PROGRAM
Duo for Flute and Piano (1971) by Aaron Copland (1900 – 1990)
I. Flowing
II. Poetic, somewhat mournful –
III. Lively, with a bounce
NOTES: Copland’s Duo for flute and piano was commissioned by a group of students in memory of William Kinkaid, principal flutist with the Philadelphia Orchestra. It was first performed by Kinkaid’s flute student, Elaine Schaffer, with pianist Hephzibah Menuhin on October 3, 1971.
Winter Spirits, Op. 51 for solo flute (1997) by Katherine Hoover (b. 1937)
NOTES: West Virginia native, Katherine Hoover has an active career as a composer, conductor, and flutist. A graduate of the Eastman and Manhattan Schools of Music, Hoover studied flute with Joseph Mariano and William Kinkaid and has significantly contributed to the instrument’s repertoire. She is the recipient of a National Endowment for the Arts Fellowship, and Academy of Arts and Letters Award, and the recipient 2016 National Flute Association Lifetime Achievement Award. Regarding Winter Spirits, she writes: "There is a picture by the marvelous artist Maria Buchfink of a Native American flute player; from his flute rises a cloud of kachinas and totem spirits. This piece has also risen from his notes, and it is indeed influenced by Native American music. The idea of the flute invoking beneficial spirits, be they kachinas or any others, is a very natural one. Such spirits are an accepted and valued part of life in most of the world, and the flute has been used to honor and invite their presence for countless ages." – Katherine Hoover
Three Bagatelles from China West (2006) for Flute and Piano by Chen Yi (b. 1953)
I. Shan Ge
II. Nai Guo Hou
III. Dou Duo
NOTES: The recipient of the Charles Ives Living Award from the Academy of Arts and Letters, Dr. Chen Yi successfully blends Western and Chinese musical traditions. With degrees from the Central Conservatory in Beijing and Columbia University, Dr. Chen is an award-winning, much sought after composer who advocated the breaking of cultural boundaries, American, Asian, and women composers. The Three Bagatelles from China West came as a commission from flutist Marya Martin and the Meet the Composer Program. In it, Chen Yi blends Chinese folk tunes with Western instruments (and scales) in an energetic and innovative way. Regarding the work, Dr. Chen says: "The authentic folk music from China West has amazed and inspired me to write this piece, which has folk music elements drawn from these sources: the solo piece Shange Diao played on the wind instrument called Lerong, the musical pattern played on the small mouth wind instrument Kouxian of the Jingpo People, the solo piece Nai Guo Huo played on the wind instrument Bawu, the pitch material sung in the folk song Ashima of the Yi People, the folk song Dou Duo, and the sound effect of the Lusheng ensemble playing of the Miao People."
INTERMISSION
Enjoy some of Mary Ellen's homemade s'mores-flavored biscotti!
Trauma and Silence (2017) for flute and piano by Wassim Ibrahim (b. 1978)
Written for Jonathan Borja and Mary Ellen Haupert
NOTES: Syrian composer Wassim Ibrahim was born in Damascus in 1978. He graduated from the High Institute of Music in Damascus 2010 (Theory Division), where he studied with composition with Prof. Serge Kopperanov, theory and choral studies with Prof. Bella Tagezieva, conducting with Prof. Victor Babenko, and Maestro Missak Baghboudarian (the Syrian Symphony orchestra conductor). He has composed and arranged several works that have been performed in his homeland, as well as abroad (performances for solo cello and piano were premiered at the Ehrbar Saal in Vienna; commissioned work by New York-based Cantigas Women’s Choir). He is currently studying composition at the Music Academy in Krakow, Poland (where he met Sonja Larson, Viterbo University student on a Fulbright Polska).
Sonata No. 2 for Flute and Piano (2016) by Samuel Zyman (b. 1956)
I. Larghetto espressivo e rubato – Più mosso
II. Presto con spirito
NOTES: Mexican composer Samuel Zyman began his studies at the National Conservatory in Mexico City and later earned masters and doctoral degrees from the Juilliard School of Music in New York City where he currently teaches. Zyman’s musical style combines lyricism, jazz-influence harmonies, and Latin rhythms all of which are evident in this second flute sonata. Zyman wrote his first flute sonata in 1994, and it reflects the style of a composer influenced by his Juilliard training and environment. This second sonata, composed over 20 years later, Zyman embraces his Latin American heritage as well as his lyrical style to give us a work that is exciting and moving.
I. Flowing
II. Poetic, somewhat mournful –
III. Lively, with a bounce
NOTES: Copland’s Duo for flute and piano was commissioned by a group of students in memory of William Kinkaid, principal flutist with the Philadelphia Orchestra. It was first performed by Kinkaid’s flute student, Elaine Schaffer, with pianist Hephzibah Menuhin on October 3, 1971.
Winter Spirits, Op. 51 for solo flute (1997) by Katherine Hoover (b. 1937)
NOTES: West Virginia native, Katherine Hoover has an active career as a composer, conductor, and flutist. A graduate of the Eastman and Manhattan Schools of Music, Hoover studied flute with Joseph Mariano and William Kinkaid and has significantly contributed to the instrument’s repertoire. She is the recipient of a National Endowment for the Arts Fellowship, and Academy of Arts and Letters Award, and the recipient 2016 National Flute Association Lifetime Achievement Award. Regarding Winter Spirits, she writes: "There is a picture by the marvelous artist Maria Buchfink of a Native American flute player; from his flute rises a cloud of kachinas and totem spirits. This piece has also risen from his notes, and it is indeed influenced by Native American music. The idea of the flute invoking beneficial spirits, be they kachinas or any others, is a very natural one. Such spirits are an accepted and valued part of life in most of the world, and the flute has been used to honor and invite their presence for countless ages." – Katherine Hoover
Three Bagatelles from China West (2006) for Flute and Piano by Chen Yi (b. 1953)
I. Shan Ge
II. Nai Guo Hou
III. Dou Duo
NOTES: The recipient of the Charles Ives Living Award from the Academy of Arts and Letters, Dr. Chen Yi successfully blends Western and Chinese musical traditions. With degrees from the Central Conservatory in Beijing and Columbia University, Dr. Chen is an award-winning, much sought after composer who advocated the breaking of cultural boundaries, American, Asian, and women composers. The Three Bagatelles from China West came as a commission from flutist Marya Martin and the Meet the Composer Program. In it, Chen Yi blends Chinese folk tunes with Western instruments (and scales) in an energetic and innovative way. Regarding the work, Dr. Chen says: "The authentic folk music from China West has amazed and inspired me to write this piece, which has folk music elements drawn from these sources: the solo piece Shange Diao played on the wind instrument called Lerong, the musical pattern played on the small mouth wind instrument Kouxian of the Jingpo People, the solo piece Nai Guo Huo played on the wind instrument Bawu, the pitch material sung in the folk song Ashima of the Yi People, the folk song Dou Duo, and the sound effect of the Lusheng ensemble playing of the Miao People."
INTERMISSION
Enjoy some of Mary Ellen's homemade s'mores-flavored biscotti!
Trauma and Silence (2017) for flute and piano by Wassim Ibrahim (b. 1978)
Written for Jonathan Borja and Mary Ellen Haupert
NOTES: Syrian composer Wassim Ibrahim was born in Damascus in 1978. He graduated from the High Institute of Music in Damascus 2010 (Theory Division), where he studied with composition with Prof. Serge Kopperanov, theory and choral studies with Prof. Bella Tagezieva, conducting with Prof. Victor Babenko, and Maestro Missak Baghboudarian (the Syrian Symphony orchestra conductor). He has composed and arranged several works that have been performed in his homeland, as well as abroad (performances for solo cello and piano were premiered at the Ehrbar Saal in Vienna; commissioned work by New York-based Cantigas Women’s Choir). He is currently studying composition at the Music Academy in Krakow, Poland (where he met Sonja Larson, Viterbo University student on a Fulbright Polska).
Sonata No. 2 for Flute and Piano (2016) by Samuel Zyman (b. 1956)
I. Larghetto espressivo e rubato – Più mosso
II. Presto con spirito
NOTES: Mexican composer Samuel Zyman began his studies at the National Conservatory in Mexico City and later earned masters and doctoral degrees from the Juilliard School of Music in New York City where he currently teaches. Zyman’s musical style combines lyricism, jazz-influence harmonies, and Latin rhythms all of which are evident in this second flute sonata. Zyman wrote his first flute sonata in 1994, and it reflects the style of a composer influenced by his Juilliard training and environment. This second sonata, composed over 20 years later, Zyman embraces his Latin American heritage as well as his lyrical style to give us a work that is exciting and moving.
ARTIST BIOGRAPHIES
JONATHAN BORJA
With performances described as “the highlight of the evening” (Kansas City Star), Jonathan Borja enjoys a varied career as a performer and educator. Dr. Borja is Assistant Professor of Music at the University of Wisconsin – La Crosse where he teaches flute and music history.
Dr. Borja holds three graduate degrees from the UMKC Conservatory of Music and Dance (Doctor of Musical Arts in Flute Performance, Master of Music in Flute Performance, a Master of Music in Musicology) and a Bachelor of Arts in Music from Principia College. Before coming to the United States, he studied at the National Conservatory of Music in his native Mexico City. His teachers and mentors include Marie Jureit-Beamish, Mary Posses, María Esther García, William Everett, and Andrew Granade. He has appeared in master classes in both the United States and Europe with some of the world’s leading flutists, including Jeanne Baxtresser, Jacob Berg, and Peter-Lukas Graf.
Dr. Borja has performed throughout the United States and Mexico and has appeared in festivals devoted to the music of J.S. Bach, George Crumb, Gustav Mahler, Olivier Messiaen, and Elliott Carter. He has performed at Steinway Hall, Helzberg Hall, Powell Symphony Hall, the Nelson-Atkins Museum of Art, the National University of Mexico, the National Conservatory in Mexico City, and the Yong Siew Toh Conservatory of Singapore, among others. His continued advocacy for the music of our time has lead him to collaborate with some of today’s finest composers, including Chen Yi and Zhou Long, George Crumb, Libby Larsen, Yehudi Wyner, Narong Prangcharoen, Chester Biscardi, and Samuel Zyman.
Dr. Borja’s research includes the music of Mexican composers Silvestre Revueltas, Samuel Zyman, and Mario Lavista. He recorded the complete flute music of Icelandic composer Thorkell Sigurbjörnsson (Smekkleysa, 2015), and can be heard in Narong Prangcharoen’s recording Mantras (Albany Records). He has contributed articles to The 100 Greatest Bands of All Time: A Guide to the Legends Who Rocked the World, and The Flutist Quarterly. Dr. Borja has presented his research at the National Flute Association Convention, College Music Society National Convention, the Wisconsin Flute Festival, the North Central Council of Latin Americanists, and the Midwest Association for Latin American Studies.
MARY ELLEN HAUPERT
Mary Ellen (Patnaude) Haupert graduated from Grand Rapids Senior High School 40 years ago (1978) and is the daughter of Reuben and Mary Louise Patnaude. She has fond memories of growing up in Grand Rapids and is grateful to her former teachers, Mrs. Cherry Tinquist (piano) and Mrs. Diana Volker (flute) for their guidance and inspiration. Mary Ellen currently spreads her musical abilities between her roles as Music Director for Roncalli Newman Parish and as a tenured Professor of Music at Viterbo University, both in La Crosse, Wisconsin. She holds a bachelors degree in music education with emphases in piano/flute performance from the College of St. Scholastica, as well as M.M. and Ph.D. degrees in Piano Performance Practice from Washington University in St. Louis, MO. She has studied piano with LeAnn House, Seth Carlin, and Sona Haydon.
Dr. Haupert’s performing interests are almost exclusively in the realm of chamber music and she enjoys an ongoing relationship with violinist Nancy Oliveros and the Artaria String Quartet. Their frequent duo and piano quintet collaborations have become a staple of Viterbo University’s ONE-of-a KIND CHAMBER MUSIC SERIES (for which Haupert is both founder and artistic director), as well as performances at Hamline University’s Artaria Chamber Music Series at Sundin Hall, the Schubert Club’s Courtroom Concert Series, and Wisconsin Public Radio’s Live from the Chazen. She has recorded Louise Farrenc’s Sonata for Piano and Cello in B-flat Major, Op. 46 (comp. 1857-1858) and the Sonata for Piano and Violin in A Major, Op. 39 (comp. 1850-1855) with violinist Nancy Oliveros and cellist Kirsten Whitson in July, 2012, and Farrenc’s two piano trios, Opus 33 and 34 with Nancy Oliveros and cellist Laura Sewell, 2014, both on the Centaur Label.
Dr. Haupert has received both of Viterbo University’s most prestigious teaching awards--the Alec Chui Memorial Award (2012) and Teacher of the Year (2014)--recognizing her dedication to excellence in student research and music composition. Her theory pedagogy, emphasizing music composition as an integral part of the curriculum, has been presented/published at the The 4th World Piano Conference in Novi Sad, Serbia (Novi Sad, 2012), the Annual International Conference on Fine and Performing Arts (Athens, Greece, 2010 & 2016), and the International Conference on Education and New Technologies (Barcelona, Spain, 2009 and 2012), and (“virtually”). Haupert was named Research Fellow for the D.B. Reinhart Institute for Ethics in Leadership in 2015-2016 and recently published her research (“Weaving Words and Music: Fostering a Meaningful Intercultural Exchange through Music Composition”) in the Athens Journal of Humanities and Arts.
With performances described as “the highlight of the evening” (Kansas City Star), Jonathan Borja enjoys a varied career as a performer and educator. Dr. Borja is Assistant Professor of Music at the University of Wisconsin – La Crosse where he teaches flute and music history.
Dr. Borja holds three graduate degrees from the UMKC Conservatory of Music and Dance (Doctor of Musical Arts in Flute Performance, Master of Music in Flute Performance, a Master of Music in Musicology) and a Bachelor of Arts in Music from Principia College. Before coming to the United States, he studied at the National Conservatory of Music in his native Mexico City. His teachers and mentors include Marie Jureit-Beamish, Mary Posses, María Esther García, William Everett, and Andrew Granade. He has appeared in master classes in both the United States and Europe with some of the world’s leading flutists, including Jeanne Baxtresser, Jacob Berg, and Peter-Lukas Graf.
Dr. Borja has performed throughout the United States and Mexico and has appeared in festivals devoted to the music of J.S. Bach, George Crumb, Gustav Mahler, Olivier Messiaen, and Elliott Carter. He has performed at Steinway Hall, Helzberg Hall, Powell Symphony Hall, the Nelson-Atkins Museum of Art, the National University of Mexico, the National Conservatory in Mexico City, and the Yong Siew Toh Conservatory of Singapore, among others. His continued advocacy for the music of our time has lead him to collaborate with some of today’s finest composers, including Chen Yi and Zhou Long, George Crumb, Libby Larsen, Yehudi Wyner, Narong Prangcharoen, Chester Biscardi, and Samuel Zyman.
Dr. Borja’s research includes the music of Mexican composers Silvestre Revueltas, Samuel Zyman, and Mario Lavista. He recorded the complete flute music of Icelandic composer Thorkell Sigurbjörnsson (Smekkleysa, 2015), and can be heard in Narong Prangcharoen’s recording Mantras (Albany Records). He has contributed articles to The 100 Greatest Bands of All Time: A Guide to the Legends Who Rocked the World, and The Flutist Quarterly. Dr. Borja has presented his research at the National Flute Association Convention, College Music Society National Convention, the Wisconsin Flute Festival, the North Central Council of Latin Americanists, and the Midwest Association for Latin American Studies.
MARY ELLEN HAUPERT
Mary Ellen (Patnaude) Haupert graduated from Grand Rapids Senior High School 40 years ago (1978) and is the daughter of Reuben and Mary Louise Patnaude. She has fond memories of growing up in Grand Rapids and is grateful to her former teachers, Mrs. Cherry Tinquist (piano) and Mrs. Diana Volker (flute) for their guidance and inspiration. Mary Ellen currently spreads her musical abilities between her roles as Music Director for Roncalli Newman Parish and as a tenured Professor of Music at Viterbo University, both in La Crosse, Wisconsin. She holds a bachelors degree in music education with emphases in piano/flute performance from the College of St. Scholastica, as well as M.M. and Ph.D. degrees in Piano Performance Practice from Washington University in St. Louis, MO. She has studied piano with LeAnn House, Seth Carlin, and Sona Haydon.
Dr. Haupert’s performing interests are almost exclusively in the realm of chamber music and she enjoys an ongoing relationship with violinist Nancy Oliveros and the Artaria String Quartet. Their frequent duo and piano quintet collaborations have become a staple of Viterbo University’s ONE-of-a KIND CHAMBER MUSIC SERIES (for which Haupert is both founder and artistic director), as well as performances at Hamline University’s Artaria Chamber Music Series at Sundin Hall, the Schubert Club’s Courtroom Concert Series, and Wisconsin Public Radio’s Live from the Chazen. She has recorded Louise Farrenc’s Sonata for Piano and Cello in B-flat Major, Op. 46 (comp. 1857-1858) and the Sonata for Piano and Violin in A Major, Op. 39 (comp. 1850-1855) with violinist Nancy Oliveros and cellist Kirsten Whitson in July, 2012, and Farrenc’s two piano trios, Opus 33 and 34 with Nancy Oliveros and cellist Laura Sewell, 2014, both on the Centaur Label.
Dr. Haupert has received both of Viterbo University’s most prestigious teaching awards--the Alec Chui Memorial Award (2012) and Teacher of the Year (2014)--recognizing her dedication to excellence in student research and music composition. Her theory pedagogy, emphasizing music composition as an integral part of the curriculum, has been presented/published at the The 4th World Piano Conference in Novi Sad, Serbia (Novi Sad, 2012), the Annual International Conference on Fine and Performing Arts (Athens, Greece, 2010 & 2016), and the International Conference on Education and New Technologies (Barcelona, Spain, 2009 and 2012), and (“virtually”). Haupert was named Research Fellow for the D.B. Reinhart Institute for Ethics in Leadership in 2015-2016 and recently published her research (“Weaving Words and Music: Fostering a Meaningful Intercultural Exchange through Music Composition”) in the Athens Journal of Humanities and Arts.
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