LOJA – ECUADOR 2016
6. MARCO TEÓRICO MARCO CONCEPTUAL
PR O G R A M
T h e F in al P re c ip ic c In vocation M r. R e y e s, tim p a n i S o n g s o f T ra v e l T h e V a g a b o n d W h ith e r m u s t 1 w a n d e r? M r. B o rg m a n Y o u D o n ’t K n o w W h a t L o v e Is M r. R e y e s , v ib r a p h o n e V a g a lu n a, ch e in a rg e n ti A m a rilli, m ia b ella M r. B o rg m a n A m e ric a n S u ite P ia z o n o re P la s ir d ’a m o u r P sy c h e C o n firm a tio n B lu e M o n k M r. R e y e s, sn a re & v ib ra p h o n e M r. B o rg m a n M r. R e y e s , v ib ra p h o n e E rlk o n igO Isis u n d O siris (fro m D ie Zauberflote) M r. B o rg m a n R e c o rd a m e O leo M r. R e y e s , v ib ra p h o n e J . P e y to n R . V a u g h n W illia m s D. R ay e V . B ellin i G . C a c c in i G . G u n th re a x A . G e ra s s im e z J. E g id e M a rtin i E. P a la d ilh e C. P a rk e r T. M o n k F. S c h u b e rt W . A . M o z a rt J. H e n d e rso n S. R o llin s
T h e L a st G o o d b y e (fro m The Hobbit, Battle o f Five Arm ies) B. B o y d , F. W a lsh M r. B o rg m a n
P ro f. F re d d ie F ra n k e n , g u ita r
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Progam Notes & T ranslations
The Final Precipice - W ritten in th e spring o f 1993, th is b o m b astic tim pani concerto
c o m b in es th e aco u stic tim p an i w ith a co m p u te r-g e n e ra te d so u n d scap e. It includes m any tu n in g c h an g es an d fo u r m o v em en ts.
You D on ’t Know W hat Love Is - It is co m m o n for ja z z pianists, g u itarists, and in
m ore recen t y ears, v ib rap h o n ists, to ta k e ja z z stan d ard s an d a rra n g e them into solo p iece s. T h is p e rfo rm a n c e is an e x a m p le o f that. H ere are som e ly rics from th e o rig in al song: Y o u d o n ’t kn o w w h a t love is until y o u ’ve learned th e m ean in g o f th e b lu es until y o u ’v e had a love y o u ’ve h ad to lose, y ou d o n ’t kn o w w h at love is you d o n ’t k n o w how lips h u rt until y o u ’ve k issed and had to p ay the co st u ntil y o u ’ve flip p ed y o u r h eart and y o u h av e lost, y o u d o n ’t know w h at love is.
Vaga luna (Translation) - lovely m oon that silv ers these bands and th ese flow ers and
b reath es into the elem en ts, th e lan g u ag e o f the love, w itn ess n o w are you alo n e o f my fervid d esire, and to h er w h o m e m ak es fall in love tell th e trem b lin g and th e sighs. T ell her, on ly th a t d istan ce the m y g r ie f not I can to h er assu ag e, th a t i f I n o u rish o n e hope, she is o n ly , y es, in -th e-fu tu re. T ell h er ju s t th a t day and ev en in g I c o u n t the bours o f th e sad n ess, th a t a hope e n tic in g m e co m fo rts in the love.
A m arilli, mia bella (Translation): B eliev est thee not, oh m y heart's sw eet desire tis
th o u m y h eart asp ires? B eliev e, tis true: y e t sh ould a d read b esieg e th e e d o u b t not, tis v an e rip m y bosom o p en , and th ere in scrib ed y o u 'll see A m arilli, A m arilli, A m arailly s m y sw e e te st love art thee.
A m erican Suite - T his snare piece featu res five m o v em en ts, and this perfo rm an ce w ill
include th e first three. M o v em en t O ne in tro d u ces th e th em atic m aterial w ith a few v ariatio n s: a rh y th m ic figure in clu d in g flam s and ruffs. M o v em en t T w o m o rp h s the th em e into an o u td o o r ru d im en tal sty le an d e m p lo y s all o f th e 40 stan d ard ru d im en ts. M o v e m e n t T h ree tak es th e th em e into th e ja z z idiom by in co rp o ratin g b ru sh es in a sw in g style.
Piazonore - P laying v ib rap h o n e at age six and b ecom ing one o f the m ost co m m ercially
ren o w n ed v ib ra p h o n ists to e m erg e from th e ja z z g en re, G ary B urton is p robably m ost w ell k n o w n fo r creatin g his o w n fo u r-m a lle t g rip and in v en tin g the p ia n o -v ib ra p h o n e j a z z d u et. A lth o u g h o rig in a l, A lexej G e ra ssim e z w rites in a style re m in iscen t o f G ary
B u rto n ’s w o rk w ith p ian ists M ak o to O zo n e, P ab lo Z ieg ler, and C h ic k C orea.
Plasir d ’am our (Translation) - T he p leasu re o f love lasts only for a m o m en t, the pain
o f love lasts a lifetim e. Y o u ’ve left m e fo r the beau tifu l S ylvia, and s h e ’s leav in g you fo r a n o th e r lover. T he p leasu re o f love lasts o n ly fo r a m o m en t, the p ain o f love lasts a lifetim e. A s long as this w ater w ill run g en tly to w a rd s th is b ro o k w hich b o rd ers the m ead o w , I w ill love y o u , S y lv ia told y ou rep eated ly . T he w a te r still runs, b u t she has ch an g ed . T h e p leasu re o f love lasts on ly for a m o m en t, th e pain o f love lasts a lifetim e.
Psyche (Translation) - I am je a lo u s, P syche, o f all nature! T he sun's rays kiss you
to o o fte n , y o u r h a ir su ffers to o m uch the w in d 's caresses. A s it flatters you, I m u tte r in protest! T h e sam e air th a t y ou b reath e w ith so m u ch p leasu re passes o v e r y o u r m outh. Y o u r d ress to u c h e s y ou to o closely! A nd w h ilst you sigh I do not know w h at it is th at startles m e fear, a m id st y o u r sig h s, th o se d istracted sighs!
C o n f ir m a t io n - B est k n o w n fo r h elp in g create the ja z z g en re o f b ebop in th e 40s, C h arlie P a rk e r’s sax o p h o n e p lay in g b ro u g h t ja z z to a new level o f v irtu o sity . A m ove aw ay from the p o p u la r but sim p le m u sic o f th e sw in g b an d s, b eb o p u ses fast tem p o s and ad v an ced h arm o n ies.
Blue M onk - O ne o f th e m ost w ell know n ja z z p ianists and co m p o sers o f all tim e,
T h e lo n iu s M o n k w as n o ted fo r a u n iq u e p ercu ssiv e im p ro v isatio n style. T his sty le is e v id e n t in th e h ead (m e lo d y ) o f th is stan d ard 12 b ar blues.
E rlkonig (T ranslation) - W ho rides so late th ro u g h n ig h t and w ind? It is th e fath er
w ith his ch ild . H e has the little o n e w ell in the arm he h olds him secu re, he h olds him w arm . M y son, w h y h id e y o u r face in fear? See y o u not, F ath er, the E rlk in g ? T he E rlk in g w ith cro w n an d flo w in g clo a k ? M y son, it is a w isp o f fog. Y ou sw eet child, co m e a lo n g w ith m e! S u ch w o n d e rfu l g am es I'll play w ith yo u ; m any lovely flow ers are a t the sh o re, m y m o th e r has m an y g o ld en g arm en ts. M y fath er, m y fath er, and do y o u not hear, w h a t th e E rlk in g q u ietly p ro m ise s to m e? B e calm , stay c alm , m y child; th e w in d is ru stlin g th e dry leav e s. W o n 't yo u co m e a lo n g w ith m e, m y fine b o y ? M y d a u g h te rs shall a tten d to y o u so nicely; m y d au g h ters do th e ir n ig h tly d an ce, and they w ill ro ck yo u and d a n c e y o u an d sin g y o u to sleep . M y fath er, m y fath er, do y o u not see th ere, E rlk in g 's d a u g h ters in th a t dark p lace? M y son, m y so n , I see it d efin itely it is th e w illo w tre e s lo o k in g so g rey . 1 love y o u ; I'm ch arm ed by y o u r b eau tifu l shape; and i f y o u are n o t w illin g , th en I w ill use force. M y father, m y fath er, n ow he has taken ho ld o f m e! E rlk in g h as h u rt m e! T he fa th e r sh u d d ers, he rid es sw iftly , h e h olds in arm th e g ro a n in g ch ild , he reach es th e farm h o u se w ith e ffo rt an d u rg en cy ; in his arm s, the ch ild w as dead.
O Isis und O siris (T ranslation) - O siris, Isis, by y o u r g races, give w isd o m to the
n ew ly w ed s! Y ou w h o d ire c t th e tra v e le rs ’ p aces, help th em b rav e risk w ith patien t h ead s - sh o w th em th e fru its o f th e ir hard testin g . T h o u g h in th e g rav e they find their restin g , rew ard th e ir v irtu e ’s d a rin g road, an d ta k e them into y o u r abode.
R e c o r d a m e - E n jo y in g a 4 0 y e a r c a re e r c o m p o sin g an d p erfo rm in g on the ten o r sa x o p h o n e , Jo e H e n d e rso n w as a fan o f B razilian so n g w rite r A n to n io C arlo s Jo b im . T ra n sla te d to E n g lish , th is tu n e m ean s “ R e m e m b e r M e” an d featu res so m e facets o f J o b im ’s B o ssa N o v a sty le .
O leo - S in ce the th irtie s, ja z z m u sician s have used the harm o n ies from G eorge
G e rs h w in ’s “ I G o t R h y th m ” as a v eh icle fo r im p ro v isa tio n . S ax o p h o n ist S onny R ollins p u t his o w n spin o n the tren d w h en he c o m p o se d th is tu n e.
M r. B orgm an presen ts this recital in p a rtia l fu lfillm en t o f the requirem ents f o r the B achelor o f M usic degree in M usic E ducation with em phasis in voice.
H e is the stu den t o f P rofessor M artha D alton.
M r. Reyes presen ts this recital in p a rtia l fu lfillm en t o f the requirem ents f o r the B achelor o f M usic degree in M usic Perform ance with em phasis in percussion.
U p co m in g E ven ts March
15 Faculty Jazz R ecital, K resge A u d ito riu m , 7 pm* 16 Faculty B rass T rio, K resge A u d ito riu m , 8:30 pm + 17 C o m p o sers o f O livet, K resg e A u d ito riu m , 7 p m +
18 Sr R ecital-T . B o n trag er & B. B urchfield, K resg e A uditorium , 7 pm + 21 N ig h t o f Jazz, C h alfan t A u d ito riu m , 7 pm +
29 Sr R ecital-A . E vans & C. G unter, K elley P ray er C hapel, 7 pm + 30 F aculty R ecital - C laire H appel, K elley P ray er C hapel, 8:30 pm +
A p ril
I U pper D ivision H earin g , K resge A u d ito riu m , 10 am* 4 P ercussion E n sem b les C oncert, K resge A u d ito riu m , 7 pm + 5 Sr/Jr R ecital - R. S tolberg & A. L ing, K resg e A uditorium , 7 pm + 7 S trin g s/C h am b er E n sem b le C o n cert, K resg e A uditorium , 7 pm + 8 U p p er D ivision H earing, K resge A u d ito riu m , 10 am +
I I U p p er D ivision H earin g , K resge A u d ito riu m , 10 am*
11 N ielso n /Y o u n g S ch o larsh ip A u d itio n , K resg e A uditorium , 7 pm + 12 H ale/W ild er S ch o larsh ip A u d itio n , K resge A uditorium , 7 pm+ 14 Sound F o u n d atio n S how , K resge A u d ito riu m , 7 pm
15 Student R ecitals, K resg e & L arsen 140, 10 am +
16 P ro clam atio n G ospel C h o ir C o n cert, K resge A uditorium , 7 pm* 18 Student R ecitals, K resge & L arsen 140, 10 am +
18 H opkins S ch o larsh ip A u d itio n , K resge A uditorium , 7 pm + 19 Sym phonic & C o n cert B and C oncert, K resg e A uditorium , 7 pm + 21 O rpheus C h o ir C o n cert, K resge A u d ito riu m , 7 pm +
22 S tudent R ecitals, K resge & L arsen 140, 10 am + 25 S tudent R ecitals, K resge & L arsen 140, 10 am*
25 Jazz B and & Jazz C o m bos C oncert, K resge A uditorium , 7 pm+ 26 A pollo C h o ir C o n cert, K resge A u d ito riu m , 7 pm*
27 Sr R ecital - A aron M aia, K resg e A u d ito riu m , 8:30 pm* 28 W ind E nsem ble C o n cert, K resge A u d ito riu m , 7 pm* 29 S tudent R ecitals, K resg e & L arsen 140, 10 am* 30 C o m m en cem en t C o n cert, K resge A u d ito riu m , 7 pm*
* denotes recital credit given * denotes ticket required for admittance
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