Mystic Resonances

Page 1


SUNDAY 12PM

PresentingWorksbyHeinrichBiber,CarolineShaw,MortenLauridsen,andKenjiBunch

AntonioZubillaga
An exciting musical journey featuring harpsichord, strings, soprano, choir, percussion, piano, and synthesizer.
An exciting musical journey featuring harpsichord, strings, soprano, choir, percussion, piano, and synthesizer

ElisaNivonGraduateRecital

Sunday,April27th12:00pmatUTSARecitalHall

Program

RosarySonatano.1“TheAnnunciation”

HeinrichBiber

ElisaNivon(violin),DrAraKoh(harpsichord) (1644-1704) IgnacioGallego(cello)

ConcertoforHarpsichordandstrings CarolineShaw

Dr.AraKoh(Piano),ElisaNivon(violinI), (b.1982-) AndrewSmall(violinII),MarisaBushman(viola),IgnacioGallego(cello) 13min

AndSo CarolineShaw TaylorMalcolm(Soprano)&Stringquartet (b.1982-)

OMagnumMysterium

MortenLauridsen 1943)

Program N

Heinrich Biber (1

“Annunciation” from Ro

HeinrichIgnazFranzBiber’sRosarySonatas,alsoknownastheMystery Sonatas,areasetof15violinsonataswithcontinuo,followedbyafinal Passacagliaforsoloviolin.Composedaround1676butnotpublisheduntil1905, thesonataswereinspiredbythe15MysteriesoftheRosarymeditativescenes fromthelivesofChristandtheVirginMary.Eachsonatacorrespondstooneof thesesacredeventsandwaslikelyintendedasamusicalmeditationduring Rosarydevotions.ThecollectionwasoriginallycomposedfortheArchbishopof Salzburginthe17thcentury

Biber’ssettingoftheAnnunciationopensthecycle,depictingtheangelGabriel’s appearancetotheVirginMary.Thisfirstsonataistheonlyoneinthecollection usingstandardviolintuning(G–D–A–E).Throughexpressivemelodicdialogue andornatefiguration,Biberpaintstheemotionalcomplexityofthemoment: Mary’sawe,surprise,andprayerfulreflection.Mothersandlistenersalikemay resonatewiththespiritualityconveyedinthemusic.

eof ion lter and ual ual med

Rosary Sonatas’ Titles

1.TheAnnunciation

2.TheVisitation

3.TheNativity

4.ThePresentationoftheInfantJesusintheTemple

5.TheFindingintheTemple(TheTwelve-Year-OldJesus)

6.TheAgonyintheGarden(ChristontheMountofOlives)

7.TheScourgingatthePillar

8.TheCrowningwithThorns

9.JesusCarriestheCross

10.TheCrucifixion

11.TheResurrection

12.TheAscension

13.Pentecost

14.TheAssumptionoftheVirgin

15.TheCoronationoftheVirgin

16.Passacaglia(FeastoftheGuardianAngels)

Caroline Shaw

CarolineAdelaideShaw (b.1982)isagroundbreaking Americancomposer,violinist, andvocalistwhoseworkhas redefinedtheboundariesof contemporaryclassicalmusic. Born in Greenville, North Carolina,Shawbeganplaying theviolinatagetwo,studying undertheSuzukimethodwith hermother,Jon,whowasa violinist and singer. Early musical influences included thechoirandorganistofher localEpiscopalchurch,where theworksofJ.S.Bachlefta lastingimpressionShebegan composingattheageoften, modelingherearlyeffortson thechambermusicofMozart andBrahms.

Shaw'seducationalpathoriginallyfocusedonviolinperformance.Sheearnedher BachelorofMusicinviolinfromRiceUniversityin2004andamaster’sdegreein violinfromYaleUniversityin2007.In2010,sheenteredthePhDprogramin compositionatPrincetonUniversity,markingashifttowardhercompositional careerHerworkshavereceivednumerousaccolades,includingthe2013Pulitzer PrizeforPartitafor8Voices,the2022GrammyAwardforNarrowSea,andthe 2025GrammyforRectanglesandCircumstance.

Concerto for Harpsichord and Strings

Thispiecewascommissionedforthe10thanniversaryseasonoftheSeattle-based BaroqueensembleSoundSalon,undertheartisticdirectionofByronSchenkman. ItpremieredatBenaroyaHallinSeattle,Washington,onMarch26,2023.

Athrough-composedconcertointhreemovements,Shawdescribesthepieceas“a wild,weird,surrealiststory”thatimaginesanalternativesonicworldbuiltwith themusicallanguageofJ.S.Bach’sBrandenburgConcertos.Theresultisavibrant andunpredictabletapestryofsoundthatblursthelinesbetweenpastandpresent, traditionandinnovation

And So

AndSoisoriginallyfromthethree-movementsongcycle“IsARose”byCaroline Shaw,scoredformezzo-soprano,stringorchestra,harpsichord,andoboe. CommissionedbyPhilharmoniaBaroqueOrchestra(PBO),theworkexplores themesoflanguage,poetry,andhistoricalsound,blendingperiodinstrumentswith contemporarymusicalexpression.

AndSofeaturesaphilosophicalandpoetictextthatexploresthemesofexistence, memory,identity,andthelimitationsoflanguageThewordswerewrittenby Shawherself,reflectingherthoughtfulandpersonalstyleasbothcomposerand poet.

Oneofthecentralinspirationsforthistextisthefamousline: "Aroseisaroseisarose"

Thislineisofteninterpretedasastatementaboutthepowerofnaming,perception, andessencethatsimplysayingthewordroseevokesitsentiremeaning,image, andexperience.Steinwasreactingtooverlysymbolicormetaphoricalusesof languageinpoetry,insistinginsteadontherealityofthethingitself.

Hertextplayswiththetensionbetweenwhatwesay,whatweremember,and whatisrealorfelt.It’sgentleandsearching,invitingthelistenertocontemplate howwordsshapeourunderstandingofselfandtheworldaroundus.

In2022,ShawcreatedanewarrangementofAndSoforherselfinsopranoand AttaccaStringQuartet,featuredonheralbumEvergreen.

And So

Would a song by any other name

Sound as sweet and true?

Would all the reds be just the same Or violets as blue?

If you were gone

Would words still flow

And would they rhyme with you?

If you were gone

Would I still know

How to love, and how to grow

And how the vowel threads through?

And so, you say, the saying goes

A rose is a rose is a rose is a rose

Is a rose is a rose is a tired rhyme

But in the verse there's always time

Would scansion cease to mark the beats if I went away? am gone? n's prose une

Morten Lauridsen

O Magnum Mysterium (O great mystery)

MortenLauridsen(b.1943),whoservedasaprofessorattheUSCThorntonSchoolof Musicforover50years,composedOMagnumMysteriumin1994Sinceitspremiereby theLosAngelesMasterChoraleunderthedirectionofPaulSalamunovich,theworkhas becomeoneofthemostbelovedandfrequentlyperformedchoralpiecesofthelate20th century.ItstandsasahallmarkofLauridsen’sluminousanddeeplyexpressive compositionalvoice.

TheLatintext,Omagnummysterium,comesfromaGregorianchantforChristmasDay Matinsandreflectsontheawe-inspiringmysteryoftheIncarnation.Itmarvelsthat animalswerepresenttowitnessthenewbornLordinthemangerapowerfulimageof divinehumility.AsecondthemeinthetextreferencestheVisitation,inwhichElizabeth greetsandblessesMary.LongassociatedwiththeNativity,thepassageevokesdeep reverenceforMary’sroleastheMotherofGod.

LauridsendrewvisualinspirationfromFranciscodeZurbarán’s1633paintingStillLife withLemons,OrangesandaRose,whichheencounteredattheNortonSimonMuseum. InaWallStreetJournalarticle,Lauridsenexplainedthattheobjectsinthepaintingare symbolicofferingstotheVirginMary:theroseandglassofwatersignifyherlove,purity, andchastity; thetableserv Thecompose would“reson sound”Hed sacredmyste particularly expressingM

Thework’s RenownedA piano,which Asthisversi pianoscore.

Latin Text

O magnum mysterium, et admirabile sacramentum, ut animalia viderent Dominum natum, iacentem in praesepio!

Beata Virgo, cujus viscera meruerunt portare Dominum Iesum Christum. Alleluia!

English Translation

O great mystery, and wonderful sacrament, that animals should see the newborn Lord, lying in a manger!

Blessed is the virgin whose womb was worthy to bear the Lord, Jesus Christ. Alleluia!

Narrow Sea

Winner of the 2022 Grammy Award for BestContemporaryClassical Composition,CarolineShaw’sNarrowSeaisafive-movementworkforsoprano, percussionensemble,andpiano.Composedin2017forDawnUpshaw,Gilbert Kalish,andSōPercussion,thepiecesetstextsdrawnfromTheSacredHarpa19thcenturyAmericancollectionofshape-notehymnsrootedinProtestantmusical traditions.

ThetitleNarrowSeareferstotheimageryofwhatliesbetweenthisworldandthe next.Allofthetextsusedinthepiecesharetwofeatures:eachreferstowaterin someformwhethertheRiverJordan,aswellingflood,oranarrowseaandeach expressesjoyinlookingtowardheaven,withthemesofcrossingover,goinghome, andthehopeofreunionwithlovedones.Thoughcenturiesold,thesehymnsreflecta timelessyearningforhomeandasaferestingplacesentimentsthatremaindeeply relevantintoday’sworld.Shawhasdedicatedtheworktoallhumansseekingsafe refuge.

Shawcreatesavividandunconventionalsoundworld.Thesopranovoiceweaves throughlayersofpercussion,piano,andsynthesizer,evokingthesoundsofmaritime bells,prayerchimes,heartbeats,anddistantmechanicalechoes.Remarkably,the scorecontainsnorhythmicnotationonlypitchesleavingperformerstoshape timethroughbreath,intuition,anddeepensemblelistening.

Inthesecondmovement,thepercussionistsbegintohumaloopofsustainedchords basedontheprogressioni⁶⁴–i–♭VII–♭VIamodalcadencethatevokesthe flavorofancientchantandaprofoundsenseoflonging.Shawtransformsthissimple gestureintoasonicmeditation,asiftheperformers’bodiespumpingwithbreath andbloodbecomevesselsofspiritualconnectionandunity

TheSacredHarpisawell-known1844songbookusingshape-notenotation.It includesfour-partvocalharmonies,andisdesignedforgroupacappellasinging.The musichasaraw,powerful,andspiritualcharacter,anditcontinuestothrivein singinggatheringsacrosstheU.S.andbeyond.

I.

Iamapoorwayfaringstranger

Whilejourneyingthroughthisworldofwoe

Yet there’s no sickness, toil or danger

InthatbrightworldtowhichIgo

I’mgoingtheretoseemyFather

I’mgoingtherenomoretoroam

I’monlygoingoverJordan

I’monlygoingoverhome

I know dark clouds will gather over me

I know my way is rough and steep

Yet beauteous fields lie just before me

I’m going there to see my Mother

She said she’d meet me when I come I’m only going over Jordan I’m only going over home

Kenji Bunch

Until Next Time

UntilNextTimeisacontemporary soloworkcomposedin2010by KenjiBunch,anAmerican-Japanese composer,violist,andeducator basedinPortland,Oregon.

Originallywrittenforviola,UntilNextTimeisalsoavailableinaviolinversion.The pieceemploysanon-traditionalscordaturatuningB–F♯–B–F♯ ontheviola creatingaresonant,opensoundandauniqueharmonictexture.Whilethereislittle publishedcommentaryonthepiece,itsmusiccommunicateswithsincerityandquiet emotionalintensity.

Forme,thisworkisdeeplymeditative,emotional,andtransformative.The shimmeringtrillsatthebeginningandendevokeavisionofthecosmosandbringto mindthebiblicalphrase,“Dustyouare,andtodustyoushallreturn.”Thiscelestial atmosphereframesatenderandintrospectivejourneyonethatreflectsonlife, memory,andthemysteryofeverlastinglife.

UntilNextTimefeelslikebothafarewellandabenediction,carryingwithinitthe sorrowofpartingandthehopeofreunionwithlovedones.Asmusictranscendsthe performer’sintention,Ihopethisperformanceconveysmyloveandgratitudetoallof you HewasthefirststudentatJuilliardevertoearndualBachelorandMasterofMusic degreesinviolaperformanceandcomposition.Bunchiswidelyrecognizedforhis distinctivevoiceincontemporarymusic,blendingelementsofclassical,folk,jazz,and AmericanvernaculartraditionsHisworksareknownfortheiremotionaldepth, accessibility,andinnovativetechnique,andhavebeenperformedbyleadingorchestras andchamberensemblesacrosstheUnitedStatesandinternationally.

Artist Biography

Elisaisadedicatedviolinistandamemberof theNationalSymphonyofMexico(OSN),also servingasaSuzukiMethodviolininstructor Born and raised in Kyoto, Japan, Elisa commencedhermusicalstudiesatayoungage attheTalentEducationInstituteoftheSuzuki Method.Sheearnedabachelor'sdegreewithan honorificmentionfromtheSuperiorSchoolof Music(ESM-ProfVeraSilantieva)inMexico City.Currently,sheispursuingaMasterof MusicinperformanceunderDr.NicoleCherry attheUniversityofTexasatSanAntonio, alongsidefurtheringaPedagogycertificate.

Elisainitiatedherorchestralcareerattheageof10,playingwith"ConcertinodiKyotoJr," "ConcertinodiKyoto,""KyotoJr.SymphonyOrchestra,""MorelosChamberOrchestra," "MineriaSymphonyOrchestra,"andthe"NationalSymphonyOrchestra."Shehas receivedseveralawards,includingsecondplaceandhonorablemention,inMexican nationalchambermusiccompetitionsasaduoforpianoandviolin.

HavingcollaboratedwithrenownedmusicianssuchasItzhakPerlman,JoshuaBell,Vadim Gluzman,ViktoriaMullova,YujaWang,PabloFerrández,PabloSáinz,andPlácido Domingo,Elisahasperformedinprestigiousconcerthallsworldwide,includingvenuesin Mexico,Germany,Austria,China,andJapan.Asanactiveperformer,shehasreceived numerousinvitationstoparticipateinsignificantmusicalprojects,includingNetflixfilm recordings,popularmusiccollaborations,andTVappearancessuchasAmazonOriginal Series“MozartintheJungle,”MexicanArtisticChannel“Canal11,”andtheRockFestival “ViveLatino”inMexicoCitywiththeMexicanbandZoe.

In2024,ElisaexcelledintheUTSASoloistCompetition,wheresheperformedRavel’s TziganealongsidetheUTSAOrchestra.ShehasbeenadevotedfanoftheGeneva Camerata,auniquechamberorchestrabasedinSwitzerlandInspiredbytheirboldand innovativeperformances,shepresentedadistinctivefusionofart,culture,andspirituality byperformingBach’sChaconnewithfolkloricdancegroup“TheSoulofSt.Elizabeth” duringherlastrecitalin2024Inadditiontoherperformancecareer,Elisaenjoysbeinga mothertotwochildren,practicinginstruments,goingforahike,playingtable-tennis, tennis,andtheDiamondGame(ChineseCheckers).Aboveall,sheaspirestoenliventhe worldthroughmusicasaholisticexperience

Elisa Nivon

Guest Artists

Dra. Ara Koh

Assistant Professor of Practice and Piano Area Coordinator at University of Incarnate Word Pianist at St Elizabeth Ann Seton Catholic Church

Andrew Small

Director of Monte Vista Strings and Jazz

First Violin in San Antonio Philharmonic Violinist at St Elizabeth Ann Seton Catholic Church

Ignacio Gallego
Marisa
Violist and Executive Director of Agarita Chamber Players Violist at San Antonio Philharmonic
Cellist of Agarita Chamber Players Cellist at San Antonio Philharmonic

Guest Singers

Taylor Malcolm Antonio Zubillaga Sarah Angel Milena Sousa
Francheska Lugo Jessica Morales
Madeleine Phipps Krystal Elliston
Luis Sanchez
Michael Reyes
Jordan Green
Daniel Rios
Abraham Gomez Julian Puga
Joshua Moncada-Zoll Aiden Milliron

Narrow Sea Artists

Emilio de Leon Marimba
Tony Rios Suitcase Kit
Trent Fallin Suitcase Kit
Emma Fasano Vibraphone
Pablo Ventura Piano
Anastacia Cervantez Synthesizer

Special Thanks

To those who made this adventur

Dr. Cherry – thank you for your guidance th inspiration, and creativity. I am deeply grat while curating this recital, and for your attention to every detail, especially the depth of your artistry. Dr. Pellegrino and Dr. Westney – thank you for being present and supportive as members of my recital committee.

Ms. Rubins – thank you for your dedication in rehearsing with your percussion students and guiding our ensemble rehearsals.

Dr. Muhn – thank you for your time and support in preparing the choir and assisting Antonio.

Mr. Davis – thank you for all your help booking spaces and managing logistics as our event coordinator

Dr Cowden – thank you for kindly allowing the recital to be scheduled at an unusual hour

Ana Marinelarena and Dr Lee – thank you for adjusting your dress rehearsal schedule to accommodate this event

Dr Lloyd – thank you for allowing me to use the harpsichord

Mr Geraldo Self – thank you for tuning the harpsichord

Dr. Keeling – thank you for assisting Mr. Self.

Dr. Friday and Dr. Smith – thank you for helping me find a synthesizer player.

Dr. Hurd – thank you for assisting with parking passes for my guest artists.

And to all my wonderful collaborators – thank you for your talent, commitment, all the preparation and encouraging presence throughout this journey! I really enjoyed exploring new sound with you all!

To the professors I’ve had the pleasure of studying with or performing alongside:

Dr. Cherry, Dr. Lee, Dr. Zarco, Prof. Syler, Dr. Cowden, Dr. Davis, Dr. Stephen, Dr. Brill, Prof. Dawkins, Dr. Hurd, Dr. Pellegrino, Dr. Westney, Dr. Xu, Dr. Councilor, Dr. Woolf, Ms. Rubins, Dr. Muhn, and Prof Jenkins – thank you for your exemplary teaching and constant inspiration and to Wesley-san for your assistance especially at the beginning of my career

To my colleagues who shared classes, made music together, or brought joy to everyday life:

Isaiah, Tonya, Rich, Victoria, Sofia, Diego, Maira, Nikola, Enzo, Shawn, Florian, Dania, Ivan, Harmony, Jessica, Nick, Nicholas, Karyl, Bryan, Joaquin, Eddy, Marco, Eric, Matias, Lacey, Cynthia, Natalie, Nayeli, Sydney, Jackson, Abrahm, Lupe, LJ, Ben, Akemi, Aidan, Keith, Taylor, Lexie, Antonio, Pablo, Clarisa, Eymen, Blake, De’Von and so many more – thank you for embracing me into your fresh community and lifting me up with your energy and sweetness.

To my dear friends outside of school – your support transformed our journey in unimaginable ways:

Marisol and Jeremy Brimhall – thank you for hosting us for three months and for your unwavering support as we began a new chapter in the U.S.

Sra Esperanza, the hairstylist – thank you for your kindness and for connecting us with the church

omo parte de su familia, por todo su canzo a nombrar aquí heart at your parish sic together at every Saturday Mass, and students’ recitals dly connecting me with such an ank you for embracing us as family from s, Andrew M, Tim, – thank you for welcoming me, for all your beautiful work.

Dancers of El Alma de St. Elizabeth: Sra Monica, Nury, Leslie, Irasema, Jessica, Rosario, Lety

– thank you for your demonstration of love and your illuminating me, my family, and our community with your exemplary spirituality.

My students: Erin, Lesly, Naiya, Sophia, Adeline, Oliver, June, Jerrel, Adela, and their family

All the Fathers and Parishioners – thank you for your warm welcome and beautiful ceremonies

Terra Nova Violins – thank you for all your attention caring my instruments and my sons’!

To my sons’ schoolteachers and friends’ families:

Ms Amanda, Ms Rocha, Mr Quesada, Ms Menchaca, Mr Guerrero, Ms Williams, Ms De Almond, Coach Appleby, Coach Uribe, Coach Valdez, Coach Mike, and the families of Rodriguez, Ornelas, Duran, and many more – thank you for your constant support and caring friendship.

To my sons’ extracurricular mentors and communities:

Maestro Ken Freudigman – thank you for teaching and your inspiring example of artistry.

Coach Jeremy, Coach Nikola, Coach Mike, Ayumi Sensei, Coach Nate, Coach Jaime, Coach Willie, Coach Anthony, Coach Ivan, and Coach Adam, Maestro Javier, Maestro Jesús, CYO leagues, i9 sports and National School of Martial Arts – thank you for your tireless dedication and mentorship.

Tuesday Musical Club, and YOSA’s wonderful staff – thank you for offering such enriching and unforgettable experiences for my sons

To my professional colleagues who welcomed and inspired me with your exceptional work:

Mari Ito-Klausmeyer – Thank you for your friendship and accompanying my sons performances

Aimee Lopez – Thank you for your walm welcome sharing your studio recitals

Marisa Bushman and Ignacio Gallego, Sara Silver, Daniel Anastasio, Matthew Zerweck, Mr. & Mrs. Freudigman, Qizhen Liu, Mr. Wayne Ching and Daniela Diaz, Eva Weber, Mr. & Mrs. GarciaHettinger, and also to Agarita, Camerata San Antonio, SA Phil, the Classical Music Institute, and the Orchestra San Antonio – you have provided me and my sons with truly inspiring musical experiences. Thank you for sharing your artistry with such excellence and generosity.

To my people in Mexico

My workplace - thank you for your financial assistance and for holding my position.

My colleagues - thank you for covering extra weeks on my behalf

My friends and relatives in Mexico - thank you for waiting for me and cheering me on from afar

My husband’s friends - Thank you for for supporting him in so many ways!

To my family: My sons Gen & Yuan, my husband Clive, my parents, my parents-in-low, for all your patience, for waiting me to do something fun, for being self-efficient, for all your love and hard work

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