Chamber Music Recital

PRESENTS

FACULTY CHAMBER MUSIC RECITAL

MONDAY, SEPTEMBER 25TH, 7 PM

UTRGV PAC, EDINBURG

MONDAY, OCTOBER 9TH, 7PM

TSC PAC, BROWNSVILLE

PROGRAM

Rebecca Coberly, soprano

Daniel Hunter-Holly, baritone

Nicaulis Alliey-Rodriguez, flute

Cynthia Cripps, saxophone

Tido Janssen, cello

Stacy Kwak, piano

A Cycle of Love Songs

Jane K (Evgeniya Kozhevnikova)

Twilight (b. 1987)

Night Song in Amalfi

Peace

Rebecca Coberly, soprano

Nicaulis Alliey-Rodriguez, flute

Fathers Lori Laitman

Fragment 1 (b. 1955)

You, Father

Fragment 2

Last Night I Dreamt

Fragment 3

I Saw My Father Drowning

Don’t Cry

Daniel Hunter-Holly, baritone

Nicaulis Alliey-Rodriguez, flute

Tido Janssen, cello

Stacy Kwak, piano

Danny Boy (Keith Jarrett’s Tokyo Solo 2002)

Stacy Kwak, Piano

Thirteen Ways of Looking at a Blackbird

Rebecca Coberly, soprano

Arr. Keith Jarrett (b 1945)

Transcription by Sizuku

Juliana Hall (b. 1958)

Cynthia Cripps, alto saxophone

Gentle Annie Stephen Foster

If You’ve Only Got a Mustache (1826-1864)

The Hour for Thee and Me

Linger in Blissful Repose

Wilt Thou be Gone Love

Mr. and Mrs. Brown

Rebecca Coberly, soprano

Daniel Hunter-Holly, baritone

Stacy Kwak, piano

PROGRAM NOTES

A Cycle of Love Songs

Poetry by Sarah Teasdale

Program notes by the composer

A Cycle of Love Songs is a collection of Sara Teasdale’s settings for soprano and flute The set was commissioned in 2020 by Anima Vox Duo (Tadeu Coehlo, flute, and Carole Ott Coelho, voice) for the She Can, We Can project. The set was premiered by Anima Vox Duo on March 09, 2021 , at the University of North Carolina School of Arts

This was my first time working with the texts by Sara Teasdale (1884-1933), and I was so inspired by her poetry that several more settings followed after it. All of the selected poems for this cycle were published in 1915 in the book entitled Love Songs. Teasdale’s texts indeed have inner music, and it seems like they are just calling to become songs

For more information about Jane K and her music, go to https://www janekmusic com/

1. Twilight

Dreamily over the roofs

The cold spring rain is falling, Out in the lonely tree

A bird is calling, calling.

Slowly over the earth

The wings of night are falling; My heart like the bird in the tree Is calling, calling, calling

2. Night Song at Amalfi

I asked the heaven of stars

What I should give my love

It answered me with silence, Silence above.

I asked the darkened sea

Down where the fishers go

It answered me in silence, Silence below

Oh, I could give him weeping, Or I could give him song

But how can I give silence

My whole life long?

3 Peace

Peace flows into me

As the tide to the pool by the shore; It is mine forevermore, It ebbs not back like the sea

I am the pool of blue

That worships the vivid sky; My hopes are heaven-high, They are all fulfilled in you.

I am the pool of gold

When sunset burns and dies, You are my deepening skies, Give me your stars to hold

PROGRAM NOTES

Fathers

Program notes by the composer Fathers (2002, rev. 2010) sets poems by the late Sri Lanken poet Anne Ranasinghe and the late Russian poet David Vogel. I had previously set their poetry in my Holocaust 1944 and Daughters song cycles and continued to be interested in their work. Fathers can be considered a sequel to Daughters, as it also focuses on the parent-child bond permanently altered by the Holocaust Ranasinghe’s father was murdered by the Nazis and David Vogel was arrested by the Nazis and perished at Auschwitz.

The dark subject matter and length of the poems “You, Father,” “Last Night I Dreamt,” and “I Saw My Father Drowning” created particular challenges. To balance the work structurally and psychologically, I created fragments from the short, hopeful last song, “Don’t Cry,” and “buried” them throughout the cycle.

“You, Father” underscores the idea of a camera capturing a moment in time with sections repeatedly coming to a close with a fermata. “Last Night I Dreamt” employs word painting and extremes of timbre to create a dreamy, surreal atmosphere The motif for “I Saw My Father Drowning” is transferred between instruments and voice, and the piano’s sparkling upper register creates the effect for the “sky’s canopy ” at the song ’ s close. The full version of “Don’t Cry” ends the cycle The completion of this theme, with its soothing and repetitive nature, reinforces its use as a “healing balm.”

The World Premiere took place April 27, 2003 at Benaroya Hall, Seattle, WA at Music of Remembrance’s Holocaust Remembrance Day Concert.

For more information on Lori Laitman and her music, go to http://artsongs.com/

PROGRAM NOTES

1. Don’t Cry, fragment 1 (Anne Ranasinghe)

(Please refer to the complete poem below)

2. You, Father (Anne Ranasinghe) From An Old Photograph

You, Father, stand in your heavy dark coat Against the winter tree Ice on the lake, And two small ducks that were caught afloat By winter, frozen. The sun is behind me as I take This photograph, and what I make Is a last sad record, though I could not have known.

The sun behind me is cold and white And projects my elongated shadow. It falls black between us, yet lies so light On the innocent, powdery snow

You do not smile, is the sun in your eyes? Or, now I wonder, could you have known?

3. Don’t Cry, fragment 2 (Anne Ranasinghe)

(Please refer to the complete poem below)

4 Last Night I Dreamt (Anne Ranasinghe)

Last night I dreamt back to forgotten And sleeping images of childhood days

How green the grass upon the swelling hillside

Patched with the dazzling gold of buttercups, The firs stand dark and tall, still in the midday heat

Above the fields of wheat as yet uncut, How still the sweltering summer ’ s day

How still my father’s valley

And I am searching up among the trees

Alone among the dark and silent fir trees, And panic growing as I lose my way And cannot find what I am searching for, Then, screaming run along the river

That moves like molten lead beneath the willows, Run down the hill, across the bridge and homewards Towards my father’s house But when I reach it It is not there nor any trace of it.

PROGRAM NOTES

I woke. And stretched out my hand I searched for you, Stretched out my hand and searched the empty night Vibrating only with the hollow echo The hollow echo of my waking dream.

5 Don’t Cry, fragment 3 (Anne Ranasinghe)

(Please refer to the complete poem below)

6. I Saw My Father Drowning (David Vogel)

I saw my father drowning In surging days His weak hand gave a last white flutter In the distance, And he was gone

I kept on alone

Along the shore, A boy still, With small, thin legs, And have grown as far as this

And now I am my father, And all those waves Have broken over me, And left my soul numb

But all I held dear Have gone into the wilderness And I can stretch out a hand to no one.

I am happy to rest

In the black cradle of night, Under the sky’s canopy, Studded with silver

7. Don’t Cry (Anne Ranasinghe)

Don’t cry

Because the pot is broken

It had long been cracked. But gather the shards Dig a deep hole And bury them.

And the rain will smoothen

The disturbed earth, The sun will bake, and wind trace New landmarks

Till finally you won’t remember Even the place...

PROGRAM NOTES

Danny Boy (Traditional Song)

Considered one of the most prolific jazz pianists of all time, Keith Jarrett (1945- ) is especially known for his improvised solo piano concerts. Tonight’s transcription of Danny Boy comes from Jarrett’s 2002 concert in Tokyo

Thirteen Ways of Looking at a Blackbird

Poem by Wallace Stevens

Juliana Hall is one of the most prolific vocal composers living today, with over sixty published song cycles and works of vocal chamber music Her interest in piano and composition began in childhood, and she studied piano at the College Conservatory of Music and the University of Louisville, and received her MM in Piano from the Yale School of Music before studying composition with Dominick Argento at the University of Minnesota, where she received her first commission in in 1987. Hall composed Thirteen Ways of Looking at a Blackbird in 2020 – a multi-movement song commissioned by, and dedicated to, saxophonist Carrie Koffman. The text by Wallace Stevens (1879-1955) is one of the poet’s most famous and discussed works, consisting of thirteen short fragments of verse – miniature poems in their own right – that each reference the blackbird through a different perspective. Stevens described these verses as thirteen different “sensations,” with the blackbird taking on different roles, and calling up different feelings in the listener Hall’s music explores each of these fleeting glimpses and perspectives, resulting in a varied, and evocative, setting of this famous poem.

For more information on Juliana Hall and her music, go to https://julianahall.com/.

PROGRAM NOTES

Thirteen Ways of Looking at a Blackbird

I

Among twenty snowy mountains, The only moving thing Was the eye of the blackbird

II

I was of three minds, Like a tree

In which there are three blackbirds.

III

The blackbird whirled in the autumn winds. It was a small part of the pantomime

IV

A man and a woman Are one.

A man and a woman and a blackbird Are one

V

I do not know which to prefer The beauty of inflections Or the beauty of innuendos, The blackbird whistling Or just after.

VI

Icicles filled the long window

With barbaric glass. The shadow of the blackbird Crossed it, to and fro.

The mood

Traced in the shadow

An indecipherable cause.

VII

O think men of Haddam,

Why do you imagine golden birds?

Do you not see how the blackbird

Walks around the feet

Of the women about you?

VIII

I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know

IX

When the blackbird flew out of sight, It marked the edge Of one of many circles.

X

At the sight of blackbirds

Flying in a green light, Even the bawds of euphony Would cry out sharply.

XI

He rode over Connecticut In a glass coach

Once, a fear pierced him, In that he mistook

The shadow of his equipage For blackbirds

XII

The river is moving The blackbird must be flying.

XIII

It was evening all afternoon It was snowing

And it was going to snow

The blackbird sat In the cedar-limbs

PROGRAM NOTES

Solos and Duets by Stephen Foster

Stephen Foster is often referred to as one of the first well-known American songwriters, and his tuneful works have remained popular since their publication in the mid-nineteenth century. He is primarily known for his parlour songs – sentimental songs meant to be performed as home entertainment – and (more controversially for 21st century audiences) popular minstrel songs. He composed over 200 songs, duets, and other vocal music during his short life, many of which – “Oh! Susanna,” “Jeanie with the Light Brown Hair,” and “Beautiful Dreamer,” for example – have become embedded in the American musical and cultural fabric.

Gentle Annie

Thou wilt come no more, gentle Annie, Like a flow’r thy spirit did depart; Thou art gone, alas! Like the many That have bloomed in the summer of my heart

Chorus

Shall we never more behold thee; Never hear thy winning voice again When the springtime comes, gentle Annie, When wild flow’rs are scattered o ’ er the plain?

We have roamed and loved mid the bowers, When thy downy cheeks were in their bloom; Now I stand alone mid the flowers

While they mingle their perfumes o ’ er thy tomb.

Chorus

Ah! The hours grow sad while I ponder Near the silent spot where thou art laid, And my heart bows down when I wander By the streams and meadows where we straye’d

Chorus

PROGRAM NOTES

If You’ve Only Got a Mustache

Oh! All of you poor single men, Don’t ever give up in despair, For there’s always a chance while there’s life To capture the hearts of the fair, No matter what may be your age, You always may cut a fine dash, You will suit all the girls to a hair

If you ’ ve only got a mustache.

No matter for manners or style, No matter for birth or for fame, All these used to have something to do With young ladies changing their name There’s no reason now to despond, Or go and do anything rash, For you’ll do though you can’t raise a cent, If you’ll only get a mustache.

Your head may be think as a block, And empty as any football, Oh! Your eyes may be green as the grass, Your heart just as hard as a wall Yet take the advice that I give, You’ll soon gain affection and cash, And will be all the rage with the girls, If you’ll only get a mustache.

I once was in sorrow and tears Because I was jilted you know, So right down to the river I ran To quickly dispose of my woe A good friend he gave me advice And timely prevented the splash, Now at home I’ve a wife and ten heirs, And all through a handsome mustache.

PROGRAM NOTES

The Hour for Thee and Me

When day breaks forth on the dewy lawn, And all seems mirth and glee, When birds their sweetest songs awake Is the hour for thee and me

When perfumes from the closing flow’rs Are wafted o ’ er the lea, And vespers float upon the gale, Is the hour for thee and me.

When night beholds her starry realm Reflected on the sea, When moonbeams dance upon the rill, Is the hour for thee and me.

Linger in Blissful Repose

Linger in blissful repose, Free from all sorrowing care, love, While round the melody flows, Wafted on pinions of air, love Let not thy visions depart, Lured by the stars that are beaming. Music will flow from my heart

While thy sweet spirit is dreaming

Refrain

Dreaming, dreaming, Unfettered by the day, In melody, in melody

I’ll breathe, I’ll breathe my soul away. Softly the night winds are heard, Sighing o ’ er mountain and dale, love, Gently the vapors are stirred

Down in the shadowy vale, love.

While o ’ er the dew covered plain, Starlight in silence I gleaming, Lightly I’ll breathe a refrain

Round the young heart that is dreaming.

Refrain

PROGRAM NOTES

Wilt Thou Be Gone, Love!

Words from Romeo and Juliet by William Shakespeare

Juliet:

Wilt thou be gone, love, Gone, love, from me?

Stay! ‘tis the Nightingale that Sings in yonder tree.

Deem not ‘tis the Lark, love; Day is not yet near

Believe me ‘tis the Nightingale

Whose song hath pierced thine ear

Refrain

Juliet: Wilt thou be gone from me?

Stay! ‘tis the Nightingale

That sings in yonder tree.

Love, ‘tis the Nightingale

That sings in yonder tree.

Romeo:

It is the Lark, the herald of the morn, love; No Nightingale.

See! The clouds are bright’ning, The stars are growing pale. Day is on yon mountain top

That veils the eastern sky

I must be gone and live, love, Or stay with thee and die.

Refrain

Romeo: I must be gone, love from thee

Tis not the Nightingale

That sings in yonder tree

‘Tis the Lark, ‘tis the Lark, love

That sings in yonder tree.

PROGRAM NOTES

Mr. and Mrs. Brown

Mrs Brown: So Mister Brown you ’ ve come at last. I’m sure it’s after two.

Mr. Brown: Dear Mistress Brown,your clock is fast, I know as well as you

Mrs. Brown:

Oh! Sir, it’s shameful so it is, Don’t come sir in my sight!

Now give me one good kiss tonight, You see that I’m all right

Together: Mrs. Brown: I cannot talk to you tonight, I see that you ’ re not right

O! Harry Bown! O! Harry Brown! You’re anything but right.

Mrs. Brown: All right! You good for nothing you, Have I not eyes to see!

Mr. Brown: No Madam, what I say is true, I’m only on a spree!

Mrs Brown: Don’t make me angry, Mister Brown, For if you do I’ll cry!

Mr. Brown: I Shall not stay to see you frown, So, Mrs Brown, good bye

Together: Mrs Brown: I’ll make you stay to see me frown, You shall not say good bye.

O! Harry Brown, O! Harry Brown! You see you ’ ve made me cry.

Mr Brown: Now give me one good kiss tonight, You see that I’m all right.

O! Mary Brown! O! Mary Brown! You know that I’m all right

Mr. Brown: I shall not stay to see you frown, So, Mrs. Brown, good bye.

O! Mary Brown! O! Mary Brown! I’ll have to say good bye

PROGRAM NOTES

Mrs. Brown:

Hard hearted man, I tell you what, I must know where you ’ ve been

I am not jealous, O! no! no!

But it’s a shame and sin!

Your bosom friend, you Jones, just left, He calls here ev ’ ry night.

I’m sure if it were not for him, I’d really die with fright

Together:

Mrs Brown:

I’m sure if it were not for him, I’d really die with fright.

O! Harry Brown! O! Harry Brown!

He’s far above your height.

Mr Brown:

So, Mister Jones was here, you say While I have been away!

Now Madam you will drive me mad We part this very day.

You know it is my business ma ’ am That keeps me at the store, And if I could have sooner come I’d been here long before.

Together:

Mrs. Brown:

I know it’s not your business, sir, That keeps you at the store.

O! Harry Brown! O! Harry Brown! You’ve told me that before

Mrs. Brown:

There, don’t be angry, husband, don’t!

I’m sure I love you dear.

I was but joking when I said That odious Jones was here, But promise me, now won’t you love, That when the night has come

You’ll never stay away so late, And leave your wife at home.

Mr. Brown:

What Ma’am if it were not for him

You say you’d die with fright!

O! Mary Brown! O! Mary Brown!

I’ll call him out to fight!

Mr Brown: You know it is my business ma ’ am That keeps me at the store

O! Mary Brown! O! Mary Brown! It’s business at the store.

PROGRAM NOTES

Together: Mrs. Brown:

Now promise me when night has come, You’ll always stay at home.

O! Harry Brown! O! Harry Brown!

Now won’t you stay at home!

Mr. Brown:

You were but joking, dearest wife! Now come and kiss me, do. Jones is a bosom friend to me, But needn’t be to you

My little wife! My joy and life!

My gentle pretty elf, If anyone sits up with you Hereafter, it’s myself.

Together: Mrs. Brown:

If anyone sits up with me O let it be yourself

O! Harry Brown! O! Harry Brown!

We’ll never quarrel more.

Mr Brown:

I’ll promise you when night has come

I’ll always stay at home.

O! Mary Brown! O! Mary Brown!

I’ll always stay at home.

Mr Brown:

If anyone sits up with you Hereafter, it’s myself.

O! Mary Brown! O! Mary Brown!

Our quarrels, they are o ’ er

About the Perfomers

Soprano Rebecca Coberly is a versatile performer as a recitalist, concert soloist, and on the musical stage She is a frequent solo recitalist, performing throughout the United States and internationally on concerts in Barcelona, Spain and throughout Germany She recently appeared as soprano soloist in Poulenc’s Gloria with the Valley Symphony Orchestra, and with the Tulsa Oratorio Chorus in their recent performance of Barber’s Prayers of Kierkegaard and Theofanidis’s The Here and Now, Other concert performances include Beethoven’s 9th’ Symphony, Carmina Burana, Rutter’s Requiem, Karl Jenkins’ The Armed Man: A Mass for Peace, Mozart’s Requiem, J. S. Bach’s Jauchzet Gott in Allen Landen and performances of Messiah on tour in Ireland and Great Britain with the American Oratorio Chorus. She was winner of the Texas Tech University Symphony Orchestra Concert Competition, performing four orchestral songs by Joseph Marx with the Texas Tech Chamber Orchestra. Opera and musical theatre roles include Susanna in Le nozze di Figaro, Baby Doe in The Ballad of Baby Doe, Giulietta in I Capuleti e i Montecchi, Mrs. Darling in Peter Pan (Bernstein), and Mother Abbess in The Sound of Music. Rebecca has attended summer programs at the Aspen Music Festival, the American Institute of Music in Graz, and, mostly recently, the artist-teacher Advanced Artist program at OperaWorks She holds a Doctor of Musical Arts in Vocal Performance from Texas Tech University, a Master of Music in Vocal Performance from Rice University, a Bachelor of Arts in Music from Northwestern University, and is currently Associate Professor of Voice at The University of Texas Rio Grande Valley

Daniel Hunter-Holly, baritone, is a Professor of Music and Associate Dean of the College of Fine Arts at the University of Texas Rio Grande Valley. An active recitalist, having performed throughout North and Central America, he is also an acclaimed educator, receiving a University of Texas System Regents' Outstanding Teaching Award in 2015; more recently, he was selected by the National Association of Teachers of Singing as an Emerging Leader in the Texoma Region Recent presentations and workshops at international and national conferences include topics such as “Projected Imagery in Opera” (National Opera Association National Conference, 2018), “Assessment Tools for Applied Voice Teachers” (International Congress of Voice Teachers, 2017, and the National Association of Teachers of Singing National Conference,

About the Performers

2016), and “Incorporating Movement and Vocal Improvisation Training into the Undergraduate Voice Curriculum” (College Music Society National Conference, 2017) He holds degrees in vocal performance from The Ohio State University, the University of North Carolina Greensboro, and the University of California Santa Barbara, with additional training at SongFest, OperaWorks, and the Fall Island Vocal Arts Seminar

Performing artist, teacher, author and entrepreneur, Dr. Nicaulis Alliey has appeared as a soloist, chamber musician, and flute teacher in France, Venezuela, the United States, and the Caribbean area.

First Prize Unanimous at the Ville de Paris Centralized Contest (1994), First Prize at the Latin American Flute Competition (Caracas, 2000), Nicaulis Alliey is an artist with Polyphony Artist Management and part of the Artistic Roster of Cayambis Music Press, and develops her artistic work as a solo performer, flutist with Music of the Americas Ensemble (chamber music) and with La Cuadra Venezolana (Venezuelan and Latin-American music, traditional-jazz fusion).

Nicaulis Alliey has been featured as a soloist with most major orchestras in Venezuela, has been First Flute with Orchestre International de Paris, Assistant Principal Flute with Orquesta Sinfónica de Lara, First Flute with Orquesta Sinfónica de Maracaibo, and flutist with the Lincoln Symphony Orchestra Two recordings (CD) with La Cuadra Venezolana, and numerous collaborations that include recitals with renowned classical musicians, as well as productions and recordings of renowned Venezuelan popular musicians, endorse Dr. Nicaulis Alliey as a versatile and sought-after artist.

As a teacher, Dr. Nicaulis Alliey has been Flute Professor and Founder Director of the Music School at the Universidad del Zulia, Flute Professor at Universidad de Los Andes, Guest Artist-Teacher at UNET (Venezuela), Flute Instructor at North Park University (Chicago), and guest teacher at El SISTEMA-Venezuela and numerous universities and festivals in the US, Venezuela, Colombia and the Caribbean. Her work "Sonoridad en la flauta traversa: Consideraciones para su estudio y resolución de dificultades

About the Performers

técnicas" was published by the Universidad del Zulia (2014).

Nicaulis Alliey is Executive Director of the Music of the Americas Project (Chicago) and holds a DMA from the University of Nebraska-Lincoln, a Maîtrise en Musique from Sorbonne University (Paris), Diploma of Superior Studies in Flute under renowned French flutist Raymond Guiot (France), and a degree of Profesor Ejecutante de Flauta (Venezuela).

Dr. Cynthia Cripps is professor of saxophone in the School of Music at UTRGV She currently teaches applied saxophone and saxophone ensembles, instrumental pedagogy, woodwind methods, and is graduate advisor She organizes and directs UTRGV's Summer Saxophone Ensemble and SUMMERFEST concert series and plays bassoon in UTRGV’s chamber and large ensembles

Dr. Cripps resided in the Republic of Panama for ten years where she played bassoon and saxophone in the Panama Symphony Orchestra from 1993-1999. From 1997-2003, she taught band, grades 6-12, at the International School of Panama (ISP). Dr. Cripps worked on curricula design at ISP and developed an eight-year saxophone program for the Instituto Nacional de Musica (INMmusic conservatory) where she taught saxophone from 1994-2003. As part of her DMA, she traveled to the countries of Nicaragua, Costa Rica, Panama and Guatemala to research and complete her essay "Classical Saxophone Curricula in Central America."

Dr. Cripps has performed solo and quartet recitals and presented lectures at the North American Saxophone Alliance (NASA) Regional and Biennial Conferences in Texas, Arizona, South Carolina, Illinois, Arkansas, and Oklahoma She has performed in three World Saxophone Congresses in Croatia, Slovenia, and Minnesota She has performed new music and celebrated music of female composers at the Music by Women music festival at Mississippi University for Women She has performed at the American Single Reed Summit and showcase performances at TMEA (Texas Music Educator's Association)

In Michigan, Indiana, Panama, Florida, and Texas, Cindy has participated in many community orchestras, concert and jazz bands, including pit orchestras. She enjoys chamber music and taking her students to perform locally and at conferences.

About the Performers

Dr. Tido Janssen, cello, is Lecturer of Cello at the University of Texas Rio Grande Valley. He is director of the annual Pan American Cello Festival, Associate Principal Cello of the Valley Symphony Orchestra, and has served as director of the UTPA Symphony Orchestra.

A native of Germany, Dr. Janssen studied cello performance at Folkwang Hochschule für Musik in Duisburg before continuing his studies in the US He holds a Master of Music Degree from Boston University, and Doctor of Musical Arts degree from the University of North Texas His major teachers include Jürgen Wolf, George Neikrug, Carter Enyeart, Walter Gray, and Eugene Osadchy His chamber music studies include coachings with the Muir Quartet, Lydian Quartet, and members of the Lyontevich and Kolisch Quartets

Before joining the music faculty at UTRGV in 2015, Dr Janssen served on the faculty of the University of Texas Pan American, the University of Lethbridge in Alberta, Canada, and Hardin-Simmons University in Abilene, Texas. As a charter member of the University of Lethbridge faculty ensemble Trio Amaranth, he has performed extensively throughout western Canada. In Abilene, TX, he was Principal Cellist of the Abilene Philharmonic and Abilene Opera Orchestras, founder and Director of the Abilene Summer Music Festival, and founding member of the Abilene Chamber Players. In the summer of 2013 he performed with the Abilene Chamber Players for the Concerti Nel Chiostro at the Conservatorio di musica “Giuseppe Verdi”, and the Abrosianeum Concerti, in Milan, Italy

As a performer Dr Janssen has repeatedly appeared in Germany, The Netherlands, Spain, Italy, Austria, Canada, and throughout the US He has been a member of the New Hampshire Music Festival Orchestra since 2000, and has recorded for Deutsche Welle, Public Radio, and Centaur Records

About the Performers

Pianist Stacy Kwak maintains a busy performance schedule at the University of Texas Rio Grande Valley where she collaborates with students, faculty, and guest artists. Currently she serves as Lecturer of Piano at UTRGV. She has performed throughout the US, Canada, and Germany. During the summers, she performs with the New Hampshire Music Festival. Dr. Kwak has degrees from the Eastman School of Music (BM), Boston University (MM) and the University of North Texas (DMA) studying under Barry Snyder, Tong-Il Han und Pamela Mia Paul She participated in the Aspen Music Festival and performed in master classes for John Perry, Nelita True, Fernando Laires, and Ann Schein. As an advocate of new music, Dr. Kwak has performed with Alea III, contemporary ensemble in residence at Boston University. Dr Kwak has taught at Austin College, Texas Christian University, Hardin-Simmons University, and the University of Lethbridge in Alberta, Canada, before joining the faculty at the University of Texas Rio Grande Valley.

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