced her to leave the Conservatoire. Her family arranged a marriage to Albert Domange, a successful and materialistic businessman, twice widowed, father of five boys and 25 years her senior. For many years, Mélanie devoted her life to her family duties, including bearing three children, managing a large family and a staff of 12 people, traveling and entertaining. Mélanie had little time for music and her husband and family had no interest in it.
At some point in her marriage, Mélanie happened to meet Hettich again. He encouraged her to return to music and composition and introduced her to Alphonse Leduc, her future publisher. She began to have some success with her music and also began collaborating with Hettich, setting his poems to music. Although they resisted for some time, the passion they had for each other was still present and they eventually gave into the temptation and Mel became pregnant. Because of the accepted societal rules of the time, this illegitimate daughter was born in secrecy and Mel was not able to legally recognize her. The ordeal took a great toll on Mélanie, who turned to prayers and musical creation to try to overcome her depression.
The Suite dans le style ancient (Suite in the Old Style), exists in at least three versions, scored for different instrumentations and also with different movements and/or movement titles. The piece is not really a suite of dances, as the title suggests. The movements nod to forms of the “old style” (the Fugette), but also portray the lush and emotional phrasing that is notable in the music of Mel Bonis.

Na Berdyczów (2012)
Ewa Fabiańska -Jelińska (b. 1989)

Ewa Fabiańska-Jelińska (b. 1989) began studying composition at an early age in Torun, Poland.  She graduated with Honors from the Paderewski Academy of Music in Poznań, Poland, where she also earned a Ph.D. in Composition (2016) after postgraduate composition study at the University of Music and Performing Arts in Vienna (2014).
The artist has won numerous national and international competitions for composers, as well as scholarships from the Minister of Culture and National Heritage and the Minister of Science and Higher Education. Her compositions are performed very often in Poland and have been featured at numerous international festivals and concerts around the world. (See her full bio for a complete list of honors and awards).
In 2017/2018 Ewa Fabiańska-Jelińska was Composer-in-Residence of the Feliks Nowowiejski Music Society and two-time winner of Program Music of Our Time organized by The Krzysztof Penderecki European Centre for Music. The artist is the President of the Poznań Branch of the Polish Composers Union and a member of the Polish Society of Contemporary Music. She works at the Ignacy Jan Paderewski Academy of Music (Poznań, Poland) as an assistant professor.
About Na Berdyczów:  “The piece “Na Berdyczów” for flute, oboe, clarinet, and piano was written in 2012 when I was a student in the composition class. The composition consists of three movements inspired by Ukrainian dances (hopak, dumka, kozak), which are built on the principle of contrast – from the presence of cantilena to motor and virtuoso elements, as well as the use of references to Ukrainian folk music.”

Relative Theory (2019)
Robert Patterson (b. 1970)

Robert Paterson is described by the press as “a modern-day master” and his music is often described as “the highlight of the program” (The New York Times). Paterson’s music is well-known for his reverence for nature, his puckish sense of humor, as well as consistent praise that comes from audiences and artists alike. Named Composer of The Year by The Classical Recording Foundation, his music is often found on playlists on National Public Radio as well as NPR’s Performance Today. Paterson’s music has been performed by orchestras, operas and choirs throughout the world. Recent & upcoming performances include the Oratorio Society of New York’s Carnegie Hall debut of Whitman’s America, the New York Choral Consortium’s “Big Sing” premiere of Look to the Sky, the Ember Choral Arts premiere of Listen, and the New Amsterdam Singers premiere of I Go Among Trees. Paterson’s awards include the A.I. duPont Composer’s Award from the Delaware Symphony, a three-year Music Alive grant from the League of American Orchestras and New Music USA. His favorite residencies include Yaddo, The MacDowell Colony, and the Aaron Copland House. Robert is the artistic director of the Mostly Modern Festival in the USA and in The Netherlands. For more information, visit robertpaterson.com.
Relative Theory is a four-movement, ca. 12-minute work for flute (doubling piccolo), oboe (doubling English horn), clarinet (doubling bass clarinet), and piano. Each movement is inspired by a mathematician or theoretical physicist. I was inspired by a story that the commissioning ensemble, the Exponential Ensemble, told me about how much they enjoy performing programs for children that relate math to music. In a fun, yet hopefully meaningful way, the movements of my piece are designed to draw parallels between these two distinct, but interrelated worlds.
The title Relative Theory is a play on words: it loosely refers to Albert Einstein’s famous Special Theory of Relativity, but also to musical theories and theoretical principles that are used between each of the movements. All of these movements are inspired by mathematicians or theoretical physicists, and their theorems and theories inspire the music itself.
In Pascal’s Triangle, triads and intervallic content are structured so as to use binomial coefficients in musical ways. In Noether’s Theorem, the music mirrors her theorem, which states that every differentiable symmetry of the action of a physical system has a corresponding conservation law. Einstein’s Daydream, perhaps the most fanciful movement, quotes a few themes from Beethoven, J.S. Bach and Mozart, three composers whose music Einstein loved to play on his violin. The work ends with a movement entitled The Hammers of Pythagoras, inspired by a legendary, apocryphal but nevertheless playful tale of Pythagoras passing by a blacksmith at work one day, and discovering that musical notes could be translated into mathematical equations.
There are some fascinating programmatic relations that dictate how thematic materials are used in various movements. Albert Einstein thought very highly of Emmy Noether, a mathematician who never achieved the fame she deserved because she was female. In fact, some of her theories inspired Einstein. Therefore, some of the themes in the second movement are used in the third. Einstein and Pythagoras both figure prominently in music history, albeit for different reasons, so themes from each of these movements permeate back and forth.
Relative Theory was commissioned by the Exponential Ensemble, with funding from the New York State Council on The Arts (NYSCA).


Tonight’s FACS performance is sponsored by Larry and Leah Westmoreland.

The UCO School of Music’s Faculty Artist Concert Series (FACS) showcases faculty musicians while also raising scholarship funds for UCO students. Proceeds from every performance generate scholarship funds to support UCO School of Music students in financial need.

To make an additional tax-deductible donation to the School of Music, visit centralconnection.org/facs and scroll to the bottom of the page.


View the College of Fine Arts and Design Artistic Expression Statement.

Learn more about the UCO School of Music.

Get discounts on the things you love while supporting the next generation of artists, designers & performers at UCO.

The Central Arts Card is a fundraising effort benefiting UCO’s College of Fine Arts and Design and a community outreach effort. As a cardholder, your donation supports the arts and grants you discounts at our partner organizations. Visit go.uco.edu/cac to learn more!

Partner Organizations

Blue J’s Rockin’ Grill — 10% off purchases*

Commonplace Books — 10% off purchases*

Edmond Historical Society & Museum — 10% off gift shop purchases / 1 free admission to “1940s RadioTheatre” show*

Edmond Fine Arts Institute — 10% off classes*

UCO Jazz Lab — $5 off select productions (see a list of qualifying UCO events below)*

Mitchell Hall Theatre — 10% off select productions (see a list of qualifying UCO events below)*

Mt Everest Cuisines — 10% off purchases over $20 / Free drinks on purchases over $30*

School of Rock — $50 off first-month private lessons enrollment. $75 off first-month group or lesson+group enrollment*

This is just the beginning! Our list of partner organizations in this new program is growing every week.
*Some restrictions may apply. Contact the partner organization for additional details.

Posted on January 10, 2023 by Lauren Burk
Comments (0)

A Musical Journey—Kevin Eckard

Faculty Artist Concert Series
7:30PM Tuesday, Nov. 08, 2022
UCO Jazz Lab


A Musical Journey

Kevin Eckard, bass-baritone
Eric Grigg, piano


PROGRAM

Ella Giammai M’amo! from Don Carlos
Giusseppe Verdi (1813-1901)

L’Horizon Chimérique
Gabriel Faure (1845-1924)

  1. La mer est infinite
  2. Je me suis embarqué
  3. Diane, Séléné
  4. Vaisseaux, nous vous aurons aimés

Sometimes I Feel Like a Motherless Child
Wade in de Water
Were You There?
H.T. Burleigh (1866-1949)

Der Atlas
Die Stadt

Aufenthalt
Franz Schubert (1797-1828)

Madamina! Il Catalogo e Questo from Don Giovanni
W.A. Mozart (1756-1791)
I.  Modéré – Allegretto vivo

Hellfire from Hunchback of Notre Dame
Alan Menken (b. 1949)

Joey, Joey, Joey from The Most Happy Fella
Frank Loesser (1910-1969)

Dust and Ashes from Natasha, Pierre and the Great Comet of 1812
Dave Malloy (b. 1976)


TRANSLATIONS

Ella Giammai M’amo

FILIPPO:
She never loved me!
No, her heart is closed to me,
she feels no love for me!
I can still see her,
sad-faced, gazing at my white hair
the day she came from France.
No, she has no love for me,
she does not love me!

Where am I?
Those candelabra are almost spent!
Dawn whites my balcony,
day is already breaking!
I see my days passing slowly!
Sleep, oh God, has wanished from my drooping eyelids.
I shall sleep alone in my royal mantle
when I attain the evening of my days,
I shall sleep alone beneath the black vault,
there, in my tomb in the Escurial.

If the royal crown could but give me
the power to read human hearts
which God alone can see!
Ah, if the royal crown, etc.
If the Prince sleeps, the traitors watches;
the King loses his crown, the husband his honour!

I shall sleep alone in my royal mantle, etc.
Ah, if the royal crown, etc.
She never loved me!
No, her heart is closed to me,
she does not love me!

La mer est infinie

The sea is infinite and my dreams are mad.
The sea sings to the sun while beating the cliffs
and my light dreams are no longer content
to dance on the sea like drunken birds.

The vast movement of the waves carries them away,
the breeze stirs and rolls them in its folds;
playing in the wake, they will form an escort
to the ships which my heart has followed on their flight.

Intoxicated by air and salt and burnt by the foam of
the sea which consoles and which washes away the tears,
they will know the open sea and its kindly bitterness;
the lost seagulls will mistake them for their own.

Je me suis embarque

I have embarked on a ship which dances
and which rolls from side to side and pitches and swings.
My feet have forgotten the the ground and its paths;
the supple waves have taught me other rhythms
more beautiful than the weary beat of human songs.

To live among you, alas! Had I a soul?
My brothers, I have suffered on all your continents.
I only want the sea, I only want the wind
to cradle me like a child in the trough of the waves.

Out of the harbour which is now no more than a faded
picture the tears of departure no longer burn my eyes.
I do not remember my last farewells…
Oh my suffering, my suffering, where have I left you?

Diane, Selene

Diana, Selene, moon of radiant metal,
who reflects towards us, by your deserted face,
in the unending monotony of the sidereal calm
the regret of a sun for whose loss we weep.

O moon, I begrudge you your purity
harmful to the vain efforts of the poor souls,
and my heart, ever weary and ever restless,
longs for the peace of your nocturnal flame.

Vaisseaux, nous vous aurons aimes

Ships, we shall have loved you to no avail;
the last of you all has gone to sea.
The setting of the sun has carried away so many hoisted
sails that this harbour and my heart are for ever deserted.

The sea has restored you to your destiny,
beyond the shore where our steps must end.
We cannot keep your spirits captive;
you need distant places which I do not know.

I am one of those whose desires are on land.
The breeze which intoxicates you fills my heart with fear,
but your call, in the depth of the evening, makes me despair,
for I have great departures unfulfilled within me.
© translated by Christopher Goldsack

Der Atlas

I unhappy Atlas!
A world full of sorrows,
That I must carry
I carry the intolerable
Which breaks my heart and body
You proud heart you were intended to do so.
You wanted to be happy.
Unendingly happy or unendingly miserable,
Proud heart you are now miserable.
I unhappy Atlas!
I must carry the whole world of sorrows.

Die Stadt

On the far horizon
There looms, like a wintery ghost
A city with all of it’s turrets
As dusk is covering the coast.

With wet gusts of wind
The grey waterway,
The oars of the boat splash sadly;
The boatman has earned his pay.

Another sunrise in front of me,
Bright shining frost
Clearly it now shows me,
Where I once loved and lost.

Aufenthalt

Roaring River, Rustling forest,
Rigid rock my abode.
As wave after wave follows,
My tears are eternally renewed.
As in the high crowns billowing it moves,
So unending my heart beats.
And as the rock’s very old ore
Eternally remains my grief

Catalogue Aria

Pretty lady, here’s a list I would show you,
Of the fair ones my master has courted,
Here you’ll find them all duly assorted,
In my writing, will’t please you to look,
Here is Italy, six hundred and forty,
France is down for five hundred and twenty,
Only two hundred the Rhineland supplied him,
But mark the climax, Spain has already one thousand and three,
Here are Countesses in plenty.
Waitingmaids, nineteen or twenty.
Rustic beauties, Marchionesses,
Ev’ry grade his pow’r confesses.
Here are courtly dames and maidens,
Young and handsome, old and plain.
Is a maiden fair and slender,
He will praise her for modest sweetness,
Then the dark ones are so tender!
Lintwhite tresses shew discreetness;
When ’tis cold he likes her portly,
In the summer, slim and courtly,
Tall and haughty, ne’er she alarms him,
If she’s tiny, no less she charms him.
Ripe duennas he engages,
That their names may grace these pages,
But what most he’s bent on winning,
Is of youth the sweet beginning,
Poor or wealthy, wan or healthy,
Stately dame or modest beauty,
He to win them makes his duty,
And you know it, not in vain.


Tonight’s FACS performance is sponsored by Larry and Leah Westmoreland.

The UCO School of Music’s Faculty Artist Concert Series (FACS) showcases faculty musicians while also raising scholarship funds for UCO students. Proceeds from every performance generate scholarship funds to support UCO School of Music students in financial need.

To make an additional tax-deductible donation to the School of Music, visit centralconnection.org/facs and scroll to the bottom of the page.


View the College of Fine Arts and Design Artistic Expression Statement.

Learn more about the UCO School of Music.

Get discounts on the things you love while supporting the next generation of artists, designers & performers at UCO.

The Central Arts Card is a fundraising effort benefiting UCO’s College of Fine Arts and Design and a community outreach effort. As a cardholder, your donation supports the arts and grants you discounts at our partner organizations. Visit go.uco.edu/cac to learn more!

Partner Organizations

Blue J’s Rockin’ Grill — 10% off purchases*

Commonplace Books — 10% off purchases*

Edmond Historical Society & Museum — 10% off gift shop purchases / 1 free admission to “1940s RadioTheatre” show*

Edmond Fine Arts Institute — 10% off classes*

UCO Jazz Lab — $5 off select productions (see a list of qualifying UCO events below)*

Mitchell Hall Theatre — 10% off select productions (see a list of qualifying UCO events below)*

Mt Everest Cuisines — 10% off purchases over $20 / Free drinks on purchases over $30*

School of Rock — $50 off first-month private lessons enrollment. $75 off first-month group or lesson+group enrollment*

This is just the beginning! Our list of partner organizations in this new program is growing every week.
*Some restrictions may apply. Contact the partner organization for additional details.

Posted on November 8, 2022 by Lauren Burk
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Piano Potpourri: La Belle Époque

Faculty Artist Concert Series
Piano Potpourri: La Belle Époque
7:30PM Tuesday, Sept. 20, 2022
UCO Jazz Lab


PROGRAM

Carmen Overture
Georges Bizet (1838-1875)
arr. by Arnoldo Sartorio (1853-1936)

Linda Owen, Natalie Syring, Carrie Edwards

Mini lecture on La Belle Époque, part 1  — Danielle Herrington

Deux Morceaux pour Violin et Piano
Lili Boulanger (1893-1918)
    Nocturne

Theodora Morris, violin
Carrie Edwards, piano

Introduction et rondo, Op. 72
Charles-Marie Widor (1844 -1937)

Dawn Marie Lindblade-Evans, Clarinet
Sallie Pollack, piano

Elegie
Gabriel Fauré (1845-1924)

Tess Remy-Schumacher, cello
David Forbat, piano

Sonata for Flute and Piano No. 1
Philippe Gaubert (1879-1941)
    I.  Modéré – Allegretto vivo

Natalie Syring, flute
Chindarat Charoenwongse, piano

Intermission

Mini lecture on La Belle Époque, part 2  — Danielle Herrington

Sonata for Flute and Piano No. 3
Philippe Gaubert (1879-1941)
    II.   Intermède pastoral

Emily Butterfield, flute
Chindarat Charoenwongse, piano

Gentilles hirondelles
Pauline Viardot (1821-1910)

Soir d’hiver
Augusta Holmès (1847-1903)

Danielle Herrington, voice
Hwaju Lee, piano

Préludes, Book I
Claude Debussy (1862-1918)
    VIII. La fille aux cheveux de lin
    IX. La sérénade interrompue
    XI. La danse de Puck
    XII. Minstrels

Variations on a Theme from Bizet’s Opera “Carmen”
Vladimir Horowitz (1903-1989)

Valery Kuleshov


FACS piano recital – French translation


Tonight’s FACS performance is sponsored by Margaret Brisch.

The UCO School of Music’s Faculty Artist Concert Series (FACS) showcases faculty musicians while also raising scholarship funds for UCO students. Proceeds from every performance generate scholarship funds to support UCO School of Music students in financial need.

To make an additional tax-deductible donation to the School of Music, visit centralconnection.org/facs and scroll to the bottom of the page.


View the College of Fine Arts and Design Artistic Expression Statement.

Learn more about the UCO School of Music.

Get discounts on the things you love while supporting the next generation of artists, designers & performers at UCO.

The Central Arts Card is a fundraising effort benefiting UCO’s College of Fine Arts and Design and a community outreach effort. As a cardholder, your donation supports the arts and grants you discounts at our partner organizations. Visit go.uco.edu/cac to learn more!

Partner Organizations

Blue J’s Rockin’ Grill — 10% off purchases*

Commonplace Books — 10% off purchases*

Edmond Historical Society & Museum — 10% off gift shop purchases / 1 free admission to “1940s RadioTheatre” show*

Edmond Fine Arts Institute — 10% off classes*

UCO Jazz Lab — $5 off select productions (see a list of qualifying UCO events below)*

Mitchell Hall Theatre — 10% off select productions (see a list of qualifying UCO events below)*

Mt Everest Cuisines — 10% off purchases over $20 / Free drinks on purchases over $30*

School of Rock — $50 off first-month private lessons enrollment. $75 off first-month group or lesson+group enrollment*

This is just the beginning! Our list of partner organizations in this new program is growing every week.
*Some restrictions may apply. Contact the partner organization for additional details.

Posted on September 20, 2022 by Lauren Burk
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Blue Blocks: A Tribute To Blue Note Records

Eric Grigg
7:30 p.m.
Tuesday, Sept. 13, 2022
UCO Jazz Lab


PERSONNEL

Brian Gorrell – saxophone

Zac Lee – trombone

Clint Rohr – trumpet

Eric Grigg – piano

Michael Geib – bass

David Bowen – drums


PROGRAM

Blues March
Benny Golson

Terpsichore
Herbie Nichols

West 22nd Street Theme
Bobby Hutcherson

Infant Eyes
Wayne Shorter

Fleurette Africaine
Duke Ellington

Buster Rides Again
Bud Powell

Sister Sadie
Horace Silver


This FACS performance is sponsored by Rob Glaubitz.

The UCO School of Music’s Faculty Artist Concert Series (FACS) showcases faculty musicians while also raising scholarship funds for UCO students. Proceeds from every performance generate scholarship funds to support UCO School of Music students in financial need.

To make an additional tax-deductible donation to the School of Music, visit centralconnection.org/facs and scroll to the bottom of the page.


View the College of Fine Arts and Design Artistic Expression Statement.

Learn more about the UCO School of Music here.



Get discounts on the things you love while supporting the next generation of artists, designers & performers at UCO.

The Central Arts Card is a fundraising effort benefiting UCO’s College of Fine Arts and Design and a community outreach effort. As a cardholder, your donation supports the arts and grants you discounts at our partner organizations. Visit go.uco.edu/cac to learn more!

Partner Organizations

Blue J’s Rockin’ Grill — 10% off purchases*

Commonplace Books — 10% off purchases*

Edmond Historical Society & Museum — 10% off gift shop purchases / 1 free admission to “1940s RadioTheatre” show*

Edmond Fine Arts Institute — 10% off classes*

UCO Jazz Lab — $5 off select productions (see a list of qualifying UCO events below)*

Mitchell Hall Theatre — 10% off select productions (see a list of qualifying UCO events below)*

Mt Everest Cuisines — 10% off purchases over $20 / Free drinks on purchases over $30*

School of Rock — $50 off first-month private lessons enrollment. $75 off first-month group or lesson+group enrollment*

This is just the beginning! Our list of partner organizations in this new program is growing every week.
*Some restrictions may apply. Contact the partner organization for additional details.

Posted on September 13, 2022 by Lauren Burk
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FACS | “High, Low and Jazz!” New Music for Horn

Faculty Artist Concert Series (FACS)
High, Low and Jazz: New Music for Horn
Sept. 6, 2022
UCO Jazz Lab

Peggy Moran, horn
Hwaju Lee, piano

Michael Geib, bass
David Bowen, drums
Dennis Borycki, piano

Corna Cattiva:
Kate Pritchett
Mirella Gable
Angela Winter
Peggy Moran


Program

Sanskara
Stacy Garrop (b. 1969)

Peggy Moran, horn

Daydream
Amparo Edo Biol (b. 1988)

Autumn
Aliyah Qualls (b.1997)

River Melos
Andrea Clearfield (b. 1960)

Peggy Moran, horn
Hwaju Lee, piano

INTERMISSION

Old Country
Frank Glover (b. 1963)

Corna Cattiva
Michael Geib, bass
David Bowen, drums
Dennis Borycki, piano

Horn Quartet No. 1
Gina Gillie (b. 1983)

I.    Adagio and Allegro
II.   Andante
III.  Variations on Ich Schnell Mein Horn

Corna Cattiva


The UCO School of Music’s Faculty Artist Concert Series (FACS) showcases faculty musicians while also raising scholarship funds for UCO students. Proceeds from every performance generate scholarship funds to support UCO School of Music students in financial need.

To make an additional tax-deductible donation to the School of Music, visit centralconnection.org/facs and scroll to the bottom of the page.


The New Central Arts Card. Developing the Arts and Building Community.

Get discounts on the things you love while supporting the next generation of artists, designers & performers at UCO.

The Central Arts Card is a fundraising effort benefiting UCO’s College of Fine Arts and Design and a community outreach effort. As a cardholder, your donation supports the arts and grants you discounts at our partner organizations. Visit go.uco.edu/cac to learn more!

Partner Organizations

Blue J’s Rockin’ Grill — 10% off purchases*

Commonplace Books — 10% off purchases*

Edmond Historical Society & Museum — 10% off gift shop purchases / 1 free admission to “1940s RadioTheatre” show*

Edmond Fine Arts Institute — 10% off classes*

UCO Jazz Lab — $5 off select productions (see a list of qualifying UCO events below)*

Mitchell Hall Theatre — 10% off select productions (see a list of qualifying UCO events below)*

Mt Everest Cuisines — 10% off purchases over $20 / Free drinks on purchases over $30*

School of Rock — $50 off first-month private lessons enrollment. $75 off first-month group or lesson+group enrollment*

This is just the beginning! Our list of partner organizations in this new program is growing every week.
*Some restrictions may apply. Contact the partner organization for additional details.

Posted on September 6, 2022 by Lauren Burk
Comments (0)

FACS | Tess Remy-Schumacher, ASA Album Release Concert

Faculty Artist Concert Series (FACS)
ASA Album Release Concert: In Memoriam
August 30, 2022
UCO Jazz Lab

Tess Remy-Schumacher, Cello
David Forbat, Piano
Ben Davis, Piano (Mendelssohn)
Xinyu Pan, Voice


Program

Kitt Wakeley
ASA (Electronica Remix and Cello) (recording) *

Kitt Wakeley
ASA For Cello Solo *
Dedicated to the Foster Children of the World in memoriam Lynn Harrell April 22, 2020

Michael Hoppe
Some Other Time For Carl Sandburg for Cello and Piano

Charles Henning
Passage For Cello Alone: Soli Deo Gloria *
Five Verses:
Slow and chant like, very free
Moderately, brighter feel
Slow, misterioso
Slightly faster, uneasy feel
Faster, but not too much-Like a Chorale-Tempo I

Bryan Mitschell
The Artist In The Family *

Samuel Magrill
Beethoven Deconstructed For Cello Solo *

Frederic Chopin (1810-1849)
Sonata For Cello and Piano in G Minor, Op. 65
Largo
Dedicated to Ma                                            

L. Keith White/ Johann Sebastian Bach
Prelude From Suite For Cello Solo, BWV 1007, with added Electronic By L. Keith White (recording) *

Intermission

Mstislav Rostropovich (1927-2007)
Moderato For Cello Solo
Dedicated to David

Felix Mendelssohn-Bartholdy (1809-1947)
Sonata for Cello and Piano No. 2 in D major, Op. 58
1.     Allegro Assai Vivace
2.     Allegretto Scherzando
3.     Adagio
4.     Molto Allegro e Vivace

*Premiere Performance

CDs are available for a donation of your choice to the UCO Drs. Horst und Susanne Remy- Marjie and David Morris Scholarship to benefit Foster Youth.


Program Notes and Biographies

 

 Kitt Wakeley

As the latest inductee into the Indie Music Hall of Fame, and with a fearless, unapologetic approach to life and career, Kitt has developed a reputation in the industry for being able to create and capture an emotional melody for any setting, whether he is writing and producing for himself, other artists, TV, film or trailers.
He has developed a reputation for creating a hybrid of orchestra, rock, EDM and piano, resulting in a cinematic epic vibe that evokes a variety of emotions. With the success of his album “Midnight in Macedonia”, Kitt’s follow-up album “Symphony of Sinners and Saints”, promises to surpass the expectations of his fans. Recorded with the London Philharmonic and London Voices at Abbey Road Studios, the album also includes featured artists such as Joe Satriani, Paige Harwell, Brent Berry and Ryan Miller.
“Midnight in Macedonia” has received worldwide acclaim. The album was recorded with the award-winning Macedonia Orchestra and Choir, along with a myriad of other notable talents from around the world. In all, 5 different Grammy winners participated in the project. Currently, the album has had over one million streams on various platforms such as Spotify, iTunes, Amazon and more; and ended up on the Grammy ballot in four different categories.
During his live performances, Kitt likes to seduce the audience into an emotional journey and appeal to as many senses as possible. With epic music, video, lights, special effects, and his engagement with the audience via monologues throughout the performance, no one leaves disappointed.
When Kitt isn’t writing for himself, he is producing pop, rock and country for other artists which are featured on various streaming sites and retail outlets. He finds satisfaction in seeing or hearing the appreciation and excitement of the artists when he has finished a project on their behalf. Finding himself in high demand, he’s been fortunate to pick the kinds of projects to produce on his terms.
Working with musicians from around the world allows him to collaborate with those who provide the same magic for the biggest artists in the industry These names include Taylor Swift, Ed Sheeran, Katy Perry, Motley Crue, Michael Jackson, Eminem, Steve Vai, Dr. Dre and many more.

ASA is dedicated to the Foster Children of This World, In Memoriam Lynn Harrell, April 27, 2020.

 

Michael Hoppé

Michael Hoppé is a GRAMMY-nominated composer with exceptional melodic talent and distinctive evocative style. He has an extensive background in both pop and classical music which his recordings reflect.
Hoppé’s music is performed and heard internationally including HBO’s “The Sopranos”, Oprah Winfrey Show, Michael Moore’s documentary “Sicko”, David Volach’s “My Father, My Lord”, “Misunderstood” (starring Gene Hackman), and the multi-award winning short “Eyes of the Wind” which reached the Oscar nomination shortlist.
Also, there are over 9,000 videos utilizing his music on YouTube.
His music is extensively used by such renowned authors/teachers as the celebrated environmentalist Jane Goodall, Julia Cameron (“The Artist’s Way”), Sarah Breathnach (“Simple Abundance”), Robert Cooper (“The Emotional Intelligence”), and others, in their workshops.
Hoppé’s music has been recorded by a variety of singers and instrumentalists including Vangelis, the Prague Symphony, Tim Wheater, Martin Tillman, Zamfir, Frank Mills, Eliza Gilkyson, Cecilia, Louise Di Tullio, Lou Anne Neill, Eugene Fodor, Lily Haydn, Heidi Fielding, Dwain Briggs, Alyssa Park, Libbie Jo Snyder, Mitsuki Dazai, Joe Powers, AnDee Compton, Giuditta Scorceletti, Janinto, Pedro Cartas, David Mendoza, Alfredo Muro and others.
His endeavors in the music industry have brought him several gold and platinum records, and “The Yearning” won “CD OF THE YEAR”, and “Afterglow” was voted Best Album for the Crossroad Music Award, for the AFIM Award, and featured as a pick in The OprahMagazine in 2013.
Also “The Lover “won the visionary Award, and Hoppé’s GRAMMY Award-nominated CD “Solace” was featured in Clint Eastwood’s ‘Flags of our Fathers’ documentary. “Solace” was also voted as “30 Greatest New Age Albums of All Time” by the influential New Age Review.
After “How Do I Love Thee?” an album of love poems narrated by Michael York, Hoppé recorded “Requiem”, a solo piano album “Romances”, and “Nostalgie” Romances for Harmonica featuring Joe Powers.
Hoppé has performed in Korea numerous times and performed his Requiem in Prague.
He scored the multi-award-winning Short Film “Nous Deux Encore” which won the Best Score Award at the International Monaco Film Festival. The music features Mitsuki Dazai the virtuoso koto player with whom Hoppé produced “Far Away…” Romances for Koto.
Recent releases include “Nightingale” songs sung by Giuditta Scorceletti, “Serenity” Viola and Keyboard Improvisations with Harold Moses, (2014 Top Pick by reviewer Kathy Parsons, and Best album 2014 New Age Review), “Grace” (2013 Top Pick by reviewer Kathy Parsons)“Tapestry”, and “Prayers-A Personal Selection” (Audie Award nomination) read by Michael York, and “Café Champagne” (performed and arranged by Scarlet Rivera and Tommy Eyre)Previously, Hoppé founded InterConnection Resources, a music business consultancy.  He was also a senior executive at PolyGram responsible for signing such diverse talents as Vangelis, Kitaro, The Who, Jean-Michel Jarre and ABBA to the label.
Recent releases include “Amistad”, and an album of choral works “Peace & Reconciliation” performed by the Sedona Academy of Chamber Singers, and the Tetra String Quartet, conducted by Ryan Holder (Top Pick by reviewer Kathy Parsons).
“Some Other Time” was written for cellist Martin Tillmann as part of “Poet”, a cycle of soulful Romances” for Cello and Piano. Each Romance individually is dedicated to a celebrated poet and was inspired by one of their poems. “Some Other Time” was written for Carl Sandburg.

 

Charles Henning

​Charles Henning was born in 1993 in Cape Girardeau, Missouri. His interest in music began at age 16 while living in Oklahoma when he began to learn the viola. Charles attended The University of Central Oklahoma where he studied under Dr. Ralph Morris, Dr. Tess Remy-Schumacher, and others before transferring to New Mexico State University in Las Cruces, New Mexico, where he completed his music education degree in viola under Mr. Jorge Martinez-Rios.
​Charles is a lover of historically informed performance practices, and during his education at UCO served as president of the Brisch Center for Historical Performance Student Activity Group. His musical interests include works of the Renaissance, Baroque, and Classical periods in addition to the more recent music of the twentieth and twenty-first centuries. His favorite composers include Joseph Haydn, Antonio Vivaldi, and especially J.S. Bach. Along with these well-known composers, Charles enjoys rediscovering the music of lesser-known and even anonymous composers of the 17th and 18th centuries. Charles also enjoys popular genres such as “Old-time” fiddle music. He plays the fiddle and has competed in fiddle contests in Lovington, New Mexico.
​Compositionally, Charles enjoys writing music for the viola as well as for other instruments such as cello and flute. He most enjoys writing unaccompanied solo works, because of the liberty of expression allowed to an individual musician and the direct connection between the player and the listener. Although born into the Baptist tradition, Charles is now an ardent Confessional Lutheran and draws much inspiration from scripture and the traditions of the Church. Hymn-writing is another of his favorite compositional outlets.
​When not involved in musical activities, Charles enjoys studying history, poetry, woodworking, and outdoor activities such as hunting, fishing, and hiking. In more recent years, He has also begun to study historical fencing, learning and using techniques found in medieval and renaissance manuals of arms.

Passage For Cello Alone: Five Verses
Compositional Process
​When composing “Passage” Henning converted text into a tone row by using a specialized process of his own design. The technique involves numbering the twenty-six letters of the alphabet in base 7 and then converting the resulting numbers into one of the seven interval classes.
​Unlike counting in Base 10, where one uses ten Arabic digits (0-9) that signify numbers in places based on multiples of 10, Base 7 uses seven digits to signify numbers in places based on multiples of seven. In Base 7 one would write count to ten likewise:
1 2 3 4 5 6 10 11 12 13
​The importance of numbering the alphabet in this way is because it assigns each letter of the Latin alphabet one or two of the Arabic digits 0, 1, 2, 3, 4, 5 or 6. These digits then correspond to an interval class in Musical Set theory. Given a text and a starting note, the composer is provided a tone row that is the basis for the composition.  Below is a reference table of the twenty-six letters of the Latin alphabet assigned a number in base 7.
A 1​B 2​C 3​D 4​E 5​F 6​G 10​H 11​I 12​J 13​K14​L 15​M 16
N 20​O 21​P 22​Q 23​R 24​S 25​T 26​U 30​V 31​W 32​X 33​Y 34​Z 36
​The chosen text is written out and the proper numbers are assigned. The resulting row is then realized as intervals according to interval class as described in Music Set Theory. Below is a table of the digits as they relate to interval class.
0 perfect Unison, perfect octave​​1 minor second, major seventh​
2 major second, minor seventh​​3 minor third, major sixth
4 major third, minor sixth​​5 perfect fourth, perfect fifth
6 tritone
Thus, the name “Bach” would be rendered in this system as:
2 1 3 11
As in most other forms of serialism, the composer has the freedom to choose note duration, dynamics, and other musical qualities in addition to the starting note. In this system, he also chooses which of the two intervals in the interval class to use (for example, for a 1, either a minor second or a major seventh is permissible) and whether to go higher or lower in pitch. If the composer started on the note C5, the name “Bach” might be musically rendered as such:
A short row such as this can also be used as the basis for a tonal composition or input into a matrix.  The Text used for “Passage for ‘Cello Alone” was taken from The King James Bible, the Gospel of St. John verses one through five. At times the line was “broken” and restarted on a different pitch for musical reasons. The text is presented below:
“In the beginning was the Word, and the Word was with God, and the Word was God. The same was in the beginning with God. All things were made by him; and without him was not any thing made that was made. In him was life; and the life was the light of men. And the light shineth in darkness; and the darkness comprehended it not.”

 

Bryan Mitschell

Bryan Mitschell is a professional sound technologist and a new music composer and songwriter in the Oklahoma City area. His poetry has been published in numerous creative writing journals across the United States, and through his songwriting endeavors, he specializes in compelling lyricism. A classically trained percussionist, Bryan has sat behind a drum set for numerous performing groups spanning from traditional country to aggressive punk rock, but ultimately would earn his master’s degree in music production from the nationally proclaimed jazz studies programs at the University of Central Oklahoma. He serves as an Oklahoma City Chapter Coordinator for the Nashville Songwriters Association International and actively writes music for pitch to a major label and indie artists alike. His songs have been recognized for NSAI’s “Ones-To-Watch” list five times between 2019-2021, and three times in the same period for the “Most Wanted” list on SongTown, another global trade association for songwriters. Bryan enjoys attending music industry conferences all over the country and has had the good fortune to shake hands with hit songwriters from a myriad of musical genres.” 

The Artist In the Family
Music and lyrics by Bryan Mitschell, © 2021, Armchariot Music (ASCAP).  All rights reserved / Used by permission.
The Artist in the Family is an homage to my mother and the influence she had on my musical development when I was a child.  Despite no one in the family being a musician, we had an upright piano in the house where I grew up, and the first song I ever composed in my head was one I pecked out on that piano.  I would play it from memory on quiet days and my mother, so encouraging, would tell me every time how much she loved it, which gave me great pride.  And it was my mother who, without hesitation, turned the car around one day when we passed a garage sale and I hurriedly asked her if we could buy that ramshackle burgundy-colored drum set I saw sitting sadly on the grass.  It’s hard to know how pivotal those moments of support may have been for me, but The Artist in the Family explores my suspicion that they were life-defining.  Enshrined in this piece is the original melodic theme from that first childhood composition she was so fond of.

All of my loved ones, they swear I have a gift
But no one knows why
I’m from a long line of tradesmen…
Down-to-Earth, uninspired

They think I’m a mystery:
The artist in the family
Only one so it seems
But that voice in my mind’s eye
It’s an aria and it’s not mine
She sings

Memories of Mom like a warm snow
That falls in my ears
Echo of words, they still sound so clear

Mom never did get all the credit she deserved
Of that I’m sure
She had a kid for a canvas
And I?  I had her

If it’s “nature versus nurture”
As to which one grows our wings…
The world circles like a music box
When our mothers wind the spring

So, all of my loved ones, you’re so right, it’s a gift
But not the innate kind
Mine was a seed that was planted
Given ground, given sky

Am I really such a mystery
If an artist in the family
Preceded me?
This life’s a pretty painting
I can call it “mine”
But there’s my Mom’s name
At the bottom-right

They say I’m an anomaly
The artist in the family
But it’s not only me
Cuz that voice in my mind’s eye
It’s an aria and it’s not mine
She sings

 

Samuel Magrill

Samuel Magrill is a coordinator of Graduate Studies, Professor of Music and a Composer-in-Residence in the School of Music at the University of Central Oklahoma, where he has taught music theory and composition since 1988. Previously, he taught at the University of Wyoming and California State University, Long Beach. He obtained his Bachelor of Music in Composition from Oberlin Conservatory and his Master of Music and Doctor of Musical Arts degrees in Composition from the University of Illinois, Champaign-Urbana.
Magrill has written more than one hundred compositions for a variety of instruments, from solo piano and chamber music to choir, wind ensemble and symphony orchestra. His works have been performed throughout the United States and abroad and at many regional and national conferences including the Society of Composers, Inc., the National Flute Association, the North American Saxophone Alliance and the College Music Society. His CDs include electro-acoustic music (“The Electric Collection”), his four operas, wind symphony compositions (“Oklahoma Bandscapes”), and collections of music for cello and other instruments.  He has received numerous awards and commissions, including ones from the National Endowment for the Arts, the American Music Center, the Mid-America Arts Alliance, the Illinois Arts Council, ASCAP (American Society of Composers, Authors and Publishers), the Oklahoma Music Teachers’ Association, the American Composers’ Forum’s Continental Harmony Program and faculty research grants and merit credit awards from the University of Central Oklahoma. Dr. Magrill is also an active collaborative pianist.
Recent compositions include “Concerto fantastique” for solo flute and chamber orchestra (2017) written for Mira Magrill and the Chelsea Symphony (2017); “Five Bagatelles” for flute, violin, cello and piano (2018) written for brightmusic; “Destiny 31.89” for alto flute (2019) written for Mira Magrill; and “Out of Thyme” for one piano, six hands (2019) written for the 100th anniversary of the Oklahoma City Pianists’ Club.

Celloklavier: Beethoven Deconstructed (2020)       
Early in 2020, Dr. Tess Remy-Schumacher asked me to write a composition for solo cello commemorating Beethoven’s 250th birthday.  I proceeded to write a composition reminiscing about Beethoven’s five sonatas for violoncello and piano. These works are not really duets but trios—the cello part, the piano right hand and the piano left hand. The familiar melodies are played by the right hand of the piano and the solo cello. I thought that taking snippets of the neglected left hand of the piano and setting it for solo cello would be an interesting project, thus creating a “Celloklavier” as it were. To celebrate all of Beethoven’s cello sonatas, I systematically used material from all five chronologically starting with the first. Each sonata is sampled backwards with the last movement first. Instead of a work for violoncello with piano accompaniment, this work is for solo cello playing the accompaniment, that is, that the accompaniment has become the solo. As one listens to material from all five of Beethoven’s cello sonatas together, one hears new motives in consistencies which, through deconstruction, create a larger unity. The work is a rhapsodic homage to Beethoven on his 250th birthday.

 

L. Keith White

Dr. Keith White is a composer of electro-acoustic music, electronic music, performance art and multimedia compositions. His “Vital Signs” series, of which there are five, have been performed throughout the United States. The pieces include actors, dancers, painters, sculptors, musicians, and electronic tracks. He has most recently been a featured composer at the “International Electronic Barn Dance Festival” in Jacksonville, Florida. He was also a composer in residence at Xinghai Conservatory of Music in Guangzhou, China during their 55th-year anniversary celebration. He is currently a Professor of Music at the University of Central Oklahoma.

Prelude From Suite For Cello Solo, BWV 1007, With Added Electronic
When asked to add electronics to Bach’s 1st suite for Cello for a collaborative concert of historically performed music and electronics, I was skeptical. How could electronics be added to Bach and not interfere with the musicality of Bach? With a little encouragement, I agreed to try. I used Pro Tools with a Zebra II plug-in to create the electronic tracks. I have been assured that Bach is smiling.


The UCO School of Music’s Faculty Artist Concert Series (FACS) showcases faculty musicians while also raising scholarship funds for UCO students. Proceeds from every performance generate scholarship funds to support UCO School of Music students in financial need.

To make an additional tax-deductible donation to the School of Music, visit centralconnection.org/facs and scroll to the bottom of the page.


The New Central Arts Card. Developing the Arts and Building Community.

Get discounts on the things you love while supporting the next generation of artists, designers & performers at UCO.

The Central Arts Card is a fundraising effort benefiting UCO’s College of Fine Arts and Design and a community outreach effort. As a cardholder, your donation supports the arts and grants you discounts at our partner organizations. Visit go.uco.edu/cac to learn more!

Partner Organizations

Blue J’s Rockin’ Grill — 10% off purchases*

Commonplace Books — 10% off purchases*

Edmond Historical Society & Museum — 10% off gift shop purchases / 1 free admission to “1940s RadioTheatre” show*

Edmond Fine Arts Institute — 10% off classes*

UCO Jazz Lab — $5 off select productions (see a list of qualifying UCO events below)*

Mitchell Hall Theatre — 10% off select productions (see a list of qualifying UCO events below)*

Mt Everest Cuisines — 10% off purchases over $20 / Free drinks on purchases over $30*

School of Rock — $50 off first-month private lessons enrollment. $75 off first-month group or lesson+group enrollment*

This is just the beginning! Our list of partner organizations in this new program is growing every week.
*Some restrictions may apply. Contact the partner organization for additional details.

Posted on August 30, 2022 by Lauren Burk
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