The UNCG School of Music has been recognized for years as one of the elite
music institutions in the United States. Fully accredited by the National
Association of Schools of Music since 1938, the School offers the only
comprehensive music program from undergraduate through doctoral study in
both performance and music education in North Carolina. From a total
population of approximately 12,700 university students, the UNCG School of
Music serves over 575 music majors with a full-time faculty and staff of sixty.
As such, the UNCG School of Music ranks among the largest Schools of Music
in the South.
The UNCG School of Music now occupies a new 26 million dollar music
building which is among the finest music facilities in the nation. In fact, the
new music building is the largest academic building on the UNCG Campus. A
large music library with state-of-the-art playback, study and research facilities
houses all music reference materials. Greatly expanded classroom, studio,
practice room, and rehearsal hall spaces are key components of the new
structure. Two new recital halls, a large computer lab, a psycho-acoustics lab,
electronic music labs, and recording studio space are additional features of the
new facility. In addition, an enclosed multi-level parking deck adjoins the new
music building to serve students, faculty and concert patrons.
Living in the artistically thriving Greensboro—Winston-Salem—High Point
“Triad” area, students enjoy regular opportunities to attend and perform in
concerts sponsored by such organizations as the Greensboro Symphony
Orchestra, the Greensboro Opera Company, and the Eastern Music Festival. In
addition, UNCG students interact first-hand with some of the world’s major
artists who frequently schedule informal discussions, open rehearsals, and
master classes at UNCG.
Costs of attending public universities in North Carolina, both for in-state and
out-of-state students, represent a truly exceptional value in higher education.
For further information regarding music as a major or minor field of study,
please write:
Dr. John J. Deal, Dean
UNCG School of Music
P.O. Box 26167
Greensboro, North Carolina 27402-6167
(336) 334-5789
On the Web: www.uncg.edu/mus/
Chelsea Burns
piano
Junior Recital
Sunday, May 5, 2002
3:30 pm
Organ Recital Hall, School of Music
Program
Danzas Cubanas Ignacio Cervantes
La tarde está amorosa (1847-1905)
Mis amores
De mil amores
Canción Triste y Danza Alegre Roberto García Morillo
(b. 1911)
Homenaje a Roberto García Morillo Alberto Ginastera
from 12 American Preludes (1916-1983)
Alma Brasileira from Choros No. 5 Heitor Villa-Lobos
Aria from Bachianas Brasileiras No. 4 (1887-1959)
Intermission
Trois Hommages Joaquín Nin-Culmell
Homenaje a Paderewski: Pavane (b. 1908)
Homenaje a Rodolfo y Ernesto Halffter: 3er Sonata de El Escorial
Homenaje a Federico Mompou: Que li darem?
Sonata No. 1, Op. 22 Alberto Ginastera
Allegro marcato
Presto misterioso
Adagio molto appassionato
Ruvido ed ostinato
* * * * * * * * * *
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers in the lobby.
Ignacio Cervantes was a Cuban composer and pianist who studied with
Gottschalk, Alkan, and Marmontel. One of the pioneers of native Cuban concert
music, his style was highly influenced by Gottschalk, while incorporating Cuban
rhythms and melodic and cadential devices. His music, typical of many late
nineteenth and early twentieth century Cuban composers, explored Spanish-derived
music, especially Andalusian, rather than the later, more popular Afro-
Cuban style.
Roberto García Morillo is an Argentine composer and music critic who studied
at the Buenos Aires Conservatory, and later studied in France and Italy. His
works are considered non-nationalistic, although almost all of them show
Spanish influence.
Alberto Ginastera was an Argentine composer and teacher. A self-ascribed
nationalist, the works presented here were from what he called his ‘objective
nationalism’ and ‘subjective nationalism’ periods. Recognized for taking
significant steps in establishing native Argentine music in art music forms, he
was especially well known for his use of malambo, an Argentine competitive
choreographic genre. Its feel and rhythm are evident in the second and fourth
movements of the first piano sonata, where six rapid beats are superimposed by
traditional Argentine dance rhythms such as the gato and the zamba.
Heitor Villa-Lobos was the most significant Brazilian composer of the
twentieth century. He was known for traveling widely to collect Brazilian folk
songs, and rejected formal education from an early age. It has always been
difficult to discern the origin of his melodies (as either originally composed by
Villa-Lobos himself, or as traditional folk melodies of the Brazilian people)
because he considered his own melodies to be new Brazilian folk tunes.
Joaquín Nin-Culmell is a composer and pianist of Cuban descent who has lived
in the United States since 1939, where he has taught at schools including
Williams College and the University of California, Berkeley. He studied with
de Falla from 1930 to 1936. In his writing, Nin-Culmell strives to capture the
spirit of Spanish music, rather than the letter, often altering traditional melodies
and rhythms.
Chelsea Burns
piano
Junior Recital
Sunday, May 5, 2002
3:30 pm
Organ Recital Hall, School of Music
Program
Danzas Cubanas Ignacio Cervantes
La tarde está amorosa (1847-1905)
Mis amores
De mil amores
Canción Triste y Danza Alegre Roberto García Morillo
(b. 1911)
Homenaje a Roberto García Morillo Alberto Ginastera
from 12 American Preludes (1916-1983)
Alma Brasileira from Choros No. 5 Heitor Villa-Lobos
Aria from Bachianas Brasileiras No. 4 (1887-1959)
Intermission
Trois Hommages Joaquín Nin-Culmell
Homenaje a Paderewski: Pavane (b. 1908)
Homenaje a Rodolfo y Ernesto Halffter: 3er Sonata de El Escorial
Homenaje a Federico Mompou: Que li darem?
Sonata No. 1, Op. 22 Alberto Ginastera
Allegro marcato
Presto misterioso
Adagio molto appassionato
Ruvido ed ostinato
* * * * * * * * * *
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers in the lobby.
