https://www.tellingstudios.com/performance-1 daily 0.75 2022-02-15 https://www.tellingstudios.com/upcoming-events daily 0.75 2024-08-05 https://www.tellingstudios.com/upcoming-events/cabaret-the-phoenix-theatre-company-2024 monthly 0.5 2024-08-05 https://www.tellingstudios.com/upcoming-events/event-one-7f3bc monthly 0.5 2024-08-05 https://www.tellingstudios.com/upcoming-events/event-five-pcy5a monthly 0.5 2024-08-05 https://www.tellingstudios.com/homeold daily 0.75 2024-08-05 https://www.tellingstudios.com/privateevents daily 0.75 2022-02-15 https://www.tellingstudios.com/studio-accompanists daily 0.75 2022-02-15 https://www.tellingstudios.com/emilyandfriendsvoliv daily 0.75 2024-08-05 https://images.squarespace-cdn.com/content/v1/61fb53793876bf7f63cb246e/ca43a768-3de1-40a8-825c-79d675ee4e69/Emily+and+Friends+Vol.+IV Vol. IV https://images.squarespace-cdn.com/content/v1/61fb53793876bf7f63cb246e/6e9c5fb3-4dfc-4ed2-a465-b7deb2465fad/Morris+pic.jpg Vol. IV - Up And Away Alyssa Morris graduated from Brigham Young University in oboe performance and studied with Dr. Geralyn Giovannetti. Alyssa began composing from an early age, and has published several works for chamber and orchestra. She has composed many commissioned pieces for BYU, including Up and Away for the Sundance Trio. Below are Alyssa’s program notes found in the forward of the score: Up and Away is a musical depiction of the life of Balloon. Little Balloon is brought to life, with effervescence, lightheartedness, and wonder. Inhale/Exhale is a depiction of blowing up the balloon, watching it float, letting air out of Balloon and hearing the little squeal and sputter as it flies around the room. This movement also introduces Balloon’s “light-motif” (ha ha). This theme can be heard in bars 4 to 13. Listen for the “light” motif again in bars 34-40, a diminution of the motif at bars 80, 83, and 85, and then in its full form at the end. Movement 2, Life on a String is about teenage angst and rebellion. Little Balloon is not so little anymore, and wants to prove that it has a mind and ideas of its own. So many times Balloon has felt that people want it to fit a certain mold. But Balloon just wants to be itself. This angst can be heard as each instrument quotes a passage that has become synonymous with what most people think that instrument is. The oboe plays the snake charmer, the bassoon plays one of its common orchestral excerpts from Tchaikovsky’s 4th Symphony, and the piano plays Fur Elise: but not without some significant changes to prove that they are no a pawn in this game, but an individual! The “light” motif can once again be heard in bars 33-36, and bars 78-81. Movement 3, Letting Go, portrays the wisdom that comes with old age. This movement is Balloon’s reflection at a life full of happiness, sorrow, love, learning, and meaning. Letting Go is a quiet resignation, knowing that we are not always in control of what happens in life. However, we are in control of what we choose to do with what we have been given. The “light” motif can be heard once more throughout after bar 30. It is my hope that the listener will find some of themselves in the Balloon; in the joy, frustration, lightheartedness, loneliness, wisdom and hope. https://images.squarespace-cdn.com/content/v1/61fb53793876bf7f63cb246e/d10070ae-a534-4408-ba17-6dc498f1d430/Vogel+pic.jpg Vol. IV - The Devil’s Songbook Roger Vogel studied music theory and composition at Ohio State University and earned his Ph.D in 1975. In 1976, he joined the faculty at the University of Georgia in Athens, Georgia, until his retirement in 2012. Dr. Vogel has composed over 160 compositions, including chamber works, vocal music, and solo piano. His works have received several awards, including prizes from the National Flute Association and the University of Georgia Albert Christ Janer Award. This piece was written for his friend and bassoonist Bruce Gbur to play on his DMA recital. Looking for inspiration, Vogel went to the library and came across The Devil’s Book of Verse by Richard Conniff, a witty collection of poetry with proverbs and verses on a variety of subjects. Vogel chose to set humorous and satirical texts from the book, and aptly named the song cycle The Devil’s Songbook. William Shakespeare, Mark Twain, and Dorothy Parker are some of the notable writers Vogel chose to feature in his composition. https://images.squarespace-cdn.com/content/v1/61fb53793876bf7f63cb246e/fe057cb3-a071-478a-aeb4-0a9773be51b8/Beethoven+pic.jpg Vol. IV - Sonata for violin and piano, Op.24, No. 5 Beethoven had a great love of nature and was particularly happy and inspired when in the forest or walking along a river. For him, the presence of God was reinforced by the beauty of nature. This gentle side contrasts with the well-known characteristics of extreme dynamic tension and raw emotion in much of Beethoven’s music, but it is found throughout his works and is an important element in understanding the composer’s complex personality. The ‘Spring’ sonata, Op. 24, is the fifth of Beethoven’s ten sonatas for piano and violin. Composed between 1800 and 1801, it was dedicated, along with the Sonata in A minor Op. 23 to one of Beethoven’s most generous Viennese patrons, Count Moritz von Fries. Both sonatas were originally intended to be paired as Op. 23, Nos. 1 and 2, respectively, but through the fault of the engraver, the ‘Spring’ sonata became Opus 24. Its moniker was not given by Beethoven, but was given after the composer’s death. One of the most popular of Beethoven’s sonatas for piano and violin, the work is easily remembered, even after first hearing. The music is full of joy, and it’s refreshing, hopeful quality makes the subtitle, ‘Spring,’ very appropriate. Throughout, the melodies are immediate, simple, and elegant. There are also humorous moments, reminding listeners that Beethoven was a master of fun and games as well. ‘Spring’ is one of only three of Beethoven’s piano and violin sonatas to be cast in four movements. It opens with one of the most unforgettable melodies of all time played in F Major by the violin. The second theme which follows is more rhythmic and energetic, and the movement develops around the two contrasting themes. The slow movement in B-flat Major speaks simply and flowingly, with violin and piano alternating in presenting the theme in slightly different variations. The third movement, a scherzo and trio, is like a game of tag in which the violin and the piano bounce off each other. The coquettish impression is strengthened by the rhythmic playfulness. The finale is in rondo form, with a lyrical theme followed by three episodes. Lighthearted and spontaneous, its dotted rhythms exemplify Beethoven’s inventiveness and sense of humor. https://www.tellingstudios.com/emily-and-friends-vol-v daily 0.75 2023-11-04 https://images.squarespace-cdn.com/content/v1/61fb53793876bf7f63cb246e/096d10c0-8e57-4d6a-b67d-e88f9109f220/emily+and+friends+vol.v.jpg Vol. V https://images.squarespace-cdn.com/content/v1/61fb53793876bf7f63cb246e/52d2597e-fe05-4521-8381-a180f2904975/Rachmaninoff.jpeg Vol. V - Vocalise, Opus 34 After finishing his first American tour in 1909, Rachmaninoff returned to the Russian countryside. Seeking refuge at his brother-in-law’s estate in Ivanovka, Rachmaninoff found the necessary relaxation to compose several works, including his Fourteen Songs opus 34. Vocalise is the final song of opus 34, composed in the summer of 1912. This would be one of his last summers spent at the estate. By 1916, the Russian government was in chaos, so Rachmaninoff and his family headed to the United States, and left Russia for the last time. Originally composed for voice and piano, its calm character and expansive lines capture the spirit of its birthplace. Vocalise is unlike the other songs of the opus, as it has no text. This popular piece has been arranged for a variety of instruments. This arrangement for violin and piano was done by Russian born violinist Josef Gingold. https://images.squarespace-cdn.com/content/v1/61fb53793876bf7f63cb246e/402f7b9d-749e-40df-ae3f-346a66d1d5b7/Screen+Shot+2022-10-21+at+9.49.18+PM.png Vol. V - Sonata for Cello and Piano, Opus 119 Prokofiev decided to move back to the Soviet Union in 1936 after long stays in America and Europe to be with his family. Unfortunately, Prokofiev thought his return to the Soviet Union would be temporary, but his passport was taken upon his arrival and never returned. This was at a time when Stalin’s power politics were reaching their horrific climax: people were disappearing in the purges. Soviet artists were not exempt from persecution. This cello sonata was composed in 1949, a year after the “Zhdanov Decree.” This letter by Andrey Zhdanov to the Union of Composers, accused Dmitri Shostakovich, Aram Khachaturian, and Prokofiev of composing music with formalistic distortions and anti-democratic tendencies. There were no direct repercussions to these claims, but later several of Prokofiev’s works were banned from being performed in the Soviet Union. How Prokofiev was able to compose this masterpiece under so much scrutiny remains a mystery. The work was premiered in 1950 by pianist Sviatoslav Richter and cellist Mstislav Rostropovich. https://images.squarespace-cdn.com/content/v1/61fb53793876bf7f63cb246e/81167839-cbb8-4b63-bd50-ed179ce58c0c/Dmitri_Shostakovich_credit_Deutsche_Fotothek_adjusted.jpeg Vol. V - Piano Trio No. 2 in E Minor, Opus 67 Shostakovich’s life was fraught with accusations of being anti-Soviet: several of his compositions were considered “formalist” by the administration. His opera Lady Macbeth of Mtsenk (1936) received a scathing review in the Pravda newspaper, claiming “quacks, grunts, and growls,” and threatened that its composer “could end very badly.” He found redemption and favor with the Soviet Composers Union after the publication of his Fifth Symphony, which won a Stalin Prize. He fell out of favor again with his Sixth Symphony, and so continued this turbulent ride for the rest of his career. The second piano trio in E minor was considered a success and was also awarded a Stalin Prize. This piano trio is dedicated to Shostakovich’s best friend Ivan Sollertinsky, who died suddenly of a heart attack at a young age. During this time, the horrors of World War II loomed large for Shostakovich, perhaps more so than any other Soviet composer. Nazi persecutions of Jewish people reflected his own troubles with the Soviet regime, and the friends and colleagues who had disappeared during Stalin’s purges. This trio can be heard as a tribute not only for Sollertinsky, but for all those who suffered during the war. The first movement seems to be inspired by Slavic folk songs, a nod to Sollertinsky’s Russian heritage. The cheerful melody of the second movement propels the music forward. But the joy is cut short, and the melody takes on a more menacing quality. The third movement is a lament: a passacaglia with eight ominous chords in the piano, the cello and violin singing in anguish. The final movement themes bring to mind Jewish dance tunes, but more like macabre dances of death than celebrations of life. Shostakovich, like many Russians, heard how the Germans forced inmates of concentration camps to dig their own graves, and then were told to dance right before being gunned down. 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