Farewell Tucson! Daniel Katzen. Saturday, February 17, 2018 Crowder Hall 4:30 p.m.

Transcription

1 Farewell Tucso! Daiel Katze F A C U LT Y A R T I S T S E R I E S R E C I TA L with Michael Dauphiais, piao James Steves, teor Thomas Cockrell, coductor ad frieds Saturday, February 17, 2018 Crowder Hall 4:30 p.m. COLLEGE OF FIE AR TS Fred Fox School of Music

2 Daiel Katze, hor Farewell, Tucso! Faculty Artist Series Recital Saturday, February 17, 2018 Crowder Hall P R O G R A M Romaia Daces, Sz Béla Bartók I. Jocul cu bâtă (Stick Dace) ( ) II. Brâul (Sash Dace) III. Pe loc (I Oe Spot) IV. Buciumeaa (Dace from Bucsum) V. Poarga Româească (Romaia Polka) VI. Măruțel (Fast Dace) Michael Dauphiais, piao coductor of Ciciati Opera, Opera Colorado, The Colorado Symphoy Orchestra ad the Spoleto Festivals, music director of Dever Youg Artists Orchestra, ad iterim coductor of the Phoeix Youth Symphoy. He was a member of the coductig faculty of the Iterloche Arts Camp from 2006 to Cockrell eared his Doctor of Musical Arts ad Master of Music degrees from the State Uiversity of ew York at Stoy Brook ad a Bachelor of Arts from Yale Uiversity. He studied coductig with Fraco Ferrara i Rome ad at L Accademia Musicale Chigiaa i Siea, Italy. Additioally, he was a Aspe Coductig Fellow ad completed advaced traiig at the Coservatoire Américai i Fotaiebleau, Frace ad the Taglewood Music Ceter, where he worked with Gustav Meier, Leoard Berstei ad Seiji Ozawa. Suite VI, BWV 1012, i D Major...Joha Sebastia Bach (trasposed ito G Major by D. Katze) ( ) I. Prelude Adap. D.Katze (b. 1952) II. Courate III. Sarabade IV. Gavottes I & II V. Gigue Preset ad past hor studets of Prof. Daiel Katze I T E R M I S S I O Sereade for teor, hor ad strigs, Op Bejami Britte I. Prologue ( ) II. Pastoral III. octure IV. Elegy V. Dirge VI. Hym VII. Soet VIII. Epilogue James Steves, teor Thomas Cockrell, coductor Violi I: Laure Roth (cocertmaster), Laura Cásarez, Jeya Beliskaya, Sharo Beauregard Violi II: Emily ola (pricipal), Stella Kim, Callum Robbis-Geerich, Adrás Derecskei Viola: Raphael Lizama (pricipal), Je Tra Doa, Jug Eu Oh Cello: Jacob Gi (pricipal), Robert Marshall, Maria Savarese Bass: Philip Alejo (pricipal), Matt Carlyo

3 soud artist Stepha Moore, ad has recetly premiered a work for piao ad electroics by Joh Kig. Michael Dauphiais eared degrees i music from Wester Michiga Uiversity (BM) ad Arizoa State Uiversity (MM ad DMA). I additio to teachig at the Uiversity of Arizoa, he curretly serves as the pricipal piaist/coach at Opera Southwest i Albuquerque, ew Mexico. JAMES STEVES, teor, is rapidly establishig himself as a soughtafter soloist throughout the atio. His recet operatic appearaces i the Washigto D.C. area iclude Tamio i Mozart s Die Zauberflöte with the Bethesda Summer Music Festival ad Lord Tolloler i Gilbert ad Sulliva s Iolathe with George Maso Opera Theater. Other past appearaces iclude the Youg Collector i Previ s A Streetcar amed Desire with Uio Aveue Opera ad First Citize i Gilbert ad Sulliva s Yeome of the Guard with Witer Opera St. Louis. Equally at home o the cocert stage, James has appeared as the teor soloist i Hadel s Messiah with the Symphoette at Lado ad the Cetral Marylad Chorale, as well as spedig a year i residecy with the Bach Society of St. Louis as the Teor Youg Artist, coverig the solos i works such as Bach s B Mior Mass. James also appeared as the teor soloist i the America premiere of Ja Dismas Zeleka s Litaiae Lauretaae with the St. Fraces de Sales Oratory Choir at the Sheldo Hall. Besides appearig as the teor soloist i Britte s Sereade for Teor, Hor ad Strigs at the Uiversity of Arizoa i Tucso with Daiel Katze, this sprig s upcomimig performaces iclude Britte s Caticle III: Still Falls the Rai with Amy Hor o the GMU Faculty Recital Series, ad sigig the title role i Britte s Albert Herrig with George Maso Opera Theatre. James is a studet of reowed teor Joh Aler, ad will be graduatig from George Maso Uiversity i May 2018 with a master s i music with a emphasis i vocal performace. THOMAS COCKRELL has served as the elso Riddle Edowed Chair i Music, director of orchestral activities ad music director of the UA Opera Theater at the Uiversity of Arizoa sice He is also the artistic director of Opera i the Ozarks at Ispiratio Poit, a summer festival i Eureka Sprigs, Arkasas. Cockrell has coducted the professioal symphoy orchestras of Dallas, Ciciati, Phoeix, Tucso, Louisville ad Boulder, as well as several i Romaia, Italy, Mexico ad South Korea. Operatic credits iclude productios for Dayto Opera, Opera Colorado, Opera Theatre of the Rockies ad Washigto D.C. s Summer Opera Theatre. He served as the associate Guest of Hoor: Fred Fox Farewell, Tucso! Whe I first heard about the Uiversity of Arizoa i December 2006, it was to say Why would I wat to move back to Arizoa? I hated it the first time! My very first orchestra job was secod hor i the Phoeix Symphoy from 1976 to 1978, a orchestra which at that time was uder great duress due to iappropriate maagemet ad a lackadaisical attitude about professioalism. Ad it was Phoeix! The secod time I thought about it, I realized that, whe I was i Phoeix before, I ejoyed Tucso much more, with its arts, smaller size (160,000 i 1978), good food, ice people ad beautiful ladscape. I wet to the auditio ad met the Uiversity of Arizoa School of Music faculty ad they seemed like a very reasoable group of colleagues. I ejoyed their friedly bater durig the meetigs, ad they liked my playig ad teachig. So I took the job. Upo returig to the basemet of Bosto Symphoy Hall, where my orchestra colleagues worked, I was happily surprised that they were excited for me. I thought they would look dow their oses at such a isular ad provicial music school. There was o such reactio. You got a teachig job? I wat a teachig job, too! Where ca I get oe? ad o ad o. I was bombarded with questios about the city, the area, the colleagues, the great Mexica food, i short, a fie place to live ad work. The faculty of the UA School of Music was a group of stragers, ad I had o idea of their professioal experiece: would they kow the pieces I did, the people I did, play at the level that I did, have the history

4 that I did? They did ad much, much more! The faculty of the Fred Fox School of Music has amog them musicias of extremely strog work ethic ad fabulous playig! So I was glad to have take the job. I started daydreamig about what I would do with a hor studio of my ow: take trips, make recordigs, perform recitals, develop a symphoic curriculum through the Orchestral Repertoire Class, visit schools ad ursig homes: the possibilities were early edless. Upo arrivig i Tucso, Dr. Keith Johso said, Oh, you ll like it; it s a ice little job. ot for me it was t! I set to work learig all the studets ad faculty s ames ad made great frieds here: i the School ad i our eighborhoods. Suffice it to say that the oly reaso I m leavig this woderful situatio is because I ve bee a workig musicia for over a half-cetury ad it s time for me to move o. 1979, Bosto Symphoy Orchestra Carol ad I love Tucso, ad will be returig for cocerts ad frieds ad the Loft Ciema, ad Feast ad the Desert Botaical Garde ad you! Thak you from our family for the opportuity to have lived here. We will keep your memories close. About the Music Daiel Katze Béla Bartók was a prolific composer who traveled betwee Easter ad Wester musical orbits. While he wated to become as great a symphoic composer as Zoltá Kodály, oetheless he was draw to the idigeous music of the Roma, the waderig Easter Europea populatio which traversed the lads ad fields of middle Europe. He was iterested i the folkloric life of the ordiary peasats, may of whom were musically if ot actually illiterate. He would travel to small villages i Wallachia, Trasylvaia, Moravia, Romaia, Slovakia, Rutheia ad Serbia, where the coutry musicias used itriguig modal harmoies foreig to the Wester composers. With the aid of a Ediso wax cylider phoograph machie, Bartók would record the About the Artists DAIEL KATZE holds the Fred Fox Edowed Chair for Frech Hor Sudies at the Uiversity of Arizoa. He joied the School of Music faculty after fiishig his 29th year as secod hor of the Bosto Symphoy Orchestra, a positio he held from 1979 to Prof. Katze s studies ad performace career have take him to 25 U.S. states ad 22 foreig coutries o five cotiets to perform more tha 5000 cocerts. He ca be heard live i cocert at his aual UA solo ad chamber recitals, various orchestral appearaces aroud the Uited States ad o his dozes of CDs with the Bosto Symphoy ad Bosto Pops Orchestras, Empire Brass ad other orchestral ad chamber esembles. His three CDs of Bach Suites for Cello Solo played o the hor ad his publicatios of the trascriptios are uique ad have already sold out the first pritig. I additio to his teure i the BSO, Katze was a faculty member at Bosto Uiversity College of Fie Arts, ew Eglad Coservatory ad Taglewood Music Ceter i the East, ad Califoria Istitute of the Arts ad Uiversity of Califoria/Irvie School of Music i the West. His previous orchestral affiliatios iclude secod hor i the Phoeix Symphoy, fourth hor i the Sa Diego Symphoy, secod hor i the Grat Park (Chicago) Symphoy, ad extra hor with the Chicago Symphoy ad the Muich, Los Ageles ad Rochester Philharmoics. He ca also be heard o the soudtracks of more tha two-doze motio pictures, icludig E.T., ixo, Pearl Harbor, Twister ad Jumaji. Prof. Katze cocertizes o a customized hor made for him i 1980 by Da Rauch. MICHAEL DAUPHIAIS has bee hailed i the press as a marvelous collaborative piaist (ITEA Joural). His versatility has led to collaboratios with several opera compaies i the U.S. icludig Tulsa Opera, Baltimore Cocert Opera, Sarasota Opera, Ketucky Opera, Arizoa Opera, Opera Southwest, Opera i the Ozarks ad ew Jersey Opera Theatre, ad he has served as the music director for the youg artists Esemble at Sa Diego Opera. He has also performed throughout the U.S., Mexico, Irelad ad Austria. Dauphiais has also served as a staff piaist for both regioal ad iteratioal cofereces held by ITEA (Iteratioal Tuba Euphoium Associatio) as well as the America Istitute for Musical Studies (AIMS) i Graz, Austria. A advocate of cotemporary music ad multi-discipliary collaboratio, Dr. Dauphiais has performed with Merce Cuigham Dace Compay, choreographer Yaira Castro, Art.If.Act Dace Project, True Cocord Voices & Orchestra, ad ACME (Arizoa Cotemporary Music Esemble). He has collaborated extesively with composer ad

5 This ae ighte, this ae ighte, Fire ad fleet ad cadle lighte, 6. Hym, Hym to Diaa by Be Joso ( ) Quee ad hutress, chaste ad fair, ow the su is laid to sleep, Seated i thy silver chair, State i woted maer keep: Hesperus etreats thy light, Goddess excelletly bright. Earth, let ot thy evious shade Dare itself to iterpose; Cythia s shiig orb was made Heav to clear whe day did close: Bless us the with wishèd sight, Goddess excelletly bright. Lay thy bow of pearl apart, Ad thy crystal shiig quiver; Give uto the flyig hart Space to breathe, how short so-ever: Thou that mak st a day of ight, Goddess excelletly bright. 7. Soet, To Sleep by Joh Keats ( ) O soft embalmer of the still midight, Shuttig, with careful figers ad beig, Our gloom pleas d eyes, embower d from the light, Eshaded i forgetfuless divie. O soothest Sleep! if so it please thee, close, I midst of this thie hym my willig eyes. Or wait the Ame ere thy poppy throws Aroud my bed its lullig charities. The save me, or the passèd day will shie Upo my pillow, breedig may woes, Save me from curious cosciece, that still lords Its stregth for darkess, burrowig like a mole. Tur the key deftly i the oilèd wards, Ad seal the hushèd casket of my Soul. Epilogue (hor solo; reprise of Prologue, played offstage) music of life i out-of-the-way places, music of birth, death, marriage, festival, play, celebratio ad work. Oce he discovered this wealth of musical styles, Bartók would trascribe the uusual sogs ad tues i a uique way: takig the simple music out of their cotexts ad harmoizig them i various tagetial keys. The et result is oe of surprisigly uusual musical textures. I the early part of the 20th cetury, Romaia Jews emigrated to keep their families safe from Czarist pogroms. My great-gradfather, Joel Hadlema, had the foresight to escape to Caada. It is for the Jewish Romaia victims that I dedicate toight s performace of Bartók s Romaia Daces. As a hor player, I have had to sit o the sidelies while my colleagues i the cello sectio revel i performig ad studyig their Bach uaccompaied cello suites. Sice they are chordal istrumets with four strigs, they ca create multiple otes at a time, thereby leavig mellifluous music behid as they traverse the cao for ever more-iterestig pieces. Sice the hor is a moophoic istrumet, playig oly oe ote at a time, stealig borrowig these magificet masterpieces from the cellists eables wid players to costruct lies ad harmoies Bach iteded for the striged istrumets. While we ca play oe lie, or perhaps vacillate betwee two, we still have to coted with clearly-defied melodies beig supported by couterpoit, i order to preset a complete whole: melody ad harmoy. I 1970, as a udergraduate hor player, I was itroduced to the Bach Cello Suites i a trasposed editio for the hor. My curiosity got the better of me, ad I decided to go to the source: the Peters editio of the suites i the origial cello versio. Through the last four decades, I have bee recordig, performig, memorizig ad trascribig the cello editio for hor players. I this way, we horists ca ejoy the greatess of these masterpieces i our ow right. The three-cd set of Bach Suites i the Katze hor editio is available i the lobby with or without the sheet music. They are also available at dkatze@ .arizoa.edu or dkmusic.biz. Daiel Katze s great-gradfather Joel Hadlema (ca. 1910)

6 Bejami Britte wrote Sereade for teor, hor ad strigs, Op. 31 i 1943 as a commissio from Deis Brai, the world s greatest hor player. The teor part was premiered by Peter Pears, Britte s lifelog compaio. It is a piece of six poems put ito sog by Britte, all of which are about ight: its attedat fears, loves, hopes ad woders. 1. Prologue (hor solo) 2. Pastoral, a settig of The Eveig Quatrais by Charles Cotto ( ) The day s grow old; the faitig su Has but a little way to ru, Ad yet his steeds, with all his skill, Scarce lug the chariot dow the hill. The shadows ow so log do grow, That brambles like tall cedars show; Mole hills seem moutais, ad the at Appears a mostrous elephat. A very little, little flock Shades thrice the groud that it would stock; Whilst the small striplig followig them Appears a mighty Polypheme. Ad ow o beches all are sat, I the cool air to sit ad chat, Till Phoebus, dippig i the west, Shall lead the world the way to rest. 3. octure, Blow, bugle, blow by Alfred, Lord Teyso ( ) The spledour falls o castle walls Ad sowy summits old i story: The log light shakes across the lakes, Ad the wild cataract leaps i glory: Blow, bugle, blow, set the wild echoes flyig, Bugle blow; aswer, echoes, aswer, dyig, dyig, dyig. O hark, O hear! how thi ad clear, Ad thier, clearer, farther goig! O sweet ad far from cliff ad scar The hors of Elflad faitly blowig! Blow, let us hear the purple gles replyig: Blow, bugle; aswer, echoes, aswer, dyig, dyig, dyig. O love, they die i yo rich sky, They fait o hill or field or river: Our echoes roll from soul to soul, Ad grow for ever ad for ever. Blow, bugle, blow, set the wild echoes flyig, Ad aswer, echoes, aswer, dyig, dyig, dyig. 4. Elegy, The Sick Rose by William Blake ( ) O Rose, thou art sick! The ivisible worm, That flies i the ight I the howlig storm, Has foud out thy bed Of crimso joy: Ad his dark secret love Does thy life destroy. 5. Dirge, the aoymous Lyke-Wake Dirge (fifteeth cetury). This ae ighte, this ae ighte, Fire ad fleet ad cadle lighte, Whe thou from hece away art past, To Whiy-muir thou com st at last; If ever thou gavest hose ad shoo, Sit thee dow ad put them o; If hose ad shoo thou e er gav st ae The whies sall prick thee to the bare bae; From Whiy-muir whe thou may st pass, To Brig o Dread thou com st at last; From Brig o Dread whe thou may st pass, To Purgatory fire thou com st at last; If ever thou gavest meat or drik, The fire sall ever make thee shrik; If meat or drik thou e er gav st ae, The fire will bur thee to the bare bae;