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«Choral Collage Ithaca College Chorus Derrick Fox, conductor  Ithaca College Madrigal Singers Derrick Fox, conductor  Ithaca College Women's Chorale ...»

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Choral Collage

Ithaca College Chorus

Derrick Fox, conductor 

Ithaca College Madrigal Singers

Derrick Fox, conductor 

Ithaca College Women's Chorale

Janet Galván, conductor 

Ithaca College Choir

Janet Galván, conductor 

Ford Hall

Saturday, October 11th, 2014

8:15 pm

Program

Ithaca College Chorus

Derrick Fox, conductor

Justin Ka'upu, graduate assistant

Alexander Greenberg and Jonathan Vogtle, collaborative

pianists

Life is a Song

“Music expresses that which cannot be put into words and that which cannot remain silent” Spirit Lilizela trad. Xhosa folk song compiler Mollie Stone University of Cape Town Choir for Africa Love She Walks In Beauty Kevin Memley Justin Ka'upu, conductor Unity Veni Sancte Spiritus K.47 Wolfgang Amadeus Mozart (1756-1791)

Soloists:

Kathleen Maloney, soprano Ryan Kennedy, alto Nick Kelliher, tenor St. John Faulkner, baritone Family Lullaby Dan Elder Faith Didn't My Lord Deliver Daniel trad. African American Spiritual arr. Moses Hogan (1957-2003) Ithaca College Madrigal Singers Derrick Fox, conductor Songs of Love and Lust "The desire of love is to give. The desire of lust is to get."

-Anonymous O Occhi Manza Mia Orlando di Lasso (1532-1594) Il Bianco e Dolce Cigno Jacques Arcadelt (1507-1568) Mon Coeur se Recommande à Vous Jean Baptiste Weckerlin (1821-1910) Come Again! Sweet Love Doth Now Invite John Dowland (1562-1626)

Soloists:

Le

–  –  –

Dr. Derrick Fox Dr. Derrick Fox is an assistant professor of choral music education and choral conducting in the Ithaca College School of Music. He conducts the IC Chorus, IC Madrigal Singers and teaches choral conducting and rehearsal techniques.

He actively adjudicates and clinics at the regional, state, national at the middle/junior high school through the collegiate level. He has worked with ensembles and presented in Arkansas, Pennsylvania, Kansas, Missouri, West Virginia, Texas, Iowa, North Carolina, New York, Florida and Michigan.

Dr. Fox’s solo voice collaborations include work with the Arkansas Symphony, Lansing Symphony, St. Louis Symphony, Columbia Chorale, the University of Nebraska at Omaha, University of Missouri, Michigan State University and the Espaço Cultural (Brasilia, Brazil). He can be heard singing selections from Gershwin’s Porgy and Bess on the CD In This Hid Clearing, available on the Naxos Classical Music label.

He holds degrees from Arkansas State University (B.M.E.), the University of Missouri – Columbia (M.M.) and Michigan State University (D.M.A.) He currently serves as the Multicultural and Ethnic Perspectives R & S for the New York chapter of ACDA.

Dr. Fox’s upcoming engagements include West Virginia All State MS/JH Honor choir, St. Louis All Suburban 9-10 honor choir, NYSCAME/SCMEA All County Women's choir (NY), DCMEA All County High School Mixed honor choir (NY), DCMEA Jr. High All-County choir (NY), Blair County Junior High Choir (PA), 2016 Tennessee All-State Treble Honor choir, 2017 Arkansas All-State Mens Choir and the 2015 American Choral Directors Association National Convention in Salt Lake City, Utah.

Dr. Janet Galván Dr. Janet Galván, Director of Choral Activities at Ithaca College, has conducted national, regional, and all-state choruses throughout the United States. She has conducted her own choral ensembles in Carnegie Hall, Lincoln Center’s Alice Tully Hall, and Avery Fisher Hall as well as in concert halls throughout Europe and the United Kingdom. Her choral ensembles have also appeared at national, regional, and state music conferences.  She has conducted the chamber orchestra, Virtuosi Pragneses, the State Philharmonic of Bialystok, Poland, the Cayuga Chamber Orchestra, the Madrid Chamber Orchestra, and the New England Symphonic Ensemble in choral/orchestral performances. Galván was the sixth national honor choir conductor for ACDA, and was the conductor of the North American Children’s Choir which performed annually in Carnegie Hall from 1995-2007. She was also a guest conductor for the Mormon Tabernacle Choir in 2002.

Galván has been a guest conductor and clinician in the United Kingdom, Canada, throughout Europe, and in Brazil as well as at national music conferences and the World Symposium on Choral Music.  She was on the faculty for the Carnegie Hall Choral Institute, the Transient Glory Symposium in February of 2012 and on the Oberlin Conducting Institute Conducting Faculty in 2014.  Galván has been recognized as one of the country’s leading conducting teachers, and her students have received first place awards and have been finalists in both the graduate and undergraduate divisions of the American Choral Directors biennial National Choral Conducting Competition. Dr. Galván was a member of the Grammy Award-winning Robert Shaw Festival Singers (Telarc Recordings).

Sally Lamb McCune Sally Lamb McCune's catalogue ranges from solo and chamber music to works for chorus, wind ensemble, and orchestra. She has also underscored several works for movement based theatre and dance. Born in Detroit in 1966, Lamb McCune was educated at the University of Toronto, California Institute of the Arts, and earned her MFA and DMA at Cornell University. Ms.

Lamb McCune is the recipient of numerous honors, including awards form the American Academy and Letters (the 2001 Charles Ives Fellowship), ASCA), the Whitaker New Reading Session, the New York Foundation for the Arts, and Meet the Composer. As a dedicated teacher, Lamb McCune has taught at Cornell University, Syracuse University, and currently serves on the faculty at Ithaca College.





 

Elizabeth Simkin Elizabeth Simkin, Associate Professor of Violoncello, did her doctoral study at the Indiana University inn Bloomington, Indiana.  Her Master of Music degree was from Eastman School of Music, and her  Bachelor of Music degree was from  Oberlin College.  Simkin studied with Janos Starker, Steven Doane, Richard Kapuscinski, and Toby Saks. She served as a teaching assistant to Janos Starker and as a faculty member at Indiana University University, Earlham College, Eastman School of Music, Bowdoin Summer Music Festival, and the Heifetz International Music Institute. Simkin was also a member of the Richmond Symphony Orchestra and the Cayuga Chamber Orchestra. She has played with the Ariadne String Quartet, Ensemble X, and the Taliesin Trio.  She has also performed as a soloist with the Buffalo Chamber Orchestra, New Music Festival.

She had a Fellowship at the Tanglewood Music Center. She has also performed International recitals as a United States artistic ambassador.

Susan Waterbury Susan Waterbury, violinist, serves as Associate Professor of Violin at the Ithaca College School of Music where she teaches violin and performs regularly with the Sheherazade Trio and the Ariadne String Quartet. From 1995-99, Waterbury was Associate Professor of Violin at the University of Memphis where she taught violin and performed with the Ceruti String Quartet. Previously, Waterbury was Artist-in-Residence and Co-Artistic Director for the Garth Newel Music Center in Hot Springs, VA where she performed chamber music concerts year-round. She has also held positions with the University of California, Riverside Campus, and Oberlin Conservatory of Music.

As a founding member of Cavani, Waterbury performed and taught regularly for concert series and festivals throughout the U.S. and abroad. The Cavani Quartet garnered many awards including first prize in the 1989 Walter W. Naumberg Chamber Music, and the Cleveland Quartet and Carmel Chamber Music competitions as well as earning prizes at the Banff International, Chicago Discovery, Coleman, and Fischoff competitions.

A new music enthusiast, Waterbury has worked with many composers, including Steven Stucky, Donald Erb, Joan Tower, Ellen Zwilich, Jennifer Higdon, Michael Doherty, Kamran Ince, Sally Lamb, Christopher Rouse, Gordon Stout, and John Adams.

Waterbury has recorded on the Azica, Albany, Pantheon, Polygram, and Cleveland Institute of Music label.

In recent summers, Waterbury taught and/or performed for The Quartet Program, Zeltsman Marimba Festival, the Adriatic Chamber Music Festival (Termoli, Italy), Deia International Music Festival, (Mallorca, Spain),Tuckamore Festival (Newfoundland, Canada), Bennington Music Conference (Vermont), and Garth Newel Music Center (Virginia).

Marc Webster Marc Webster, Bass.  D.M.A. in progress, Eastman School of Music; A.D., The Juilliard School; M.M., Eastman School of Music; B.M., Ithaca College.  Recent operatic performances with The Juilliard Opera Center, Wolf Trap Opera, Seattle Opera Studio, Florida Grand Opera Studio, San Francisco Opera Merola Studio, and Eastman Opera Theater.  Favorite recent opera roles include Sarastro in Die Zauberflöte, Tutor in Le Comte Ory, Rambaldo in La Rondine, Seneca inL’incoronazione di Poppea, Pistola in Falstaff, Sir Giorgio in I Puritani, and Osmin in Die Entführung aus dem Serail.  Mr. Webster, an active recitalist has also recently performed with The New York Festival of Song with Stephen Blier and the Marilyn Horne Foundation The Song Continues series in Weill Hall.  He was a finalist with the Metropolitan Opera National Council Auditions and holds First Place Awards from the Jessie Kneisel Lieder Competition, Eastman Concerto Competition, and The Eastman Opera Competition.  Oratorio performances with Juilliard Symphony in Alice Tully Hall, Colonial Symphony, Jacksonville Symphony, Eastman Symphony, Buffalo Philharmonic, Rochester Philharmonic, and Boston Chamber Orchestra at Trinity Cathedral.  Studies with Carol Webber, David Parks, and Robert C. White.  Marc Webster has coached with Warren Jones, Martin Katz, Renata Scotto, Dolora Zajik, Håkan Hagegård, Jane Eaglen, Sherri Greenawald, Stephen Wadsworth, Nico Castel, Margo Garrett, Brian Zeger, Diane Richardson,  Denise Massé, Corradina Caporello, Benton Hess. Upcoming performances in 2011-2012 with Opera Arkansas, Mercury Opera, Syracuse Opera.

Catherine Weidner Catherine Weidner, Chair of IC’s Department of Theatre Arts, is a teacher, director and actor.  In the summer of 2014 she directed As You Like It for Theater at Monmouth in Maine, and played Silda in Other Desert Cities at the Hangar Theatre.

 Other recent directing credits include: an adaptation of Jane Austen’s Emma for Nebraska Repertory Theatre; Taming of the Shrew, Titus Andronicus, and Merry Wives of Windsor for the Illinois Shakespeare Festival; Two Gentlemen of Verona for Theatre at Monmouth in Maine; Or, at Caffeine Theatre in Chicago, and a one-man version of Henry V in Austin, Texas for Rude Mechanicals/Red Then Productions. As an actress she has worked at The Kennedy Center in A Streetcar Named Desire  with Patricia Clarkson, Amy Ryan and Noah Emmerich; at Center Stage in Baltimore in Blithe Spirit and Mary Stuart; and at Arena Stage in Washington, DC in The Heidi Chronicles.  She has worked at The Guthrie Theater, Theatre de la Jeune Lune, the La Jolla Playhouse, and with Bread & Puppet.  She holds a BFA in Acting from Ithaca College and an MFA in Directing from the University of Minnesota, and has also trained at Complicite in London, The Second City in Chicago and The Neighborhood Playhouse in New York.  For ten years she was the Program Director of The Shakespeare Theatre Company’s Academy for Classical Acting at the George Washington University.  She also taught The Theatre School at DePaul University, where she served as Head of BFA Acting.    Program Notes Ithaca College Chorus The essence of South African choral music is rooted in the activities of everyday life. South Africans sing for birth, death, marriage, sickness, and health. The distinguishing characteristic of South African choral music is the use of dance which adds a new rhythmic pattern to already complex songs. Lilizela exemplifies how modern South African arrangers continue to encapsulate the spirit of the South African people through choral music. Lilizela is sung at weddings, competitions, and various recreational events but is most often sung as a choral processional.

–  –  –

It was during the experiences of my third son's birth in the hospital that the idea of this piece originally took shape. Somewhere in the middle of the night, I had some piano music of my own playing on the CD as we were trying to catch some rest before the final labor. I remember watching my lovely wife resting and hearing music softly permeate the room. Suddenly it hit me, "This melody needs to be sung!" Weeks later, I came across Lord Byron's beautiful poem, She Walks in Beauty. – Kevin Memley Veni, Sancte Spiritus was written by Mozart at the age of 12 for the dedication of the chapel on Rennweg and may have also served as a compositional exercise in preparation for the Missa Brevis in G (K.

49). There are several Feasts of the Church wherein a "sequence" hymn may be sung. Veni Sancte Spiritus is one of five sequences that can be sung just before the Alleluia (Gospel acclamation). After the Council of Trent, in the Missal of Pius V (published 1570), the number of sequences was reduced to four. Mozart's lighthearted setting of the text is cleverly infused with classical harmonic language and components of classical formal structure that have become monikers of Mozart's compositional oeuvre.   

–  –  –

"Lullaby" is the final installment of Three Nocturnes for chorus and piano. The cycle explores both observational and psychological experiences associated with love, nature, and light. "Lullaby" is a simple song of reassurance, as mother may sing to her child to stave off fear of the darkness and solitude of night. The beauty of the text lies in its dual nature, as it also serves to comfort those who grieve over loss. The "day is gone, and gone the sun," has its origins in the first line of the text traditionally sung to "Taps," the tune generally played on the bugle or trumpet for military funerals or to signal the end of the day. – Dan Elder One of the leading arrangers of spirituals, Moses Hogan utilizes call and response, extended harmonies, and rhythmic drive, popular characteristics of African American "musics," to bring to life the sentiment embedded in the text of the traditional spiritual, Didn't My Lord Deliver Daniel.



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