2025 NASM Student Recital

Tuesday, February 11, 2025

12 pm

Faye Spanos Concert Hall

Tim Choi '26 (BS, Music Industry Studies), concert D.J.

Fiesta en Jalisco (1970) Manuel Esperón (1911–2011)

Ernesto Cortazar (1940–2004)

Lorenzo Barcelata (1898–1943)

Mariachi Ocelotlán Tito Talamantes, director (personnel listed below)

Madeleine Dring (1923–1977)

Riko Hirata, flute Alice Chao, oboe Magdalene Myint, piano

Yellow from The Yellow Wallpaper (2024)

Jordan Hendrickson '25 (BM, Music Composition)

Ria Patel, soprano Margaret Perry, piano

Triangle Trio (excerpt) (2013/2016)

Matthew Kulm, triangle Hunter Campbell, tambourine

Casey Kim, castanets

Juri Seo (b. 1981)

Florence Price (1887–1953)

FEBRUARY 11, 2025, 12 PM

Concert Etude, op. 40 no. 1: Prelude (1984)

Sofie Tai, piano

Chanson Romanesque from Don Quichotte à Dulcinée, M. 84 (1932)

Landon Horstman, baritone

Monica Adams, piano

Nikolai Kapustin (1937–2020)

Maurice Ravel (1875–1937)

Concerto Allegro (1949)

Matthew Young, bass trombone

Sabine Klein, piano

Suite no. 4 in E-flat major, BWV 1010 (1717–1723)

Hasina Torres, cello

Alexey Lebedev (1924–1993)

Johann Sebastian Bach (1685–1750)

Fusion Suite (2005)

Catherine McMichael (b. 1954)

Marcus Rudes, baritone saxophone

Patricia Grimm, piano

Thumping (2024)

Aimee MacDonald '26 (BM, Jazz Studies)

Pacific Jazz Ambassadors (personnel listed below)

PROGRAM NOTES

Esperón/Cortazar/Barcelata: Fiesta en Jalisco

Fiesta en Jalisco is a lively and iconic medley that captures the spirit, energy, and cultural vibrancy of Jalisco, a Mexican state often considered the heartland and birthplace of mariachi music. The song is a celebration of Jalisco's traditions, landscapes, and the joyous festivities that define the region's cultural identity.

—Tito Talamantes

Dring: Trio

Madeleine Dring was an English musician, composer, and actress. Educated at the Royal College of Music, Dring’s many talents in both music and theatre led her to compose prolifically for the stage, radio, and television. Many of her compositions, including the Trio, were written for her husband, an oboist with the London Symphony Orchestra.

—Breanna Daley

Hendrickson: Yellow from The Yellow Wallpaper

Jordan Hendrickson is a senior studying music composition at University of the Pacific. As a composer and lyricist, they are deeply committed to storytelling and they tend to focus on themes of feminism, horror, and mental health through their work. Jordan’s work blends elements of musical theatre and classical music, taking inspiration from multiple genres to create heavily melodic music that prioritizes the expressiveness and humanity of the performers with whom they collaborate.

The Yellow Wallpaper is a 50-minute operetta adapted from Charlotte Perkins Gilman’s 1892 short story of the same name. The operetta follows Charlotte, a young woman prescribed strict bed rest to treat her postpartum depression; isolated, denied proper care, and stripped of her autonomy, she slowly descends into madness. This work was first performed in a reading in April 2024 and will receive its staged premiere in April 2025. The selected excerpt, “Yellow,” is a solo for Charlotte as she first discovers the ‘woman in the wallpaper’—the haunting manifestation of her unraveling mind.

—Jordan Hendrickson

PROGRAM NOTES

Seo: Triangle Trio (excerpt)

Juri Seo is a Korean-born American composer and pianist based in Princeton, New Jersey. She seeks to write music that encompasses extreme contrast through compositions that are unified and fluid, yet complex. She merges many of the fascinating aspects of music from the past century—in particular, its expanded timbral palette and unorthodox approach to structure—with a deep love of functional tonality, counterpoint, and classical form. With its fast-changing tempi and dynamics, her music explores the serious and the humorous, the lyrical and the violent, the tranquil and the obsessive. She hopes to create music that loves, that makes a positive change in the world— however small—through the people who are willing to listen.

—Juri Seo

Price: On a Quiet Lake

Florence Beatrice Price was the first African American woman to be recognized as a symphonic composer, and the first to have a composition played by a major orchestra when the Chicago Symphony Orchestra performed her first symphony in 1933. Originally from Little Rock, Arkansas, Price attended the New England Conservatory. She served as the head of the music department at Clark Atlanta University in Georgia before moving to Chicago, where she continued to compose and teach. On a Quiet Lake is among the many character pieces she wrote based on themes of nature.

—Breanna Daley

Kapustin: Concert Etude, op. 40, no. 1

Nikolai Kapustin was a Soviet pianist and composer. In addition to studies on classical piano at the Moscow Conservatory, Kapustin was also interested in jazz as both a performer and a composer. He played with Yury Saulsky’s big band and the Oleg Lundstrem Orchestra, two of the Soviet Union’s more prominent jazz ensembles in the mid-twentieth century. Kapustin’s compositions are characterized by his use of jazz idioms within typical classical structures, which can be heard in this Concert Etude.

—Breanna Daley

PROGRAM NOTES

Ravel: Chanson Romanesque from Don Quichotte à Dulcinée

The song cycle Don Quichotte à Dulcinée was Maurice Ravel’s last completed composition. It was intended for use in a film adaptation of Don Quixote, but Ravel was ultimately dropped from the assignment (and replaced by Jacques Ibert) after failing to complete the music in a timely manner, due to health complications. Nevertheless, Ravel finished the work, and it was premiered in 1934. The text of the cycle’s three songs was taken from the poems of novelist Paul Morand, and the music has a Spanish flair fitting for Ravel’s source material. The first song, “Chanson Romanesque,” depicts the moment of Don Quixote’s declaration of love for Dulcinea in the popular tale.

—Breanna Daley

Lebedev: Concerto Allegro

Alexey Lebedev was a Russian tuba player, pedagogue, and professor at the Moscow Conservatory. From 1953 until his death in 1993, he taught tuba and brass chamber music at the Conservatory and was also employed as a solo tubist with the Bolshoi Theater. As a composer, he broadened the tuba repertoire with both his original compositions and arrangements of other works.

—adapted from Windsong Press

Bach: Cello Suite No. 4 in E flat major

Bach wrote his six Suites for unaccompanied cello at Cöthen, Germany, around 1720, where he served as Kapellmeister for the court of Prince Leopold. The original autograph of the suites is lost, and the earliest copy is that made by the organist and composer Johann Peter Kellner in about 1726. This is followed by that in the hand of Bach’s second wife, Anna Magdalena, made probably in 1727 or 1728. The fourth of Bach’s cello suites, the Suite in E-flat major, BWV 1010, opens, like the others, with a demanding Prelude.

—adapted from Keith Anderson

PROGRAM NOTES

McMichael: Fusion Suite

Catherine McMichael, pianist, is also a composer, arranger, teacher, and clinician around North America, England, and Australia. Educated at the University of Michigan, her degrees are in piano performance and chamber music. She writes a wide variety of music which includes symphonic, band and large choral works, concertos and suites for solo instruments, chamber works of varied instrumentation, and original character pieces for children. Her piano method, Making Music My Own, is published by Lorenz Corporation. Fusion Suite is a piece inspired by a fast, jagged, fluid tune played by a jazz-rock-classical fusion band hear on an August night of warm breezes and sparkling stars above.

—Catherine McMichael

MacDonald: Thumping

Aimee MacDonald is a jazz studies major at University of the Pacific and a member of Pacific's flagship jazz ensemble, Pacific Jazz Ambassadors. She is a saxophonist and doubler from Houston, Texas, where she graduated from the High School for the Performing and Visual Arts. Aimee has performed at the TMEA convention as an All-State band member, Dizzy’s Club as a featured performer with the Jazz Houston Youth Orchestra, the JEN conference with the HSPVA Jazz Combo 1 as a featured ensemble, and the Jazzaldia and Jazz at Marciac festival with Pacific Jazz Ambassadors. She has also been honored with awards such as the YoungArts merit award and the Berklee Five-Week Jazz and Gender Justice scholarship. Her musical influences include Lee Konitz, Cannonball Adderly, Dick Oatts, Bill Evans and Thelonious Monk.

Thumping was originally composed as an assignment for Pacific's Jazz Arranging and Composition course with the prompt to take a musical idea from an already existing piece of music. I chose to take inspiration from the bass line found in Make It With You by the band Bread and put my own twist on it. In this piece, you will hear the "thumping" bass line as an introduction to and throughout the tune.

—Aimee MacDonald

Hendrickson: Yellow from The Yellow Wallpaper

My room is yellow

Where I spend my days

Watching the wallpaper.

Its grotesque color, its peeling edge, Its lurid design, how it shifts under my eye.

Yellow—

There is a woman in the wallpaper just there; I saw her creeping underneath the pattern. I wish that John would come and take me home!

My mind is yellow; My world is yellow.

Fearing who I’m seeing underneath, Fearing how she creeps, Fearing how she seems a bit like me.

Jennie’s distant and John comes and goes; I feel alone. And John says I mustn’t fret And John tells me to rest.

—Jordan Hendrickson

Ravel: Chanson Romanesque from Don Quichotte à Dulcinée

Si vous me disiez que la terre

À tant tourner vous offensa, Je lui dépêcherais Pança: Vous la verriez fixe et se taire.

Si vous me disiez que l'ennui

Vous vient du ciel trop fleuri d'astres, Déchirant les divins cadastres, Je faucherais d'un coup la nuit.

Si vous me disiez que l'espace

Ainsi vidé ne vous plaît point, Chevalier dieu, la lance au poing. J'étoilerais le vent qui passe.

Mais si vous disiez que mon sang Est plus à moi qu'à vous, ma Dame, Je blêmirais dessous le blâme

Et je mourrais, vous bénissant.

Ô Dulcinée.

—Paul Morand

Ravel: Romantic Song from Don Quichotte à Dulcinée

Were you to tell that the earth Offended you with so much turning, I'd dispatch Panza to deal with it: You'd see it still and silenced.

Were you to tell me that you are wearied

By a sky too studded with stars— Tearing the divine order asunder, I'd scythe the night with a single blow.

Were you to tell me that space itself, Thus denuded was not to your taste—

As a god-like knight, with lance in hand, I'd sow the fleeting wind with stars.

But were you to tell me that my blood Is more mine, my Lady, than your own, I'd pale at the admonishment And, blessing you, would die.

O Dulcinea.

—trans. Richard Stokes

Mariachi Ocelotlán

The ensemble performs traditional music of the mariachi as it developed in postrevolutionary urban Mexico. Genres include the: Són Jalisciense, canción ranchera, corrido, huapango, bolero, polka, joropo, pasodoble, vals Mexicano, and some contemporary Mariachi song-styles. It is open to all Pacific students but instrumental experience on any of the traditional mariachi instruments is required.

Violin

Alizon Lopez '28, BM, Music Education

Julianna Ramirez '26, BM, Music Education

Irina Hernandez, BA, Spanish (non-music major)

Karla Mariscal Figueroa*

Trumpet

Sarah Burke-Baker, BS, SpeechLanguage Pathology (non-music major)

Alejandro Villalobos '27, BM, Music Education

Cris Reyes*

Guitarron

Miguel Velarde '25, BM, Music Education

Amaris Martinez Medina*

Vihuela

Victor Camacho '28, BM, Jazz Studies

Celestino Mederos*

Guitar

Mike Belasco '26, BM, Jazz Studies

Damian Paniagua*

Danny Guerrero*

Director

Tito Talamantes '24, MM, Music Education

*Community member

Riko Hirata '27, BM, Music Therapy, flute

Alice Chao, BS, Pre-Dentistry, oboe (non-music major)

Magdalene Myint '25, BM, Music Performance, piano

Ria Patel '25, BM, Music Performance, soprano

Margaret Perry, Associate Professor of Practice, piano

Matthew Kulm '25, BM, Music Performance, triangle

Hunter Campbell '26, BM, Music Education, tambourine

Casey Kim '27, BM, Music Performance, castanets

Katie Carlos '28, BM, Music Management, piano

Sofie Tai '27, BA, Music, piano

Landon Horstman '27, BM, Music Education, baritone

Monica Adams, Assistant Professor of Practice, piano

Matthew Young '28, BM, Music Performance, bass trombone

Sabine Klein, Assistant Professor of Practice, piano

Hasina Torres '25, BM, Music Therapy and BM, Music Performance, cello

Marcus Rudes '27, BM, Music Composition, baritone saxophone

Patricia Grimm, Assistant Professor of Practice, piano

Pacific Jazz Ambassadors

This flag-ship jazz combo is comprised of students pursuing the Bachelor of Music in jazz studies (honors) at Pacific. Students study with Pacific's jazz studies faculty, visiting jazz educators, artists, clinicians and other music professionals while working towards their undergraduate degree. In 2024, the ensemble has clinched the undergraduate college winner title in DownBeat's Small Jazz Combo category.

Aimee MacDonald '26, alto saxophone

Leo Milano '26, tenor saxophone

Mike Belasco '27, guitar

Marwan Ghonima '24, bass (guest artist)

Joe Evans '27, drum set

STAGE CREW

Zalika Campbell '26

BS, Music Industry Studies, house manager

Emma Young '25

BM, Music Management, stage manager

Elizaveta Bagdasarian '25

BA, Media Arts and Production, sound engineer (non-music major)

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