Siete Canciones Populares Españolas--------Manuel de Falla
El Paño Moruno (1876-1946)
Seguidilla Murciana Arr. for Guitar by Jaume Torrent Asturiana (b. 1953)
Jota
Nana
Canción
Polo
Kurt Martinez, Guitar
Love and Time-------------------------------Madeline Dring Sister, awake (1923-1977)
Ah, how sweet it is to love! I feed a flame within The Reconcilement
PROGRAM NOTES
Songs by Josephine Lang
Josephine Lang (1815-1880) contributed 150 songs to the Lieder repertoire Born into a musical family (her father was a court musician and her mother was a professional singer), Lang received early and enthusiastic attention from Felix Mendelssohn when she sang for him at the age of 15 He gave her some lessons in composition, and recommended that she study music in Berlin, but her father decided against it due to the expense. Between 1830 and 1840, Lang taught music, sang in the Königliche Vokalkapelle, and composed; over half of her songs were composed in this period, including an outpouring in 1840 during her courtship and marriage to lawyer and amateur poet Christian Reinhold Köstlin. Lang found little time to compose during her marriage, but returned to composing after Köstlin’s death in 1856 to support her family, and continued until her death in 1880. These four songs span Lang’s compositional life. The lively “Fee’n-Reigen” (1834) sets poetry by Friedrich von Mattisson and was published when Lang would have been about 19 years old. In the joyful “Am Flusse,” (1848), she sets poetry by Köstlin publishing as Cristian Reinhold. The longing “Erinnerung,” (published posthumously in 1882), sets poetry by Lord Byron. “Traumbild” (1861) is one of two songs Lange arranged for voice, piano, and cello, and sets poetry by Heinrich Heine
PROGRAM NOTES
Fee’n-Reigen (Fairy Dance)
Friedrich von Matthisson (1761-1831)
The silver bells Of the flowers of May They ring in the dance, Here in the circle, The swarming fairies! Come! Throw purple And white petals! Where moonshine trembles About the primrose! There will the airy Dance be woven!
The people, like leaves, Will disappear soon, In angst-ridden haste! They labor to build a House of Clouds
In a small room of boards (coffin) They find their rest. We laugh at the miserable Wrinkles of time And stay the same tomorrow As today
We reign in domains Where the spring of youth Never dries up The rose without thorns Sways on the path And ever without sign In the book of stars deceives Where moonshine trembles About the primrose! There will the airy Dance be woven!
Erinnerung (Remembrance) Ernst Ortlepp (1800-1864) after Lord Byron (1788-1824)
My end is shown in every dream! The future space does not smile on me! Barely know I anymore what happiness is, In my life’s spring fell The misfortunate snowflakes of winter’s play.
Happiness, hope, love have passed away, I wish remembrance had also!
PROGRAM NOTES
Am Flusse (To the river)
Christian Reinhold
(1813-1856)
Hurrying waves, Play in the light, When they break They do not notice it!
Many thousands of stars Rove there in the river Grab one immediately For a kiss!
In pain and playfulness Play with me so The songs in my heart Unchangeable joy
If one fades away I think of it no more Another song springs immediately To take its place!
And quickly catches a spark From the light Where, intoxicated, My life flees.
In the light love, Full of heavenly peace, O blessed commotion, So hurry on!
Traumbild (Dream image)
Heinrich Heine
(1797-1856)
When I on the bed lie, Shrouded in night and cushions, So floats before me A sweet, lovely image
When to me the still slumber Barely closes my eyes, So creeps the dear picture Into my dream!
And the dream does not fade Away with the morning: Then I carry it in my heart
The whole day
PROGRAM NOTES
Opus 13 – Ernest Chausson
Ernest Chausson (1855-1899) was one of a generation of French composers who, along with Gabriel Fauré and Henri Duparc, saw the full development of the French Mélodie as a cornerstone of vocal repertoire. Chausson was the only child of an affluent family in Paris and, although he studied law and received his law license to please his family, he never practiced law – choosing instead to enter the Paris Conservatory where he studied with Jules Massenet and César Franck. Chausson wrote about 50 songs between 1877 and 1898, and also established a salon welcoming writers, performers, and fellow composers. Many of his early songs have become staples of the repertoire at all levels, and show the light, melodic influence of Massenet. The songs of Opus 13, written between 1885 and 1887, are more harmonically adventurous, and show Chausson incorporating more of the chromaticism of Franck and of Richard Wagner, of whom Chausson was an admirer Chausson’s exploration of Wagner’s extended harmonies and suspensions never supersedes the qualities of balance and clarity prioritized in French music, and the combination of these elements result in the lush delicacy of his Opus 13 songs
PROGRAM NOTES
A p a i s e m e n t ( C a l m )
T h e w h i t e m o o n
S h i n e s i n t h e w o o d s .
O n e a c h b r a n c h
S p r i n g s a v o i c e
U n d e r t h e a r b o r
O h b e l o v e d …
T h e p o n d r e f l e c t s
P r o f o u n d m i r r o r
T h e s i l h o u e t t e
O f t h e b l a c k w i l l o w
W h e r e t h e w i n d w e e p s .
L e t u s d r e a m , i t i s t h e h o u r .
A v a s t a n d t e n d e r c a l m
S e e m s t o d e s c e n d
F r o m a s k y
M a d e i r i d e s c e n t b y
T h e s t a r s
I t i s t h e e x q u i s i t e h o u r !
S é r é n a d e ( S e r e n a d e )
H e n r i C a z a l i s a s J e a n L a h o r ( 1 8 4 01 9 0 9 )
Y o u r l a r g e , s w e e t e y e s
R e s e m b l e t h e i s l a n d s
T h a t s w i m i n a l a k e o f b l u e .
I n t h e f r e s h n e s s o f y o u r t r a n q u i l
e y e s
I a m m a d e t r a n q u i l a n d p u r e .
Y o u r b o d y h a s t h e a d o r a b l e y o u t h
O f t h e l i g h t s o f p a r a d i s e o f l o n g
a g o
E n v e l o p m e i n s i l e n c e
I n t h e s i l e n c e s i l v e r e d b y t h e l i l i e s .
M a d e l a n g u i d b y t h e t r a n q u i l e y e s
O f t h e s t a r s c a r e s s i n g t h e a i r ,
I h a v e s o d r e a m e d
O f t h e p e a c e o f t h e i s l a n d s ,
U n d e r a n i g h t t r e m b l i n g a n d c l e a r .
PROGRAM NOTES
L ’ A v e u ( T h e v o w )
A u g u s t e , C o m t e d e
V i l l i e r s d e L ’ i s l e - A d a m
( 1 8 3 8 - 1 8 8 9 )
I h a v e l o s t t h e f o r e s t , t h e
p l a i n s ,
A n d t h e f r e s h A p r i l s o f
o t h e r t i m e s .
G i v e m e y o u r l i p s , t h e i r
b r e a t h
I t w i l l b e t h e b r e a t h o f
t h e w o o d s
I h a v e l o s t t h e o c e a n
m o r o s e ,
I t s m o u r n i n g , i t s w a v e s ,
i t s e c h o e s ;
T e l l m e , i t ’ s n o t i m p o r t a n t
w h a t ,
T h a t w i l l b e t h e n o i s e o f
t h e w a v e s .
H e a v y w i t h a s a d n e s s s o
n o b l e
M y b r o w t h i n k s o f s u n l i g h t
v a n i s h e d
O h ! h i d e m e i n y o u r p a l e
b r e a s t !
T h a t w i l l b e t h e c a l m o f
t h e n i g h t .
L a C i g a l e ( T h e c i c a d a )
L a c o n t e d e L i s l e ( 1 8 1 8 - 1 8 9 4 )
O c i c a d a , b o r n w i t h t h e
b e a u t i f u l d a y s ,
P o i s e d o n t h e g r e e n b r a n c h e s
f r o m d a w n ,
C o n t e n t t o d r i n k a l i t t l e d e w ,
A n d l i k e a k i n g , y o u s i n g a l w a y s .
I n n o c e n t o f e v e r y t h i n g ,
p e a c e f u l a n d w i t h o u t g u i l e ,
T h e h a p p y w o r k m a n , b y t h e o a k
t r e e s h e l t e r e d ,
L i s t e n s t o y o u f r o m a f a r
a n n o u n c i n g s u m m e r .
A p o l l o h o n o r s y o u , a s d o t h e
m u s e s ,
A n d Z e u s h a s g i v e n y o u
i m m o r t a l i t y !
H a i l , w i s e c h i l d o f t h e a n c i e n t
e a r t h ,
W h o s e s o n g i n v i t e s t h e e y e s t o
c l o s e ,
A n d w h o , u n d e r t h e a r d o r o f t h e
A t t i c s u n ,
W i t h o u t f l e s h o r b l o o d , l i v e s l i k e
t h e G o d s !
PROGRAM NOTES
Siete Canciones Populares (Seven Popular Songs) – Manuel de Falla Spanish composer Manuel de Falla (1876-1946) received his early musical education in his home of Cadiz, and later in Madrid and then Paris. His musical influences in Cadiz were highly varied – his mother was gifted pianist from a wealthy family, playing Mozart, Beethoven, and Chopin at home and taking Falla to Italian operas, zarzuelas, and frequent concerts. He also imbibed Moorish and other diverse elements of southern Spain, and this synthesis of elements is evident in his compositional style – particularly in the Siete Canciones Populares. Falla composed these songs at the end of his residency in Paris, and they were premiered in Madrid in 1915. The songs are derived from various folk song collections representing the various regions of Spain (noted with the translations below). The texts are coplas, short poems of 3-5 lines expressing personal emotions such as love, loss, and pain. The short poems are highly associative and metaphorical, usually leading to an impression or scene rather than a clear narrative, and are held together by a common rhythm or melody as much as any narrative arc Falla originally wrote these songs for voice and piano influenced by the guitar patterns of the original folk songs They have also been transcribed for orchestra and for guitar, as well as for multiple solo instruments The transcription for voice and guitar performed in this recital is by Jaume Torrent
PROGRAM NOTES
E l P a ñ o M o r u n o ( T h e
M o o r i s h C l o t h )
( M u r c i a )
O n t h e f i n e c l o t h i n t h e
s t o r e
F e l l a s t a i n ,
N o w i t s e l l s f o r l e s s
m o n e y ,
F o r i t l o s t i t s v a l u e .
A l a s !
A s t u r i a n a ( A s t u r i a n )
( A s t u r i a s )
T o s e e i f i t w o u l d c o n s o l e
m e
I a p p r o a c h e d a g r e e n p i n e
t r e e ,
T o s e e i f i t w o u l d c o m f o r t
m e .
O n s e e i n g m e c r y , i t c r i e d ,
T h e p i n e t r e e , b e i n g
g r e e n ,
S e e i n g m e c r y , c r i e d
S e g u i d i l l a M u r c i a n a
( S e g u i d i l l a f r o m M u r c i a )
( M u r c i a )
A n y o n e w h o s e r o o f i s m a d e o f
g l a s s ,
S h o u l d n o t t h r o w s t o n e s
A t h i s n e i g h b o r ’ s .
W e a r e m u l e t e e r s !
P e r h a p s w e s h a l l m e e t
O n t h e r o a d
B e c a u s e o f y o u r g r e a t
i n c o n s t a n c y
I c o m p a r e y o u
T o a c o i n t h a t r u n s
F r o m h a n d t o h a n d ;
T h a t i n t h e e n d f a d e s ,
A n d , b e l i e v i n g i t f a l s e ,
N o o n e a c c e p t s !
j o t a
( A r a g ó n )
T h e y s a y w e d o n o t l o v e e a c h
o t h e r
B e c a u s e t h e y n e v e r s e e u s
s p e a k t o e a c h o t h e r ;
B u t t h e y c a n a s k y o u r h e a r t a n d
m i n e
A b o u t t h a t .
N o w I t a k e m y l e a v e f r o m y o u ,
F r o m y o u r h o u s e a n d f r o m y o u r
w i n d o w ,
A n d e v e n t h o u g h y o u r m o t h e r
d o e s n ’ t l i k e i t ,
G o o d b y e , m y g i r l , t i l l t o m o r r o w
N o w I t a k e m y l e a v e f r o m y o u ,
E v e n t h o u g h y o u r m o t h e r
d o e s n ’ t l i k e i t .
PROGRAM NOTES
N a n a ( L u l l a b y )
( A n d a l u s i a )
S l e e p , m y c h i l d , s l e e p ,
S l e e p , m y s o u l .
S l e e p , l i t t l e s t a r o f t h e
m o r n i n g .
L i t t l e l u l l a b y , l u l l a b y
S l e e p , l i t t l e s t a r o f t h e
m o r n i n g .
P o l o
( A n d a l u s i a )
A y !
I k e e p a ( A y ! )
I k e e p a ( A y ! )
I k e e p a s o r r o w i n m y
b r e a s t ,
I k e e p a s o r r o w i n m y
b r e a s t ,
A y !
T h a t I w i l l t e l l n o o n e !
L o v e b e c u r s e d , b e
c u r s e d !
A y !
A n d t h e o n e w h o t a u g h t i t
t o m e .
A y !
C a n c i ó n ( S o n g )
B e c a u s e y o u r e y e s a r e t r a i t o r s ,
I a m g o i n g t o b u r y t h e m .
Y o u d o n ’ t k n o w w h a t i t c o s t s ,
“ f r o m t h e a i r , ” c h i l d , t o l o o k a t
t h e m . “ M o t h e r , t o t h e s h o r e . ”
T h e y s a y y o u d o n ’ t l o v e m e ,
B u t y o u l o v e d m e b e f o r e .
“ F r o m t h e a i r , ” f o r w h a t i s n o w
l o s t
“ M o t h e r , t o t h e s h o r e ”
F o r w h a t i s n o w l o s t
M o t h e r
PROGRAM NOTES
Love and Time – Madeleine Dring
Madeleine Dring (1923-1977) was an artist of many talents, and a composer in many styles. She was admitted to the Royal College of Music Junior department on a violin and piano scholarship and developed her theatrical talent in children’s plays. She continued these eclectic and varied pursuits as an actress and singer into adulthood. Her vocal compositions range from her 60 art songs – what she called “serious songs ” – to cabaret material she performed in reviews. Dring wrote the set Love and Time during the 1970s, and the work was published in 1994. In it she sets poetry by John Dryden, John Sheffield, and one anonymous work from a 1602 collection of madrigals. Three of the four songs begin with a four-bar melody Dring harmonizes and develops differently and with growing complexity through the first, second, and fourth songs. Dring’s melodic writing follows the inflection and curve of the text, lending spontaneity to each line; combining syllabic and melismatic vocal writing as the expression of the text requires resulting in an honest and evocative expression of poetry and emotion; taking the singer and the listener through love’s freshness, youth, frustration, and the peace of love’s reconcilement
PROGRAM NOTES
S i s t e r , a w a k e !
A n o n y m o u s ( 1 6 0 4 )
S i s t e r , a w a k e ! C l o s e n o t
y o u r e y e s ,
T h e d a y h e r l i g h t
d i s c l o s e s ;
A n d t h e b r i g h t m o r n i n g
d o t h a r i s e
O u t o f h e r b e d o f r o s e s .
S e e t h e c l e a r s u n , t h e
w o r l d ’ s b r i g h t e y e ,
I n a t o u r w i n d o w p e e p i n g ;
L o , h o w h e b l u s h e t h t o
e s p y
U s i d l e w e n c h e s s l e e p i n g !
T h e r e f o r e a w a k e , m a k e
h a s t e I s a y ,
A n d l e t u s w i t h o u t s t a y i n g
A l l i n o u r g o w n s o f g r e e n
s o g a y
I n t o t h e p a r k a m a y i n g .
A h , h o w s w e e t i t i s t o l o v e !
J o h n D r y d e n ( 1 6 3 1 - 1 7 0 0 )
A h , h o w s w e e t i t i s t o l o v e !
A h , h o w g a y i s y o u n g D e s i r e !
A n d w h a t p l e a s i n g p a i n s w e
p r o v e
W h e n w e f i r s t a p p r o a c h L o v e ' s
f i r e !
P a i n s o f l o v e b e s w e e t e r f a r
T h a n a l l o t h e r p l e a s u r e s a r e .
S i g h s w h i c h a r e f r o m l o v e r s
b l o w n
D o b u t g e n t l y h e a v e t h e h e a r t :
E v ' n t h e t e a r s t h e y s h e d a l o n e
C u r e , l i k e t r i c k l i n g b a l m , t h e i r
s m a r t :
L o v e r s , w h e n t h e y l o s e t h e i r
b r e a t h ,
B l e e d a w a y i n e a s y d e a t h
L o v e a n d T i m e w i t h r e v e r e n c e
u s e ,
T r e a t t h e m l i k e a p a r t i n g f r i e n d ;
N o r t h e g o l d e n g i f t s r e f u s e
W h i c h i n y o u t h s i n c e r e t h e y
s e n d :
F o r e a c h y e a r t h e i r p r i c e i s
m o r e ,
A n d t h e y l e s s s i m p l e t h a n
b e f o r e .
L o v e , l i k e s p r i n g - t i d e s f u l l a n d
h i g h ,
S w e l l s i n e v e r y y o u t h f u l v e i n ;
B u t e a c h t i d e d o e s l e s s s u p p l y ,
T i l l t h e y q u i t e s h r i n k i n a g a i n :
I f a f l o w i n a g e a p p e a r ,
' T i s b u t r a i n , a n d r u n s n o t c l e a r
PROGRAM NOTES
I f e e d a f l a m e w i t h i n
( H i d d e n F l a m e )
J o h n D r y d e n
I f e e d a f l a m e w i t h i n ,
w h i c h s o t o r m e n t s m e
T h a t i t b o t h p a i n s m y
h e a r t , a n d y e t c o n t e n t s
m e :
' T i s s u c h a p l e a s i n g s m a r t ,
a n d I s o l o v e i t ,
T h a t I h a d r a t h e r d i e t h a n
o n c e r e m o v e i t .
Y e t h e , f o r w h o m I g r i e v e ,
s h a l l n e v e r k n o w i t ;
M y t o n g u e d o e s n o t
b e t r a y , n o r m y e y e s s h o w
i t
N o t a s i g h , n o r a t e a r , m y
p a i n d i s c l o s e s ,
B u t t h e y f a l l s i l e n t l y , l i k e
d e w o n r o s e s .
T h u s , t o p r e v e n t m y L o v e
f r o m b e i n g c r u e l ,
M y h e a r t ' s t h e s a c r i f i c e ,
a s ' t i s t h e f u e l ;
A n d w h i l e I s u f f e r t h i s t o
g i v e h i m q u i e t ,
M y f a i t h r e w a r d s m y l o v e ,
t h o u g h h e d e n y i t .
O n h i s e y e s w i l l I g a z e ,
a n d t h e r e d e l i g h t m e ;
W h i l e I c o n c e a l m y l o v e
n o f r o w n c a n f r i g h t m e
T o b e m o r e h a p p y I d a r e
n o t a s p i r e ,
N o r c a n I f a l l m o r e l o w ,
m o u n t i n g n o h i g h e r
T h e R e c o n c i l e m e n t
J o h n S h e f f i e l d ( 1 6 4 9 - 1 7 2 0 )
C o m e , l e t u s n o w r e s o l v e a t l a s t
T o l i v e a n d l o v e i n q u i e t ;
W e ' l l t i e t h e k n o t s o v e r y f a s t
T h a t T i m e s h a l l n e ' e r u n t i e i t
T h e t r u e s t j o y s t h e y s e l d o m
p r o v e
W h o f r e e f r o m q u a r r e l s l i v e :
' T i s t h e m o s t t e n d e r p a r t o f
l o v e
E a c h o t h e r t o f o r g i v e .
W h e n l e a s t I s e e m ' d c o n c e r n ' d , I
t o o k
N o p l e a s u r e n o r n o r e s t ;
A n d w h e n I f e i g n ' d a n a n g r y
l o o k ,
A l a s ! I l o v e d y o u b e s t .
O w n b u t t h e s a m e t o m e y o u ' l l
f i n d
H o w b l e s t w i l l b e o u r f a t e
O t o b e h a p p y t o b e k i n d
S u r e n e v e r i s t o o l a t e !
About the Performers
b e c
t o s e r v e a s a M a s t e r T e a c h e r f o r t h e 8 v o . C o n g r e s o
N a c i o n a l o f L a A s o c i a c i o n M e x i c a n a d e M a e s t r o s d e C a n t o
i n C u l i a c a n , M X S h e h o l d s d e g r e e s i n v o i c e f r o m
N o r t h w e s t e r n U n i v e r s i t y ( B A ) a n d t h e R i c e U n i v e r s i t y
S h e p h e r d S c h o o l o f M u s i c ( M M ) , a n d a D o c t o r o f M u s i c a l
A r t s d e g r e e f r o m T e x a s T e c h U n i v e r s i t y . S h e c u r r e n t l y
s e r v e s a s P r o f e s s o r o f V o i c e a n d A s s o c i a t e D i r e c t o r o f t h e
S c h o o l o f M u s i c a t t h e U n i v e r s i t y o f T e x a s R i o G r a n d e
V a l l e y .
S t a c y K w a k , p i a n o , r e c e i v e d d e g r e e s f r o m t h e E a s t m a n
S c h o o l o f M u s i c ( B M ) , B o s t o n U n i v e r s i t y ( M M ) a n d t h e
U n i v e r s i t y o f N o r t h T e x a s ( D M A ) H e r t e a c h e r s i n c l u d e
B a r r y S n y d e r , T o n g - I l H a n , a n d P a m e l a M i a P a u l . A s a
r e c i t a l i s t , c h a m b e r m u s i c i a n , a n d c o n c e r t o s o l o i s t , s h e h a s
p e r f o r m e d t h r o u g h o u t t h e U S a n d t o u r e d G e r m a n y w i t h h e r
h u s b a n d , c e l l i s t T i d o J a n s s e n S t a c y h a s t a u g h t a t A u s t i n
C o l l e g e , T e x a s C h r i s t i a n U n i v e r s i t y , H a r d i n - S i m m o n s
U n i v e r s i t y , a n d t h e U n i v e r s i t y o f L e t h b r i d g e i n A l b e r t a ,
C a n a d a C u r r e n t l y s h e i s L e c t u r e r o f P i a n o a t t h e U n i v e r s i t y
o f T e x a s R i o G r a n d e V a l l e y i n E d i n b u r g , T X , w h e r e s h e
c o l l a b o r a t e s w i t h s t u d e n t s , f a c u l t y , a n d g u e s t a r t i s t s
D u r i n g t h e s u m m e r s s h e h a s t a u g h t a n d p e r f o r m e d a t B l u e
L a k e F i n e A r t s C a m p a n d N e w H a m p s h i r e M u s i c F e s t i v a l
S h e c a n b e h e a r d i n t h e C e n t a u r R e c o r d s ’ r e c o r d i n g o f
J o s e f R h e i n b e r g e r ’ s P i a n o T r i o N o . 2 w i t h P e t e r I s a a c s o n
a n d T i d o J a n s s e n
About the Performers
E n y e a r t , W a l t e r G r a y , a n d E u g e n e O s a d c h y . H i s c h a m b e r
m u s i c s t u d i e s i n c l u d e c o a c h i n g s w i t h t h e M u i r Q u a r t e t , L y d i a n Q u a r t e t , a n d m e m b e r s o f t h e L y o n t e v i c h a n d K o l i s c h
Q u a r t e t s
B e f o r e j o i n i n g t h e m u s i c f a c u l t y a t U T R G V i n 2 0 1 5 , D r
J a n s s e n s e r v e d o n t h e f a c u l t y o f t h e U n i v e r s i t y o f T e x a s
P a n A m e r i c a n , t h e U n i v e r s i t y o f L e t h b r i d g e i n A l b e r t a , C a n a d a , a n d H a r d i n - S i m m o n s U n i v e r s i t y i n A b i l e n e , T e x a s
A s a c h a r t e r m e m b e r o f t h e U n i v e r s i t y o f L e t h b r i d g e f a c u l t y
e n s e m b l e T r i o A m a r a n t h , h e h a s p e r f o r m e d e x t e n s i v e l y
t h r o u g h o u t w e s t e r n C a n a d a . I n A b i l e n e , T X , h e w a s P r i n c i p a l
C e l l i s t o f t h e A b i l e n e P h i l h a r m o n i c a n d A b i l e n e O p e r a
O r c h e s t r a s , f o u n d e r a n d D i r e c t o r o f t h e A b i l e n e S u m m e r
M u s i c F e s t i v a l , a n d f o u n d i n g m e m b e r o f t h e A b i l e n e
C h a m b e r P l a y e r s . I n t h e s u m m e r o f 2 0 1 3 h e p e r f o r m e d w i t h
t h e A b i l e n e C h a m b e r P l a y e r s f o r t h e C o n c e r t i N e l C h i o s t r o
a t t h e C o n s e r v a t o r i o d i m u s i c a “ G i u s e p p e V e r d i ” , a n d t h e
A b r o s i a n e u m C o n c e r t i , i n M i l
A s a p e r f o r m e r D r . J a n s s e n h a s r e p e a t e d l y a p p e a r e d i n
e r m a
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H a m p s h i r e M u s i c F e s t i v a l O r c h e s t r a s i n c e 2 0 0 0 , a n d h a s
r e c o r d e d f o r D e u t s c h e W e l l e , P u b l i c R a d i o , a n d C e n t a u r
R e c o r d s
About the Performers
K u r t M a r t i n e z , g u i t a r , c o m p l e t e d t h e d e g r e e o f D o c t o r o f M u s i c a l A r t s f r o m t h e U n i v e r s i t y o f W i s c o n s i n - M a d i s o n , h e
a l s o h a s d e g r e e s i n g u i t a r p e r f o r m a n c e f r o m G e o r g i a S t a t e
U n i v e r s i t y a n d t h e U n i v e r s i t y o f M i a m i D r M a r t i n e z h a s
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d i s t i n g u i s h e d g u i t a r i s t s
D r . M a r t i n e z m a i n t a i n s a n a c t i v e p e r f o r m a n c e s c h e d u l e a n d
h a s p r e s e n t e d r e c i t a l s a t g u i t a r f e s t i v a l s t h r o u g h o u t t h e
U n i t e d S t a t e s , E u r o p e , C e n t r a l A m e r i c a , S o u t h A m e r i c a a n d
M e x i c o I n a d d i t i o n t o b e i n g r e c o g n i z e d a s a p e r f o r m e r D r
M a r t i n e z h a s a l s o b e e n r e c o g n i z e d a s a t e a c h e r , a n d h a s
p r e s e n t e d m a s t e r c l a s s e s a t t h e F e s t i v a l I n t e r n a c i o n a l d e
G u i t a r r a d e S o n o r a , F e s t i v a l I n t e r n a c i o n a l d e G u i t a r r a -
S o l i s t a s d e l M u n d o , L a w r e n c e C o n s e r v a t o r y o f M u s i c ,
C o p i a h - L i n c o l n C o l l e g e , L a r e d o C o m m u n i t y C o l l e g e , B e l o i t
C o l l e g e a n d D e l M a r C o l l e g e D r M a r t i n e z i s a l s o o f t e n
c a l l e d t o a d j u d i c a t e I n t e r n a t i o n a l g u i t a r c o m p e t i t i o n s m o s t
r e c e n t l y s e r v i n g a s a j u d g e i n t h e C o n c u r s o N a c i o n a l d e
G u i t a r r a d e M e x i c o .
T h e d o c t o r a l r e s e a r c h o f D r M a r t i n e z o n L a F o l i a h a s l e d t o
a n a r t i c l e p u b l i s h e d i n S o u n d b o a r d V o l 3 0 N o 3 , 2 0 0 4 , a n d
h i s d e b u t r e c o r d i n g e n t i t l e d F o l i a s . T h i s r e c o r d i n g c h a r t s
t h e h i s t o r y o f a w o r k t h a t h a s b e e n u s e d r e p e a t e d l y b y
g u i t a r c o m p o s e r s f o r f i v e h u n d r e d y e a r s . D r . M a r t i n e z h a s
a l s o g i v e n l e c t u r e / r e c i t a l s o n L a F o l i a e x p l a i n i n g t h e h i s t o r y
o f t h i s w o r k a n d p r o v i d i n g r e a s o n s f o r i t s l o n g e v i t y H e h a s
p r e s e n t e d t h i s l e c t u r e a t g u i t a r f e s t i v a l s a n d p r e s t i g i o u s a c a d e m i c i n s t i t u t i o n s s u c h a s t h e C o l e g i o d e S o n o r a i n H e r m o s i l l o , M e x i c o .
D r . K u r t M a r t i n e z c u r r e n t l y h o l d s t h e p o s i t i o n o f D i r e c t o r o f t h e S c h o o l o f M u s i c a t t h e U n i v e r s i t y o f T e x a s - R i o G r a n d e
