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Spanish Songs and Piano Duets

Anda, Jaleo (Come on, Jaleo) by Federico Garcia Lorca (1898-1936)
Zorongo by Federico Garcia Lorca

Tres Morillas (Three Moorish girls) by Fernando Obradors (1897-1945)
El Vito (The Vito*) by Fernando Obradors
*The Vito is a dance from Andalusia in southern Spain.

Escenes de l’exili (Scenes from Exile) by Enrique Granados (1867-1916)
Canto gitano (Gypsy song) by Enrique Granados
Elegia eterna (Eternal elegy) by Enrique Granados

“Carceleras”(Jailers) from Las hijas del Zebedeo (The daughters of Zebedee) by Ruperto Chapí (1851-1909)

 Clarice Warrick, soprano and Lucy Wenger, piano

A program for Piano 4 hands

 

Risa Jun and Dr. Yelena Balabanova in 2015 christening the new Steinway B placed by LMC on long term loan to the Central library.

Orchestral Suite No.2 in b minor, Minuet and Scherzo by J.S. Bach (1685-1750)
Orchestral Suite No.3 in d major, Air by J.S. Bach
Vocalise Op.34 No. 14 by Sergei Rachmaninoff (1873-1943)
L’enfant prodigue (The prodigal son), Prelude by Claude Debussy (1862-1918)
The Young Prince and Princess (Scheherezade,Op.35) by Nikolay Rimsky-Korsakov
Neapolitan Song by Luigi Denza (1846-1922)

Risa Jun and Yelena Balbanova (guest artist), piano

Songs Rachmaninoff and Strauss, Piano music by Tchaikovsky and Chopin

Songs by Sergei Rachmaninoff (1873-1943)

In the Silent Night, Op. 4 No. 3
Believe It or Not, Op. 14, No.7
A Dream, Op. 8, No. 5

Songs by Richard Strauss (1864-1949)

“Epheu” from Madchenblumen, Op. 22, No. 3
Heimliche Aufforderung, Op. 27, No. 3
Freundliche Vision, Op. 48, No.1
Befreit, Op. 39, No. 4 

Malya Muth, soprano and Johanna Mastenbrook, piano

The Seasons, op.37b by Peter Tchaikovsky (1840-1893)

  • October, “Autumn Song”,
    November, “Troika”
    December, “Christmas”

Fantasie in f-minor, op.49 by Frederic Chopin (1810-1839)

Valentina Rodov, piano

“It’s all about love, isn’t it?: Operetta and Musical Theater for soprano and tenor”

Entr ‘acte from “My Fair Lady”  by Alan Jay Lerner & Frederick Loewe

Almost Like Being in Love from “Brigadoon” by Frederick Loewe & Alan Jay Lerner

By Strauss by George Gershwin

Mein Liebeslied muss ein Walzer sein (My lovesong must be a waltz) from  “Im weißen Röss’l” (The White Horse Inn) by Robert Stolz

Machen wir’s den Schwalben nach (Let’s follow the swallows) from “Die Czardasfürstin” (Gypsy Princess) by Emmerich Kálmán

Martin’s song from “The Tender Land” by Aaron Copland

Maria from “West Side Story” by Leonard Bernstein

What good would the moon be from “Street Scene” by Kurt Weill

Schlösser, die im Monde liegen (Castles in the moon) from  “Frau Luna” by Paul Lincke

Heller Jubel/ Weisst Du es noch from (Do you remember?)  “Die Czardasfürstin” (Gypsy Princess) by Emmerich Kálmán

Inkslingers song from “Paul Bunyan” by Benjamin Britten

Jede Frau hat ein süßes Geheimnis (Every woman has a little secret) by Franz Grothe

Die Juliska aus Budapest from  “Maske in blau” (Mask in Blue) by Fred Raymond

Wie eine Rosenknospe (Like a rosebud) from “Die lustige Witwe” (Merry Widow) by Franz Lehar

Niemand liebt Dich so wie ich (Nobody love you as I do) from “Paganini” by Franz Lehar

Christine Menschner (soprano), Jesse Nordstrom (tenor), Joan Lundquist (piano)

Americana: music by Copland, Beach and Bernstein

Autumn Song, Op. 56, No. 1  by Amy Marcy Beach (1867-1944)

Four Songs for Children, Op. 75  by Amy Marcy Beach

  1. The Candy Lion
  2. The Thanksgiving Fable
  3. Dolladine
  4. Prayer of a Tired Child

Sleep, Little Darling, Op. 29, No. 3 by Amy Marcy Beach

Breanna Hanson, soprano and Annie Center, piano

Appalachian Spring arranged for solo piano by Aaron Copland (1900-1990)

  1. Very slowly. Introduction of the characters, one by one, in a suffused light.
  2. Fast/Allegro. Sudden burst of unison strings in A major arpeggios starts the action. A sentiment both elated and religious gives the keynote to this scene.
  3. Moderate/Moderato. Duo for the Bride and her Intended – scene of tenderness and passion.
  4. Quite fast. The Revivalist and his flock. Folksy feeling – suggestions of square dances and country fiddlers.
  5. Still faster/Subito Allegro. Solo dance of the Bride – presentiment of motherhood. Extremes of joy and fear and wonder.
  6. Very slowly (as at first). Transition scene to music reminiscent of the introduction.
  7. Calm and flowing/Doppio Movimento. Scenes of daily activity for the Bride and her Farmer husband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published under the title “The Gift to Be Simple.” The melody borrowed and used almost literally is called “Simple Gifts.”
  8. Moderate. Coda/Moderato – Coda. The Bride takes her place among her neighbors. At the end the couple are left “quiet and strong in their new house.” Muted strings intone a hushed prayerlike chorale passage. The close is reminiscent of the opening music.

Karin McCullough, piano

I Hate Music  by Leonard Bernstein (1918-1990)

  1. My mother says that babies come in bottles
  2. Jupiter has seven moons
  3. I hate music
  4. A big Indian and a little Indian
  5. I just found out today that I’m a person too

Tiina Ritalahti, soprano and Annie Center, piano

Music for viola and piano by Bach, Bridge and Brahms

Gamba Sonata No. 1 by J. S. Bach
Four Pieces for Viola and Piano by Frank Bridge
Viola sonata in E-Flat Major, Op. 120, No. 2  by Johannes Brahms (1833-1897)

  1. Allegro amabile
  2. Allegro appassionato
  3. Andante con moto; Allegro

Yi Zhou, viola and Grace Huang, piano