Student Composers' Forum

Wednesday, April 10, 2024

8:00 P.M. Bryan Recital Hall
Moore Musical Arts Center

Program

Broken (2024) | Jacob McFarland (b. 1999)
            Keri Lee Pierson, soprano

fricta/rado (2024) | Rachel Constantino (b. 1994)
            Rachel Constantino, amplified horn

Two Ships Passing in the Dark of Night | Joey Miller (b. 2003)
            James Franklin, double-bell euphonium
            Max Godfrey, tuba

Consensus Reality | Yeonsuk Jung (b. 1998)
            Zoe Weng, soprano saxophone
            Quinn Moore, alto saxophone
            Jordan Marbach, tenor saxophone
            Jake Loitz, baritone saxophone

Miser (2024) | Lukas James Bass (b. 2003)
    IV.
    III.
    II.
    I.
             Samuel Scheele, euphonium
             Max Godfrey, tuba
             Kyle Wendling, tuba
             Noah Laabs, tuba

"Variations on a Cathedral Chime" (2024) | Adam Mgebroff
            Sissi Fu, piano

Nocturne (2023) | Hayden Mesnick (b. 2003)
            Will Edwards, saxophone
            Joey Miller, cello
            Zixi Fu, piano

Lapsing Tranquility | Benjamin Tittl
            Leah Mellinger, piano

Shattered Quartz | Kyle Bergler (b. 2003)
            Cadence Miller, marimba

Saturday Deadline | Pedro Reis Amaral (b. 1989)
            Samuel Valancy, tenor saxophone

~~INTERMISSION~~

Photographs (2024) | Harold Hayes (b. 2001)
           Kathryn Swanson, oboe
           MacKenzie Zdrojewski, clarinet
           Ricky Jurski, bass clarinet
           Hannah Huddle, alto saxophone
           Cruz Stock, bassoon

I. Gem Beach, II. The Message (2024) | Rachel Moeller (b. 2003)
            Rachel Moeller, flute
            Abigail Petersen, harpsichord

Arrythmia (2023-2024) | L. K. Cina (b. 1998)
            Sam Valancy, alto saxophone

Soliloquy | Joshua C. DeLozier (b. 1998)
            Elijah Hash, trumpet
            Noah Beasley, trumpet
            Charlie Ditchman, horn
            Caleb Bennett, trombone
            Braeden Scheirer, tuba

Detour | Alex Schildgen, (b. 2000)
            Zoe Weng, soprano saxophone
            Quinn Moore, alto saxophone
            Jordan Marbach, tenor saxophone
            Jake Loitz, baritone saxophone

Tales (2024) | Keri Lee Pierson (b. 1993)
            Keri Lee Pierson, soprano
            Jessica Pytel, violin
            Sujin Kim, viola
            Francisca de Castanheiro de Freitas, piano

Void (2024) | Jonathan D. Kroeger (b. 1998)
            Apostolos Konstantakis, piano

Once a Sea (2023) | Chia-Ying (Janice) Shieh (b. 1997)
            Eunha Kim, flute and piccolo
            Ricky Jurski, bass clarinet
            Sujin Kim, violin
            Joshua Lyphout, cello
            Abigail Petersen, piano
            Landon K. Cina, conductor

Broken (2024)

We are broken, we are here to be fixed.

fricta/rado (2024)

Fricta: Latin, to rub
Rado: Latin, to scrape

Consensus Reality

Consensus Realty, explores the concept coined by Amy and Arnold Mindell. “Consensus reality is a
philosophical theory that concepts of what are and are not real must be agreed upon. It's one
approach to answering the question ‘What is real?’”
Berger and Luckmann argue that "reality is socially constructed and that the sociology of knowledge
must analyze the process in which this occurs".
Music is a reality we must agree on. We must agree on set of ideas, the concepts and ideas behind
music. What it means to make music and exist in the same musical space.
Consensus Reality explores the limitations posed by individuals playing music together, and even
what it means to play music together.

Miser (2024)

“The miser’s treasure is the shadow of an imitation of what is good. It is doubly unreal. For to start with a means to an end, such as money, is, in itself, something other than a good. But diverted from its function as a means, and set up as an end, it is still further from being a good.
"It is with regard to the assessment of values that our sense perceptions are unreal, since things are unreal for us as values. But to attribute a false value to an object also takes reality from the perception of this object, because it submerges perception in imagination."

-Simone Weil "Gravity and Grace" (1956) Translated by Arthur Wills

"Variations on a Cathedral Chime" (2024)

A collection of variations based on one chord that sets the tone of a divine sanctuary and its place in a history of different contexts.

Lapsing Tranquility

“Within you, there is a stillness and a sanctuary to which you can retreat at any time and be yourself.” —Hermann Hesse

Photographs (2024)

An homage to Mussorgsky's "Pictures at an Exhibition," this piece captures the essences of two photographs by photographer/saxophonist Hannah Huddle. The movements devoted to these photographs are bookended by promenades that explore diverse styles.

I Gem Beach   II The Message (2024)

Gem Beach
noun.
A place associated with happiness, visualized as a means of reducing stress, calming down, and making memories.
II The Message 
The words are sweet, the music more true to the heart. Though, there are no words, are there?

Tales (2024)

This piece was composed in 2024 for the collaboration between myself and musicians of the Musiva Concert Series in Orlando, FL. The idea came from the expression: “Sana, Sana, Colita de Rana” (“heal, heal, little frog's tail"). As a saying meant to calm children who have hurt themselves, it made me reflect on how mothers and the women in my life are often expected not only to help heal, but also to help soothe. This and other traditions that are passed between women, often with a sense of stoicism, is what I hope to honor and convey in the mood and expressions of this piece.

Premiered on March 8, 2024 at the Timucua Arts Foundation.

Void (2024)

…and the spirit of God hovered over the waters…

Once a Sea (2023)

Once a Sea re-imagines the land of gorge that was once a sea. Through gestures of water lapping, swirling, swarming, falling, rippling, splashing, the ensemble weaves together texturally. The instruments come along to express energy bursts that shape into moments of dwelling. Once a sea, it is now a land where water continues to travel.

Thanks for attending this performance. If you have enjoyed your experience, please consider donating to the College of Musical Arts in support of our students and programming. Donate online at bgsu.edu/givecma, or call Sara Zulch- Smith at 419-372-7309.

To our guests with disabilities, please indicate if you need special services, assistance or appropriate modifications to fully participate in our events by contacting Accessibility Services, access@bgsu.edu, 419-372-8495. Please notify us prior to the event.

Audience members are reminded to silence alarm watches, pagers and cellular phones before the performance. As a matter of courtesy and copyright law, no recording or unauthorized photographing is allowed. BGSU is a nonsmoking campus.

Updated: 09/18/2024 03:53PM