FSU Jazz Combo Concert

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FSU’s Department of Music Presents Winter Choral Concert, “Fin de siècle”Frostburg State University’s Department of Music will present its Winter Choral Concert, “Fin de siècle,” on Saturday, Nov. 16, at 7:30 p.m. in the Pealer Recital Hall of FSU’s Woodward D. Pealer Performing Arts Center. Join the FSU Chamber Singers, University Chorale and Troubadours Tenor-Bass Choir, under the direction of Dr. Scott Rieker and accompanied by pianist Dr. Joseph Yungen, for an evening of exceptional choral music.The end of a century almost invariably produces remarkable output in the arts, especially music. While “fin de siècle” denotes a specific epoch, this wide-ranging concert explores the repertoire around the ends of various centuries, from the 16th to the 20th. The evening will feature compositions by Wolfgang Amadeus Mozart, Lili Boulanger and Darius Milhaud, as well as the first song known to have been written down in the Western Hemisphere.Tickets are $10 for adults; $5 for members of the military, seniors and FSU faculty and staff; and free for students and children. Tickets can be purchased at tickets.frostburg.edu. Tickets will also be available for purchase at the door.For more information, contact FSU’s Department of Music at 301-687-4109.

FSU’s Department of Music Presents Dr. Colin Johnson in a Faculty Artist Series ConcertFrostburg State University’s Department of Music will present bass-baritone Dr. Colin Johnson in a Faculty Artist Series Concert, “A Life in Dreams,” on Sunday, Nov. 17, at 3 p.m. in the Pealer Recital Hall of FSU’s Woodward D. Pealer Performing Arts Center. He will be accompanied by pianist Dr. Jay DeWire. The concert will be livestreamed; the link will be posted at www.frostburg.edu/concerts.The program for “A Life in Dreams,” a music exploration holding on to a vision that once was, will include “Miei rampolli femminini” from “La Cenerentola” by Giaochino Rossini; “Wohl denk ich oft an mein vergangenes Leben,” “Alles endet, was entsteht” and “Fühlt meine Seele das ersehnte Licht” from “Drei Gedichte von Michelangelo” by Hugo Wolf; and “Brighter Than Bright,” “Ah, Herté Mine,” “Credo,” “Pleasures,” “Impossibilities,” “A Frog in the Frost,” “My Expected Heaven,” “Immortality” and “From Italy” from “Your John Keats” by Debra Lynn.“La Cenerentola, ossia La bontà in trionfo” (“Cinderella, or Goodness Triumphant”) is an operatic dramma giocoso in two acts by Rossini that was first performed in 1817. In this variation of the fairy tale, the wicked stepmother is replaced by a stepfather, Don Magnifico. The noted aria, “Miei rampolli femminini” is performed by Don Magnifico in Act 1.Wolf wrote “Drei Gedichte von Michelangelo” in 1897, when his health was failing, so in a sense they are his own “letzte Lieder.” In “Wohl denk ich oft an mein vergangenes Leben,” the poet compares past to present, Now, he’s praised by the world, but fame has come at a price. The last line ruses with a Wolfian flourish, but laced with bitterness. A slow, penitential introduction leads into “Alles endet, was entstehet.” The meaning of the song is that if one phase draws to an end, life goes on. The text Wolf uses in “Fühlt meine Seele das ersehnte Licht” refers to earthly love. As the vocal part ends, the piano part continues, suggesting a kind of afterglow.“Your John Keats” (2017) is a nine-movement song cycle for baritone with piano that includes letter excerpts from English Romantic poet John Keats to Fanny Brawne (his fiancée) throughout their two-year relationship, during which Keats became ill with tuberculosis and was sent to Rome (for the warmer climate) where he died. “Brighter Than Bright” conveys the apprehensive passion of new love. “Ah Herté Mine” explores the mysterious fragility of “deep” love. “Credo” is a passacaglia (a slow tune written over a repeating bass figure). “Pleasures” begins and ends with a lilting expression of utter joy and delight. The turbulent movement “Impossibilities” describes the symptoms Keats experienced when first falling ill. “A Frog in a Frost” has a charming presentation, but the undercurrent reflects Keats’ physically weakened state after becoming ill. Much of the melodic material in “My Expected Heaven” is borrowed from the mating call of a male robin. The vertical piano chords on each beat represent bars on a birdcage (the illness holding Keats captive, and separating him from Fanny). “Immortality” expresses Keats’ fury and frustration with the inability to will himself toward better health. “From Italy” opens and closes with a low descending piano figure, a ritornello of sorts representing Keats’ body shutting down.Johnson serves as a lecturer in voice at York College of Pennsylvania and FSU. In addition, he gives private voice lessons in a variety of genres, including classical and contemporary commercial music. As a performer, he has been heard in many opera houses and theatres across the country as well as in Germany and Italy. His research interests include applying motor learning strategies to the singing voice studio as well as vocal tract acoustics. Johnson has presented research on motor learning feedback in the singing voice studio at the Voice Symposium in Philadelphia and at the Pan American Vocology Symposium. He also is a member of the National Association of Teachers of Singing and the Pan American Vocology Association.For more information, contact FSU’s Department of Music at 301-687-4109.

FSU’s Department of Music Presents Evening of Jazz Concert, “The Monster and the Flower – A Study in Latin Jazz”Frostburg State University’s Department of Music will present its Evening of Jazz Concert, “The Monster and the Flower – A Study in Latin Jazz,” featuring the FSU Jazz Orchestra, directed Dr. Brent Weber, on Friday, Nov. 22, at 7:30 p.m. in the Pealer Recital Hall of FSU’s Woodward D. Pealer Performing Arts Center.Performers are vocalist Mack Taylor; section leader Gabe Hicks, Hailey Beining, Gwen Fazenbaker, Vincent Hangarter, Luis Hernandez, Lucas Lusby and Andre Perras on reeds; section leader Patrick Godfrey, Martin (MJ) Harden and Stephen Hess on trumpets; section leader Alex Frye, Connor Curtis, Doug Holtz, Zach Inglish (bass) and Jerimiah Twigg on trombones; and rhythm section members Nick Mellen on guitar Taylor Bryan on piano, Brandon Little on bass, Daniel Hicks on drum set and Jacob Deaver on percussion.The program consists of “Mokopuni Magic” by Mark Taylor; “Softly, as in a Morning Sunrise” by Oscar Hammerstein and Sigmund Romberg, arranged by Dave Rivello; “Besame Mucho” by Consuelo Velasquez, arranged by Roger Ingrahm; “The Monster and the Flower” by Claudio Roditi and Ricard Silveira, arranged by Darmon Meader; “Coconut Champagne” by Denis DiBlasio, arranged by Bob Lowen; “Chu Cho” by Paquito D’Rivera, transposed by Miles Collins; “This I Dig of You” by Hank Mobley, arranged by Mike Tomaro; “La Fiesta” by Chick Corea, arranged by Michael Phillip Mossman; “Feeling Good” by Anthony Newley and Leslie Bricusse, arranged by Matt Amy; and “Tiger of San Pedro” by John LaBarbera.Reminiscent of the music Taylor wrote for the Stan Kenton Orchestra, the fiery showpiece “Mokopuni Magic” features a churning Afro-Cuban groove alternating with sections in swing.“Softly, as in a Morning Sunrise” is a song from the 1928 operetta “The New Moon.” One of the best-known numbers from the show, it is a song of bitterness and yearning for a lost love.“Bésame Mucho” (“Kiss Me a Lot”) was written in 1941 by Velasquez, who was about 15 years old at the time, in bolero style. Inspired by the “Nightingale Aria” from the opera “Goyescas” by Enrique Granados, she said that she had never been kissed when she wrote the song.“The Monster and the Flower” is a song associated with multiple artists and arrangements. The original version was released in 1986 by Paquito D’Rivera Explosion.In a Latin/calypso style, the appealing chart “Coconut Champagne” features crisp ensemble writing and a drum solo. “Chu Cho” is a wonderful Latin number D’Rivera wrote for Mario Bauza and his Afro-Cuan Orchestra.“This I Dig of You” is from “Soul Station,” an album American jazz saxophonist Mobley recorded in 1960. It’s an up-tempo hard bop vehicle full of slash chords and a Latin pedal/swing head.Corea recorded “La Fiesta” on “Return to Forever,” a jazz fusion album, in 1972.“Feeling Good” (also known as “Feelin’ Good”) is a song written by Newley and Bricusse for the musical “The Roar of the Greasepaint – The Smell of the Crowd.” It was first performed on stage in 1964.“Tiger of San Pedro” is a jazz song by LaBarbera, made popular by trombonist Bill Watrous. It was the title song of the Grammy-nominated Columbia recording “Tiger of San Pedro” by Watrous’ band, The Manhattan Wildlife Refuge.Admission is $10 for adults; $5 for seniors, members of the military, and FSU faculty and staff; and free for students and children. Tickets can be purchased at tickets.frostburg.edu. Tickets will also be available for purchase at the door.For more information, contact FSU’s Department of Music at 301-687-4109.