Faculty/Guest Artist Recital

 Faculty/Guest Artist Recital
Afternoon of Vocal Music
February 24, 2013 – 4:00 p.m.
Barness Recital Hall
Kyoung Cho, Soprano
Evan Thomas Jones, Baritone
Edward Rothmel, Piano
Jack Rain, Piano
Kim McCormick, Flute
USF School of Music
Tampa, FL
Program
ǂStargazer ..................................................................Joon-Hee Im
(b. 1959)
ǂBaby's Breath (Gypsophila) .................................. Gui Sook Lee
(b. 1964)
*What a Lovely Sweetheart! ....................................... Han-Ki Kim
(b. 1954)
Kyoung Cho, Jack Rain, and Kim McCormick
Liederkreis, Op. 24 ......................................... Robert Schumann
(1810-1856)
Evan Thomas Jones and Edward Rothmel
신아리랑 New Arirang ............................................... Dong Jin Kim
(1913-2009)
동심초 Heart Bonding Grass ....................................Sung Tae Kim
(1910-2012)
보리밭 The Barley Field ........................................... Yong Ha Yoon
(1922-1965)
Kyoung Cho and Jack Rain
Last Letter Home ........................................................... Lee Hoiby
(b.1926)
Evan Thomas Jones and Edward Rothmel
Là ci darem la mano ..................... Wolfgang Amadeus Mozart
from Don Giovanni, K. 527
(1756-1791)
Kyoung Cho, Evan Thomas Jones, and Jack Rain
ǂ North American Premiere
* World Premiere
Program Notes
별지기 (Stargazer)
A Stargazer who fell asleep counting the stars
Picked up a star in his dreamy path.
In the midst of dark night,
Where even the moon is hiding
The lonely star was lost and wandering.
Slumber, slumber, dear baby.
신 아리랑 (New Arirang)
Arirang Arirang Ara ri yo.
He is crossing the Arirang Hill.
Are you waiting for him
By the bush covered wall?
The geese are flying in line
Over the moonlit sky.
The Stargazer wrapped the baby
In the Milky Way blanket
And sang a star-lullaby.
Wishing it to sleep till the Sun wakens
Slumber, slumber, dear baby.
My beloved, I met last spring
When peonies bloomed,
Does not return even in fall
When the mums wither.
참 좋은 당신 (What a Lovely Sweetheart!)
One spring day, I tasted the joy of
Your love casting the sunlight
Over the shadow behind me.
The moon has crossed
Behind the western valley
And I have no way of healing
The sorrow in my heart.
You gently called me from the darkness
To the fireside of love.
With the bright light that can
Only be made by someone
Who crossed over the darkness.
Maybe I should live within the deep forest
In a small hut beside the brook.
You stood before me and smiled
Like an innocent wildflower.
Ah, just thinking of you I realize.
What a lovely sweetheart!
동심초 (Heart Binding Grass)
Though the flowers wither
In the wind yet once again,
안개꽃 (Baby's Breath)
After sacrificing the entire life
And burning it,
Even after going through it several times,
Again that path is a silent never-drying river
That flows, no matter how hard one drains it.
When I lay my head on my mother's breast
Who offers a heart-warming feeling
All my life long,
All joy and sorrow become a whisper
and blossom as a longing
Like the misty foggy road of Baby's Breaths.
When I walk with her hand in hand,
Warm tears arise because of the ardor
That fills the depth of my heart.
I want to live on the beautiful road filled
with blossoming Baby's Breaths forever.
Arirang Arirang Ara ri yo.
He is crossing the Arirang Hill.
There is no telling
If I'll ever see my beloved one again.
Our bond will only be made
With the leaves of grass,
When our hearts so long to be united as one?
보리밭 (The Barley Field)
As I walk through the Barley Field
Of my hometown
There is a voice calling me that stops me.
As I whistle out of loneliness
From the old memories,
There is a song that I hear.
But when I turn around,
There is no one and all I see is
The empty evening sunset that fills my eye
Liederkreis, Op. 24 (1840)
Robert Schumann (1810-1856)
Set of poems from Buch der Lieder (Book of Songs) by Heinrich Heine (1797-1856)
Liederkreis Op. 24 is the first song cycle composed by Robert Schumann. It was among the first
of many vocal works that Schumann composed in the year 1840, his famous Liederjahr (year of
song). Within this one year, Schumann composed some 175 songs, including his other
masterworks Liederkreis Op. 39, Frauenliebe und leben, and Dichterliebe. The inspiration for this
sudden prolific outburst of song was due in large part to an important event in Schumann’s
personal life. It was in 1840 that Robert Schumann was finally able to marry Clara Wieck, after
years of courtship, and legal battles with her father.
The mood in both Heine’s text and Schumann’s music portrays deep feelings of isolation,
betrayal, and unrequited love. These were likely not direct reflections of the composer and
poet, both of whom were experiencing great joy in their personal live at the time. Rather than
personal strife, the dramatic impetus for the work is more a result of the political and social
themes of the day, as well as a striving for the “romantic ideal” that permeated most art.
Op. 24 is not a song cycle that tracks out a single course of events, nor the narrative of one
character. It is a cycle that is connected through atmosphere and unity of expression.
Schumann composed the work with the idea that it could be published in two separate
volumes. Volume one contains songs 1-5 and volume two contains songs 6-9. This makes for an
interesting arc in which song number 5, “Schöne Wiege meiner Leiden”, acts as a climax in the
middle of the cycle; it also stands by itself as one of Schumann’s most performed songs.
Morgens steh' ich auf und frage
Every morning I awake and ask
Morgens steh' ich auf und frage:
Kommt feins Liebchen heut?
Abends sink' ich hin und klage:
Aus blieb sie auch heut.
Every morning I awake and ask:
Will my sweetheart come today?
Every evening I sink down and lament:
She stayed away again today.
In der Nacht mit meinem Kummer
lieg' ich schlaflos, lieg’ ich wach;
träumend, wie im halben Schlummer,
träumend wandle ich bei Tag.
All night with my grief
I lie sleepless, walking;
dreaming, as if half asleep,
dreaming, I pass the day.
Es treibt mich hin, es treibt mich her
I’m driven here, I’m driven there
Es treibt mich hin, es treibt mich her!
Noch wenige Stunden, dann soll ich sie schauen,
sie selber, die schönste der schönen Jungfrauen; du armes Herz, was pochst du so schwer!
I’m driven here, I’m driven there!
In only a few more hours I will see her,
she herself, the fairest of fair young women; you true heart, how heavily you pound!
Die Stunden sind aber ein faules Volk!
Schleppen sich behaglich träge,
schleichen gähnend ihre Wege; tummle dich, du faules Volk!
But the hours are lazy people!
They drag themselves comfortably and sluggishly,
creeping with yawns along their paths; rouse yourself, you lazy fool!
Tobende Eile mich treibend erfaßt!
Aber wohl niemals liebten die Horen; heimlich im grausamen Bunde verschworen,
spotten sie tückisch der Liebenden Hast.
A charging hurry seizes and drives me!
But the Hours have never been in love;
sworn secretly to cruel conspiracy,
they mock treacherously the lover’s haste.
Ich wandelte unter den Bäumen
I wandered among the trees
Ich wandelte unter den Bäumen
mit meinem Gram allein;
da kam das alte Träumen
und schlich mir ins Herz hinein.
I wandered among the trees,
alone with my suffering;
along came that old dream
and crept into my heart.
Wer hat euch dies Wörtlein gelehret,
ihr Vöglein in luftiger Höh'?
Schweigt still! wenn mein Herz es höret,
dann tut es noch einmal so weh.
Who taught you this little world,
you tiny birds in the airy heights?
Be quiet! if my heart hears it,
then all my pain will return.
"Es kam ein Jungfräulein gegangen,
die sang es immerfort,
da haben wir Vöglein gefangen
das hübsche, goldne Wort."
“It came from a young woman,
who sang it again and again;
that is how we tiny birds captured
this pretty, golden word.”
Das sollt ihr mir nicht mehr erzählen,
Ihr Vöglein wunderschlau;
ihr wollt meinem Kummer mir stehlen,
ich aber niemandem trau'.
You should not explain this to me now,
you tiny, cunning birds;
you wanted to steal my grief from me,
but I trust no one.
Lieb' Liebchen, leg's Händchen aufs...
Dear sweetheart, lay your hand on my heart
Lieb' Liebchen, leg's Händchen aufs Herze mein; ach, hörst du, wie's pochet im Kämmerlein?
da hauset ein Zimmermann schlimm und arg,
der zimmert mir einen Totensarg.
Dear sweetheart, lay your hand on my heart: ah, do you hear the hammering inside?
inside there lives a carpenter, wicket and evil;
he’s building my coffin.
Es hämmert und klopfet bei Tag und bei Nacht;
es hat mich schon längst um den Schlaf gebracht.
Ach! sputet euch, Meister Zimmermann,
damit ich balde schlafen kann.
He hammers and pounds by day and by night;
it has been a long time since I could sleep.
Ah, hurry, Mister Carpenter,
finish so that I can sleep.
Schöne Wiege meiner Leiden
Pretty cradle of my sorrows
Schöne Wiege meiner Leiden,
schönes Grabmal meiner Ruh',
schöne Stadt, wir müssen scheiden, Lebe wohl! ruf' ich dir zu.
Pretty cradle of my sorrows,
pretty tombstone of my rest,
pretty town – we must part, farewell! I call to you.
Lebe wohl, du heil'ge Schwelle,
wo da wandelt Liebchen traut;
lebe wohl! du heil'ge Stelle,
wo ich sie zuerst geschaut.
Farewell, you holy threshold,
across wich my darling would tread;
farewell! you scared spot
where I first saw her.
Hätt' ich dich doch nie gesehen,
schöne Herzenskönigin!
Nimmer wär' es dann geschehen,
daß ich jetzt so elend bin.
Would that I had never seen you,
lovely queen of my heart!
Never would it then have happened,
that I would now be so wretched.
Nie wollt' ich dein Herze rühren,
Liebe hab' ich nie erfleht;
I never wished to touch your heart,
I never begged for love;
nur ein stilles Leben führen
wollt' ich, wo dein Odem weht.
all I wished was to lead a quiet life
where your breath could stir me.
Doch du drängst mich selbst von hinnen,
bittre Worte spricht dein Mund;
Wahnsinn wühlt in meinen Sinnen,
und mein Herz ist krank und wund.
Yet you yourself pushed me away from you,
with bitter words at your lips;
Madness filled my senses,
and my heart is sick and wounded.
Und die Glieder matt und träge
schlepp' ich fort am Wanderstab,
bis mein müdes Haupt ich lege
ferne in ein kühles Grab.
And my limbs are heavy and sluggish;
I’ll drag myself forward, leaning on my staff,
until I can lay my weary head
in a cool and distant grave.
Warte, warte wilder Schiffmann
Wait, wait, wild boatman
Warte, warte, wilder Schiffsmann,
gleich folg' ich zum Hafen dir;
von zwei Jungfraun nehm' ich Abschied,
von Europa und von ihr.
Wait, wait, wild boatman,
soon I’ll follow you to the harbor;
from two maidens I am taking my leave,
from Europe and from Her.
Blutquell, rinn' aus meinen Augen,
Blutquell, brich aus meinem Leib,
daß ich mit dem heißen Blute
meine Schmerzen niederschreib'.
Stream of blood, run from my eyes,
stream of blood, burst from my body,
so that with this hot blood
I can write down my agonies.
Ei, mein Lieb, warum just heute
schauderst du, mein Blut zu sehn?
Sahst mich bleich und herzeblutend
lange Jahre vor dir stehn!
Ah, my dear, why just today
do you shudder to see my blood?
You’ve seen me pale, my heart bleeding,
standing before you for many years!
Kennst du noch das alte Liedchen
von der Schlang' im Paradies,
die durch schlimme Apfelgabe
unsern Ahn ins Elend stieß.
Do you know that old song
about the serpent in Paradise
who, by wickedly giving an apple,
threw our ancestors into misery?
Alles Unheil brachten Äpfel!
Eva bracht' damit den Tod,
Eris brachte Trojas Flammen,
du brachst'st beides, Flamm' und Tod.
Apples have caused every ill!
Eve brought death through them,
Eris caused the flames of Troy;
and you brought both, flame and death.
Berg' und Burgen schaun herunter
Mountains and castles gaze down
Berg' und Burgen schaun herunter
in den spiegelhellen Rhein,
und mein Schiffchen segelt munter,
rings umglänzt von Sonnenschein.
Mountains and castles gaze down
into the mirror-bright Rhine,
and my little boat sails merrily,
the sunshine glistening around it.
Ruhig seh' ich zu dem Spiele
goldner Wellen, kraus bewegt;
still erwachen die Gefühle,
die ich tief im Busen hegt'.
Calmly I watch the play
of golden, ruffled waves surging;
silently feelings awaken in me
that I have kept deep in my heart.
Freundlich grüssend und verheißend
lockt hinab des Stromes Pracht;
doch ich kenn' ihn, oben gleißend,
birgt sein Innres Tod und Nacht.
With friendly greetings and promises,
the river’s splendor beckons;
but I know it – gleaming above
it conceals within itself Death and Night.
Oben Lust, im Busen Tücken,
Strom, du bist der Liebsten Bild!
Die kann auch so freundlich nicken,
lächelt auch so fromm und mild.
Above, pleasure; at heart, malice;
O river, you are the very image of my beloved!
She can nod with just as much friendliness,
also smiling so devotedly and gently.
Anfangs wollt ich fast verzagen
At first I almost despaired
Anfangs wollt' ich fast verzagen,
und ich glaubt', ich trüg' es nie;
und ich hab' es doch getragen –
aber fragt mich nur nicht, wie?
At first I almost despaired,
and I thought I would never be able to bear it;
yet even so, I have borne it –
but do not ask me how.
Mit Myrten und Rosen
With myrtle and roses
Mit Myrten und Rosen, lieblich und hold
mit duft'gen Zypressen und Flittergold,
möcht' ich zieren dieß Buch wie 'nen Totenschrein,
Und sargen meine Lieder hinein.
With myrtle and roses, lovely and pretty,
with fragrant cypresses and gold tinsel,
I would decorate this book like a coffin
and bury my songs inside it.
O könnt' ich die Liebe sargen hinzu!
Auf dem Grabe der Liebe wächst Blümlein der Ruh',
da blüht es hervor, da pflückt man es ab, doch mir blüht's nur, wenn ich selber im Grab.
O if only I could bury my love there as well!
On the grave of Love grows the blossom of peace;
it blooms and then is plucked, yet it will bloom for me only when I am
myself in the grave.
Hier sind nun die Lieder, die einst so wild,
wie ein Lavastrom, der dem Ätna entquillt,
Hervorgestürtzt aus dem tiefsten Gemüt,
und rings viel blitzende Funken versprüht!
Here now are the songs which, once so wild,
like a stream of lava that flowed from Etna,
burst from the depths of my heart,
and spray glittering sparks everywhere!
Nun liegen sie stumm und totengleich,
nun starren sie kalt und nebelbleich,
doch aufs neu die alte Glut sie belebt,
wenn der Liebe Geist einst über sie schwebt.
Now they lie mute and death-like,
now they stare coldly, pale as mist,
but the old glow will revive them afresh,
when the spirit of love someday floats above them.
Und es wird mir im Herzen viel Ahnung laut:
der Liebe Geist einst über sie taut;
einst kommt dies Buch in deine Hand,
du süßes Lieb im fernen Land.
And in my heart the thought grows loud:
the spirit of love will someday thaw them;
someday this book will arrive in your hands,
you, my sweet love in a distang land.
Dann löst sich des Liedes Zauberbann,
die blaßen Buchstaben schaun dich an,
sie schauen dir flehend ins schöne Aug',
und flüstern mit Wehmut und Liebeshauch.
Then shall the songs’ magic spell be broken,
and the white letters shall gaze at you;
they’ll gaze beseechingly into your eyes,
and whisper with sadness and a breath of love.
Last Letter Home (2006)
Lee Hoiby (b.1926)
Jesse Givens Private First Class, U.S. Army, drowned in the Euphrates River on May 1,
2003, in the service of his country, in his 34th year. He wrote a letter to his wife,
Melissa; five year-old son, Dakota, nicknamed “Toad”; and his unborn child Carson,
nicknamed “Bean”. He asked Melissa not to open the envelope unless he was
killed. “Please, only read it if I don’t come home,” he wrote. “Please put it away
and hopefully you will never have to read it.”
(Lee Hoiby)
“I searched all my life for a dream and I found it with you. I would like to think I
made a positive difference in your lives. I will never be able to make up for the
bad. I am so sorry. The happiest moments of my life all deal with my little family. I
will always have with me the small moments we all shared. The moments when you
quit taking life so serious and smiled. The sound of a beautiful boy’s laughter or the
simple nudge of a baby unborn. You will never know how complete you have
made me. You opened my eyes to a world, I never knew existed.
Dakota, you are more son than I could ever ask for. You have a big, beautiful
heart. I will always be there in our park when you dream so we can still play. I
hope one day you will have a son like mine, a son like mine. I love you Toad. I will
always be there with you. I’ll be in the sun, shadows, dreams, and joys of your life.
Bean, I never got to see you but I know in my heart you are beautiful.
I have never been so blessed as the day I met Melissa Dawn Benfield. You are my
angel, soul mate, wife, lover and best friend. I am so sorry. I did not want to have
to write this letter. There is so much more I need to say, so much more I need to
share. A lifetime’s worth. I married you for a million lifetimes. That’s how long I will
be with you. Please find it in your heart to forgive me for leaving you alone. Do me
one favor, after you tuck the children in, give them hugs and kisses from me. Go
outside and look at the stars, go outside and look at the stars and count them.
Don’t forget to smile.”
Là ci darem la mano from Don Giovanni
Near Don Giovanni's villa. Don Giovanni is immediately attracted to a peasant girl,
Zerlina who is about to marry her fiancés Masetto, and he immediately begins his
seductive arts.
Don Giovanni
Quel casinetto è mio: soli saremo
e là, gioiello mio, ci sposeremo.
Don Giovanni
Come to my quiet dwelling, we will be alone.
There, my joy. I will marry you.
Don Giovanni
Là ci darem la mano,
Là mi dirai di sì.
Vedi, non è lontano;
Partiam, ben mio, da qui.
Don Giovanni
There we’ll be hand in hand, dear,
There you will say, “I do.”
Look, it is right at hand, dear;
Let’s go from here, me and you.
Zerlina
Vorrei e non vorrei,
Mi trema un poco il cor.
Felice, è ver, sarei,
Ma può burlarmi ancor
Zerlina
I want to, but it’s not pure,
My heart is ill at ease.
I would be happy, I’m sure,
But it may all be a tease
Don Giovanni
Vieni, mio bel diletto!
Don Giovanni
Come, my dearest delight!
Zerlina
Mi fa pietà Masetto
Zerlina
I feel bad for Masetto
Don Giovanni
Io cangierò tua sorte.
Don Giovanni
I’ll change your life forever.
Zerlina
Presto... non son più forte.
Zerlina
Soon… I am not strong enough.
Don Giovanni
Andiam!
Don Giovanni
Let’s go!
Zerlina
Andiam!
Zerlina
Let’s go!
Duetto
Andiam, andiam, mio bene.
a ristorar le pene
D’un innocente amor.
Together
Let’s go, my love, let’s go,
To heal the pain
Of love that’s innocent.
Biographies
Kyoung Cho, soprano, is a teacher and singer of international recognition and
reputation, one who has developed a strong presence in Asia, Europe, and North
America. Music critics have praised her performances as "Sublimely beautiful,
transcendent, serene, dazzling, and heavenly". She has performed in solo concerts
at many prestigious venues in the United States, Italy, Germany, Austria, the Czech
Republic, Luxembourg, France, Israel, China, Canada, and her native Korea, with
some of these appearances taking place at Carnegie Hall, the Lincoln Center, and
the Kennedy Center.
She is also in high demand as a voice teacher and pedagogue. Her students have
been accepted to prestigious graduate programs including the Manhattan School
of Music, the Eastman School of Music, the Peabody Conservatory, Yale University,
and the Mannes College of Music.
Prior to her current appointment as Assistant Professor of Voice at USF, Dr. Cho
served at the State University of New York at Fredonia and at Luther College in
Iowa. She has also taught at several prominent summer music programs, including
the Vianden International Music Festival and the Nei Stëmmen Vocal Institute in
Luxembourg. She has presented master classes in the United States and abroad,
including recent appearances at universities in Alaska, North Carolina,
Luxembourg, Korea, and China.
As a pioneer in research on Korean Art Songs, she has presented a number of
lectures, concerts, and lecture-recitals in the United States and several other
countries. Her CD recordings have been published in Italy, Korea, and the United
States through the SonArt, KukJe, and Centaur labels, to critical acclaim from all
three countries.
Dr. Cho holds degrees from Yonsei University in Korea, the Manhattan School of
Music, and the University of Memphis with extended opera study from the Yale
University School of Music and the Israeli International Vocal Institute.
Baritone Evan Thomas Jones, originally from Buffalo, NY, has sung a wide variety of
roles in opera, most notably both Mozart and Rossini's Figaro, Papageno in Die
Zauberflöte, Raimbaud in Le Comte Ory and Sam in Trouble in Tahiti. In addition to
an active opera career, Mr. Jones has portrayed a number of roles in musical
theater and operetta. Highlights include the roles of Voltaire and Pangloss
in Candide, Dr. Falke and Frank in Die Fledermaus, Danilo Danilovich in The Merry
Widow, and Fredrik Egerman in A Little Night Music. In concert he has been
featured as the baritone soloist in Fauré's Requiem, Beethoven's Missa Solemnis,
Bach's Magnificat and John Rutter's Mass for the Children. He is particularly in
demand as an interpreter of the concert repertoire of Ralph Vaughn Williams,
having performed the Five Mystical Songs, Serenade to Music,Dona Nobis
Pacem and Fantasia On Christmas Carols. Mr. Jones has sung with the Berkshire
Opera Company, Compañía Lírica Nacional de Costa Rica, Mercury Opera,
Opera Memphis, Opera Naples, Rochester and Buffalo Philharmonic Orchestras,
Finger Lakes Choral Festival and the Augusta Choral Society.
The 2012-2013 season will feature return engagements with Opera Memphis as
Junius in The Rape of Lucretia, with the Memphis Masterworks Chorale as the
baritone soloist in Brahms Requiem, and in recital in Murray, KY, Memphis, TN, and
Tampa, FL. In February, Mr. Jones will return to Tallahassee, Florida as the baritone
soloist for the world premiere performance of Ernő Dohnányi's Orchesterlieder with
the Florida State Symphony, he will also record the work on the Naxos label.
Mr. Jones currently serves as Assistant Professor of Voice at the Rudi. E Scheidt
School of Music at the University of Memphis. His diverse group of current and
former students have won awards at the Metropolitan Opera Nationals Council
Auditions, National Association of Teachers of Singing competitions and have
appeared on the stages of major opera houses, national equity tours, and
Broadway, as well as in television and film.
Pianist Edward Rothmel, from Pottstown, PA, began his piano studies at the age of
five and gave his solo debut at age twelve. He has performed professionally in
numerous solo and chamber music contexts, giving recitals throughout the United
States and in China, and has performed in master classes for Ann Schein, Martin
Katz, Graham Johnson, Joshua Pifer, Lisa Kaplan, Samuel Ramey, Frederica von
Stade, and Ruth Ann Swenson. In April 2012 he gave his first appearance at
Carnegie Hall’s Weill Recital Hall in concert with Tenor Albert Lee. A former student
of Curtis faculty Kristin Ditlow, Mr. Rothmel holds a Bachelor's Degree in Piano
Performance from the Florida State University as a student of Dr. Read Gainsford,
and recently completed his Master's Degree in Piano Performance at the Florida
State University, studying with Dr. Heidi Louise Williams. He has held graduate
assistantships in Opera Coaching with the Florida State Opera under the direction
of Douglas Fisher, and in the Florida State Choral Program under the direction of Dr.
André Thomas. The First Prize winner of both the 2010 FSU Chopin Piano Competition
and the 2010 FSU Young Artist Concerto Competition, he performed Prokofiev’s
Piano Concerto No. 3 with the FSU University Philharmonic Orchestra in February
2011 under the baton of Dr. Alexander Jiménez.
Mr. Rothmel joined the faculty of Freedom High School in Orlando, Florida in
summer 2012, where he currently serves as Associate Director of Choral Activities for
their award-winning choral program.
Jack Rain, Staff piano accompanist and Adjunct Instructor of diction at USF, is a
well-known Tampa Bay organ recitalist, accompanist, and foreign language
diction coach for singers. Rain has worked at USF as staff accompanist since 1973
and has performed with the University Singers, the USF Master Chorale, and the
Florida Orchestra and has been featured on six recordings by church, choral, and
university groups. Since 1995, Rain has also taught French, German, and Italian
diction for singers. Organist at St. Petersburg's First Presbyterian Church since 1969,
Rain has given over 100 local organ recitals and three concerts at Ft. Lauderdale's
Coral Ridge Presbyterian Church. He was organist for the 1980 Vienna International
Ecumenical Seminar. In 1981, he presented a recital on the 1735 tracker organ in
Mexico City's Metropolitan Cathedral. Rain performed in the French Vesper service
for the 1992 American Guild of Organists national convention in Atlanta.
Rain has worked extensively in musical theatre, collaborating as musical director
and piano accompanist at St. Petersburg's Shorecrest Preparatory School. He also
served as accompanist for the Spanish Little Theatre in Tampa.
Rain is a member of the Tampa, Clearwater and St. Petersburg chapters of the
American Guild of Organists, the National Cathedral Association, and the Organ
Historical Society. He earned his BA in Education from USF, with a Spanish major and
French minor and attended summer courses at the universities of Madrid, Vienna,
Montreal, and Guatemala. Rain studied piano under Rebekah Orr of Tampa, and
organ with First Presbyterian Church's George Boyd and Pierre Grandmaison at
Notre-Dame Basilica in Montreal, Canada
Kim McCormick, Associate Professor of Flute at USF, performs with Opera Tampa,
the Florida Flute Orchestra, and as flutist with the McCormick flute/percussion duo.
That ensemble, formed with husband Robert McCormick in 1989, commissions and
performs new works for flute/percussion with a repertoire spanning works from the
Baroque though the modern period. CDs published by Capstone Records and
HoneyRock featuring the McCormick Duo include the highly acclaimed Twilight
Remembered, Shadow on Mist, and Premiers Plus One.
McCormick has performed internationally in Ecuador, China, South Korea, and
France as well as in numerous festivals and conferences including the College
Music Society, Percussive Arts Society International Convention, International
Society for Music Education, The International Double Reed Society Conference,
the Center for Intercultural Music at Cambridge University. She was principal flute of
the Charleston Symphony and was also a frequent performer for Spoleto USA with
the Savannah Symphony. She has also appeared at eight National Flute
Conventions.
An advocate of new music, she has commissioned and premiered dozens of new
works for the flute. McCormick premiered several works by Howard Buss at the
National Flute Conventions as well as premiere works in Korea and China.
Dr. McCormick has published articles in Flute Talk Magazine and the Florida Flutist
Quarterly, and her students won regional and national competitions including the
National Flute Association's Piccolo Young Artist and the Jazz Artist, the Florida Flute
Association Young Artist Competition, and the Yamaha International Young Artist
Competition. Currently President of the Florida Flute Association, McCormick holds
a Doctorate in Musical Arts from the University of North Texas.
Upcoming School of Music Events:
Monday Night Jazz featuring Ron Blake, Saxophone
Monday, Feb. 25, 2013 7:30 pm, USF Concert Hall
Free Event
Jazz recording artist and member of the Saturday Night Live band, Ron
Blake joins the USF Jazz faculty and USF Jazz Ensemble I for this installment
of the MNJS! Blake, Virgin Islands-born native, is based in New York City. He
is a well-rounded musician and has recorded three CDs as a leader; in
addition, his discography numbers more than 50 recordings as either a
guest or sideman with leading artists.
USF Symphonic Band: Cherished Transcriptions
Tuesday, Feb. 26, 2013 7:30 pm, USF Concert Hall
Advance Tickets: $8 Students/Seniors, $12 Adults
Day of Performance: $10 Students/Seniors, $15 Adults
"Cherished Transcriptions" features works that were originally composed
for other mediums but have since become embraced by wind bands.
Selections include pieces originally conceived for orchestra, choirs, and
organ that have found new life and new colors in the wind band world.
Composers include Kabalevsky, Brahms, von Suppe, and Bach.
USF Student Composers' Concert
Wednesday, Feb. 27, 2013 7:30 pm, Barness Recital Hall
Free Event
Students in the USF composition program present an evening of new
music premieres. Composing in a wide variety of styles and for a wide
variety of instrumentation, undergraduate and graduate composition
majors present their cutting-edge work in the intimate space of the
Barness Recital Hall.
For additional information and to purchase tickets, visit music.arts.usf.edu
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