Elisa Nivon - Ethnicity

Three Pieces - S. Revueltas

Contrasts - B. Bartok

Tzigane - M. Ravel

Ciaccona - J.S. Bach

Featuring with

Dr. Jeong-Eun Lee (piano)

Clarisa de la Garza (clarinet)

The Soul of Saint Elizabeth (folkloric dance)

PROGRAM

THE UNIVERSITY OF TEXAS AT SAN ANTONIO COLLEGE OF LIBERAL AND FINE ARTS SCHOOL OF MUSIC PRESENTS:

Nicolas Morales

Senior Percussion Recital

Graduate Recital of Elisa Nivon

Thursday, April 5, 2024

Three Pieces (1932)

I- Allegro

II- Lentamente

III- Allegro

Contrasts (1938)

I- Verbunkos

II- Pihenö

III- Sebes

Ethnicity

UTSA Recital Hall

7:30 p.m.

Sunday, April 7th, 2024, 5pm UTSA Recital Hall Program

Silvestre Revueltas (1899-1940)

Dr. Jeong-Eun Lee (piano), Elisa Nivon (violin)

9min

Bela Bartok (1881-1945)

Dr. Jeong-Eun Lee (piano), Clarisa de la Garza (clarinet), Elisa Nivon (violin)

20 min

Tzigane for violín and piano (1924)

Maurice Ravel (1875-1937)

Dr. Jeong-Eun Lee (piano), Elisa Nivon (violin)

10 min

Ciaconna for violin solo from Partita II (1720)

Johan Sebastian Bach (1685-1750)

Elisa Nivon (violin) & The Soul of Saint Elizabeth (folkloric dance)

15 min

Program Note

Silvestre Revueltas –“Three Pieces”

Considered one of Mexicoʼs most influential classical music composers, Silvestre Revueltas (18991940) was also an accomplished violinist. Since the age of 8, he studied the violin and composition at the Juárez Musical Institute in Durango, the National Conservatory of Music in Mexico City, St. Edward's College in Austin, Texas, and the Chicago Musical College (now part of Roosevelt University). He lived in San Antonio for 6 years, giving trio concert, playing as concertmaster on silent movie orchestras, also serving as professor at the San Antonio College.

Revueltas was primarily a powerful political composer who wrote music during Mexicoʼs nationalist period when Mexican artists, painters, and writers were attempting to reinvent and discover Mexican identity. However, his approach differed significantly because he wasnʼt interested in creating a Mexican folk past. Unlike Chávez, Revueltas was less interested in Mexicoʼs epic past than in contemporary street sounds, as well as indigenous and pre-Hispanic sounds. The cinema music “The Night of the Mayans” and the symphonic poem “Sensemaya” have brought him international recognition, earning him the title of “Latin American Stravinsky.”

This piece titled "Three Pieces" is dedicated to his friend Francisco Moncayo, brother of Pablo Moncayo, who wrote the most emblematic Mexican piece, "Huapango." It is one of his early compositions and his only composition for violin and piano. There is very little information about it. The title doesnʼt describe any idea, nor do the movement titles give anything other than tempo indications, but it demonstrates Revueltasʼs percussive and intense style of composition.

The first movement is characterized by rhythmic complexity, the use of percussion-like effects on both instruments that drive ostinatos (repeated rhythmic or melodic patterns), and abundant dissonances with wild interval melodies contributing to the vibrant and savage folkloric sound. In contrast to the first movement, the second movement ‒ "Lentamente" ‒ is a slow movement, often depicted as a lullaby. It features anhemitonic pentatonic scales five-note scales without semitones used in a type of Japanese Buddhist chant. It is built up of intervals consisting of a major second, minor third, major second, major second, and minor third. Revueltas plays with the ostinato of three descending notes on the piano, accompanied by a long-phrased violin melody. The third movement has a vivid character in triple meter, with high-pitched passages depicting a folk flute-like sound reminiscent of a festive pre-Hispanic dance, showcasing Revueltas's virtuosic violin ability.

Béla Bartók - “Contrasts” for Clarinet, Violin, and Piano

Béla Bartók (1881‒1945) stands as one of the most influential composers of the 20th century, renowned for his innovative approach to composition and his pioneering work in ethnomusicology. Born in Hungary, Bartókʼs music reflects a deep connection to the folk traditions of his homeland, as well as a rigorous exploration of modernist techniques.

“Contrasts” is a captivating chamber work that showcases the composerʼs distinct musical language that blend classical idioms with innovative techniques reflecting folk-inspired melodies and jazz elements Composed in 1938, for the renowned jazz clarinetist Benny Goodman, along with Joseph Szigeti on violin, and the composer himself on piano. “Contrasts” comprises three movements, each rich in contrasting textures, moods, and folk.

Movement I: Verbunkos (Recruiting Dance)

The opening movement, “Verbunkos,” draws inspiration from Hungarian folk-dance traditions, specifically the verbunkos style often associated with recruiting soldiers. Bartók infuses the movement with lively rhythms, virtuosic passages, and intricate interplay between the clarinet, violin, and piano. Szigeti recalled that Bartók had told him that the start of Contrasts had partial inspiration from the "Blues" second movement of Maurice Ravel's Sonata for Violin and Piano.

Movement II: Pihenő (Relaxation)

In contrast to the lively first movement, “Pihenő” offers a moment of repose and reflection. Bartók explores a more subdued and introspective atmosphere, characterized by gentle melodies and delicate textures. The clarinet takes on a prominent role, weaving lyrical lines that are supported by the violin and piano. Through subtle harmonic shifts and understated dynamics, Bartók creates a sense of tranquility and introspection, inviting listeners into a contemplative musical journey.

Movement III: Sebes (Fast Dance)

The final movement, “Sebes,” bursts forth with relentless energy and rhythmic vitality. Bartók channels the exhilarating spirit of Bulgarian Rhythm, infusing the music with rapid-fire melodies, syncopated rhythms, and virtuosic flourishes. The clarinet, violin, and piano engage in a dynamic dialogue, trading themes and motifs with electrifying precision. As the movement unfolds, Bartók pushes the boundaries of traditional form, incorporating elements of improvisation and experimentation to create a thrilling conclusion to the work.

Maurice Ravel - "Tzigane"

Ravel (1875-1937) stands as one of the most innovative and influential composers of the early 20th century. Born in Ciboure, France, Ravel demonstrated exceptional musical talent from a young age. He studied composition at the Paris Conservatoire, where he developed a keen interest in orchestration and experimentation with new musical forms. Influenced by composers such as Claude Debussy, Erik Satie, and Igor Stravinsky, Ravel forged his own path, crafting a diverse body of work that encompasses orchestral masterpieces, chamber music, piano compositions, and ballets.

Ravel composed the TZIGANE RHAPSODIE DE CONCERT for the Hungarian violinist Jelly dʼArányi (a niece of the famous virtuoso Joseph Joachim). The original version was for violin and luthéal attachment (lute piano) ‒ a new type of “prepared” piano patented in 1919, with several tone-colour registrations which could be engaged by pulling stops above the keyboard. This arrangement was in keeping with the idea of the exoticism of gypsy music. It was premiered by dʼArani and pianist Henri Marchot on 26 April 1924 in London. The composer immediately made the orchestral version, orchestra was first performed in Amsterdam on 19 October 1924, with Pierre Monteux conducting the Concertgebouw and Samuel Dushkin, soloist. On 30 November 1924 the Paris premiere featured Jelly dʼArányi and the Concerts Colonne under the direction of Gabriel Pierné. Through its evocative melodies, exotic harmonies, and electrifying virtuosity, "Tzigane" captivates audiences with its sheer brilliance and allure, cementing its place as one of the most captivating works in the violin repertoire.

Johann Sebastian Bach - Chaconne from Partita No. 2 in D Minor for Solo Violin, BWV 1004

Johann Sebastian Bach's Chaconne, the final movement of his Partita No. 2 in D Minor for Solo Violin, stands as one of the most profound and monumental works in the violin repertoire. Composed around 1720, this masterwork exemplifies Bach's genius in polyphonic writing, structural innovation, and emotional depth.

In the early summer of 1720, Bach experienced a profound personal tragedy with the death of his beloved wife, Maria Barbara. The Chaconne is believed to have been written in response to this loss, with Bach infusing the piece with themes of sorrow, passion, and the promise of resurrection.

The Chaconne unfolds as a set of variations on a repeating harmonic progression, known as a chaconne or passacaglia. Bach's treatment of this form is extraordinary, weaving intricate counterpoint, expressive melodies, and virtuosic figurations that transcend the limitations of the solo violin.

Throughout the piece, Bach incorporates references to Christian liturgy and numerological symbolism, highlighting the Christian virtues of the deceased and expressing hope in the resurrection. Martin Luther's Easter hymn "Christ lag in Todesbanden" frames the entire movement, underscoring themes of redemption and eternal life.

In collaboration with the folkloric group "The Soul of Saint Elizabeth," dancers devoutly express a journey of profound sorrow and spiritual depth, adorned in elegant Mexican attire and movement, symbolizing the union of art and culture alongside the spirituality that embraces humanity.

"Christ lag in Todesbanden"

Christ lay to death in bondage, For all our sins was given; He is once more arisen

And hath us brought true life now; For this shall we joyful be, God giving praise and gratitude, And singing Halleluja, Halleluja!

ARTIST BIOGRAPHIES

Elisa Nivon

Elisa is a dedicated violinist and a member of the National Symphony of Mexico (OSN), also serving as a Suzuki Method violin instructor. Born and raised in Kyoto, Japan, Elisa commenced her musical studies at a young age at the "Talent Education Institute of the Suzuki Method". She earned a bachelor's degree with an honorific mention from the Superior School of Music (ESM - Prof. Vera Silantieva) in Mexico City. Currently, she is pursuing a Master of Music in performance under the renowned Dr. Nicole Cherry at the University of Texas at San Antonio, where she also serves as her teaching assistant.

Elisa initiated her orchestral career at the age of 10, playing with "Concertino di Kyoto Jr," "Concertino di Kyoto," "Kyoto Jr. Symphony Orchestra," "Morelos Chamber Orchestra," "Mineria Symphony Orchestra," and the "National Symphony Orchestra." She has received several awards, including second place and honorable mention, in Mexican national chamber music competitions as a duo for piano and violin.

Having collaborated with renowned musicians such as Itzhak Perlman, Joshua Bell, Vadim Gluzman, Viktoria

Mullova, Yuja Wang, Pablo Ferrández, Pablo Sáinz, and Plácido Domingo, Elisa has performed in prestigious concert halls worldwide, including venues in Mexico, Germany, Austria, China, and Japan. As an active performer, she has received numerous invitations to participate in significant musical projects, including Netflix film recordings, popular music collaborations, and TV appearances such as Amazon Original Series “Mozart in the Jungle,” Mexican Artistic Channel “Canal 11,” and the Rock Festival “Vive Latino” in Mexico City with the Mexican band Zoe.

Elisa is also a founding member of the Nevado String Quartet, the resident chamber ensemble of the Mexico State University of the Performing Arts. In addition to her performance career, Elisa is a passionate teacher dedicated to music outreach in underdeveloped towns in Mexico. She owns a violin made by the prizewinning violin maker Erick Iván Díaz and plays his op.36, Stradivarius model, which belongs to Luis Rivera.

Jeong-Eun Lee

Dedicated to performing a wide range of solo and chamber repertoire, pianist Jeong - Eun Lee is Assistant Professor of Instruction in Collaborative Piano at the University of Texas at San Antonio. Prior to joining UTSA, Lee taught at Indiana University as Visiting Assistant Professor and Postdoctoral Scholar and held collaborative pianist positions at the State University of New York at Geneseo and Riverside City College in California

Jeong-Eun Lee has served as a collaborative pianist and performance coach at the Aspen Music Festival, where she previously received instrumental and vocal fellowships. She attended Songfest in Los Angeles as a Professional Piano Fellow and played in masterclasses of Margo Garrett, Graham Johnson, Martin Katz and Roger Vignoles. Lee participated in festivals including the Amalfi Coast Festival, Bowdoin International Music Festival, Collabfest, Kneisel Chamber Festival and Holland International Music Sessions.

Since her orchestral debut with the Skagit Valley Symphony, Lee has appeared as a soloist with orchestras around the United States including the Seattle Symphony, Eastman School Symphony Orchestra, and the Eastern Music Festival Orchestra. She has performed at the Kennedy Center in Washington D.C., Benaroya Hall in Seattle, WA and in the Czech Republic, Italy, and the Netherlands.

Originally from Seoul, South Korea, Lee received the Doctor of Musical Arts degree in Piano Accompanying and Chamber Music, and the Bachelor of Music degree in Piano Performance, from the Eastman School of Music where she studied with Jean Barr and Nelita True. As a student of Yoshikazu Nagai, she received the Master of Music degree from San Francisco Conservatory of Music in Piano Performance. In addition to a concerto performance with the Riverside City College Symphony Orchestra, recent engagements include chamber concerts in the United States and South Korea.

Clarisa de la Garza

Clarisa De la Garza grew up in Mission, TX. She began her clarinet studies under Dr. Bill O'Neil at the University of Texas Pan American at the age of thirteen. She graduated Magna Cum Laude with a Bachelor's degree in music performance from the University of Texas Rio Grande Valley in 2017. She is currently pursuing a Master's degree in music performance at the University of Texas San Antonio and teaches part time at the Musical Arts Center of San Antonio as a clarinet and piano instructor. In 2016 she was the winner of UTRGV's annual concerto competition for her performance of Weber's "Concertino in Eb Major, Op.26" and in 2022 she was the winner of UTSA's annual concerto competition for her performance of Debussy's "Premiere Rhapsodie."

Clarisa has a joy for all things music and has experience in various areas beyond clarinet performance, including clarinet pedagogy, piano performance, piano pedagogy, conducting, arranging, and composing. She has been teaching privately since 2015 and is passionate about sharing musical knowledge and skills in a casual and nurturing environment

In between studies and teaching, Clarisa composes music, primarily featuring the clarinet and piano. Her improvisatory piece for clarinet choir, "9:13," had its world premiere performed by the University of Texas Rio Grande Valley clarinet ensemble at the International Clarinet Association conference in Lawrence, Kansas in 2016. Her most recent work for clarinet choir, "Lost in Reverie," was commissioned by Dr. Nicholas Councilor and the University of Texas San Antonio clarinet ensemble and was performed at the Texas Music Educator's Conference in San Antonio, Texas in 2024. Her works are both self-published at cdelagarzamusic.com and available through CAMco Music, LLC at clarinetallmusic.com.

During her time away from music, Clarisa enjoys boxing, relaxing at home, and game nights with friends.

The Soul of Saint. Elizabeth – El Alma de la Santa Elizabeth

"The Soul of Saint Elizabeth" is a folkloric dance group that is part of the Hispanic Pastoral Ministry at Saint Elizabeth Ann Seton Catholic Church in San Antonio, TX. The group began in 2022 as a means of evangelization, using their expressive movements in prayer to bring light that reflects the heart and soul of Saint Elizabeth. They have primarily participated at Saint Elizabeth Ann Seton Catholic Church but have also performed at Sacred Heart Church and Saint Matthew Church, in events such as the Day of the Virgin Guadalupe, Day of the Dead, Fiestas Patronales, and Posada Navideña, contributing to the unity of culture and traditions with the Christian faith.

"El Alma de Santa Isabel" es un grupo de danza folclórica que forma parte del Ministerio de Pastoral Hispana de la Iglesia Católica de Santa Elizabeth Ann Seton, en San Antonio, Texas. El grupo comenzó en 2022 como un medio de evangelización, ya que con sus movimientos expresivos en la oración, traen la luz que refleja el corazón y el alma de Santa Elizabeth. Han participado principalmente en la Iglesia Católica de Santa Elizabeth Ann Seton, pero también en la Iglesia del Sagrado Corazón y la Iglesia de San Mateo, en eventos como el Día de la Virgen de Guadalupe, el Día de los Muertos, las Fiestas Patronales y la Posada Navideña, contribuyendo a la unión de la cultura y las tradiciones con la fe cristiana.

Members/Miembros: Mónica Ortiz, Nury Cerda, Leslie Marroquín, Jessica Matute, Irasema Arizpe, Rosario Faller, Lety Avelar