complete recital program - George Mason University School of Music

The George Mason School of Music
presents the
Annual
Honors Recital
Sunday, May 15, 2011
3 p.m.
Harris Theatre
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Program
Impromptu Op. 90 No. 3 Franz Schubert (1797-1828)
Dominick Izzo, piano
Bachianas Brasileiras No. 5 (Aria Cantilena) Heitor Villa Villa-Lobos
(1887-1959)
Gina Mirenda, voice and Sarah Haughton, cello
Balada del Indio Ismael Ledesma (1962-)
Cristian Perez, guitar
Fantasy Piece Op. 73 Robert Schumann
for Cello and Piano (1st movement) (1810-1856)
Ryan Nobles, cello
Mein Herr Marquis Johann Strauss
from Die Fledermaus (1825-1899)
Kyra Wagstaff, soprano
Toccata Aram Khachaturian (1903-1978)
Alisa Hirscher, piano
— Intermission —
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Sinfonia zu “Die Hochzeit Wolfgang Amadeus Mozart
des Figaro” (1756-1791)
Flute Choir
Oboe Concerto in D major Richard Strauss
(I. Allegro Moderato) (1864-1949)
Paul Chinen, oboe
Roy Hakes, piano
Song to the Dark Virgin Florence Price (1888-1953)
Jonathan Champ, baritone
Dumka, Op. 50 Pyotr Ilyich Tchaikovsky (1840-1893)
Mijail Tumanov, piano
Chacun a son gout Johann Strauss
from Die Fledermaus (1825-1899)
Stephanie Edewaard, mezzo-soprano
Variations on a theme Witold Lutoslawski
of Paganini (1913-1994)
Yoonji Kim and Ina Mirtcheva, duo-piano
J
Honors recognition Ceremony
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Program notes
Franz Schubert (1797-1828)
Impromptu Op. 90 No. 3
Schubert was born in Himmelpfortgrund, Vienna on January 31, 1797.
Even though he died at a very young age, Schubert was a prolific composer,
writing nine symphonies, operas, liturgical music, some incidental
music, chamber music, piano music, and some 600 Lieder (German
song.)
Schubert’s Impromptus, published in two sets of four, were written
in 1827. The first set was published while he was living; the second
was published shortly after his death in November 1828. The third
Impromptu, in the key of G-flat major, is a prime example of Schubert’s
incredible melodic gift.
“The broad melody, above an unbroken accompaniment of
arpeggios, moves at a slow and steady pace. It is a perfect image
of peaceful contentment. The left hand, throughout much of the
piece, provides a firm harmonic support to the arpeggios and
melody above, creating a rich and full sound. The middle sec
tion becomes more harmonically adventurous and moves through
several modulations. The bass, as well, also becomes somewhat
more lively with a rising triplet motif and occasional trill.
However, the repressed vigor is soon abandoned as the opening
section returns, rounding out the tripartite form of the piece.”
-Joseph DuBose
Sources:
DuBose, Joseph. “Impromptu Op. 90 No. 3 in G-flat Major, D. 899 | Peter Maxwell Land
| Piano Music | Free Classical Music Online.” Classical Connect - Free Classical Music
Online. Web. 19 Apr. 2011.
.
Heitor Villa Villa-Lobos (1887-1959)
Bachianas Brasileiras No. 5 (Aria Cantilena)
The Bachianas Brasileiras constitute a series of nine suites by the Brazilian
composer Heitor Villa Lobos. They exemplify Villa Lobos’ style, a
fusion between Brazilian folk and popular music and elements from the
European classical tradition. The Bachianas are viewed as an attempt to
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freely adapt a number of Baroque harmonic and contrapuntal procedures
to Brazilian music. The Bachiana Brasileira No. 5, “Aria Cantilena” was
originally written for Soprano and orchestra of 8 violoncelli. He later
made an arrangement for guitar and voice, and it has been arranged for
numerous other kinds of instrumental ensembles. It is one of his best
known pieces of music.
Ismael Ledesma (1962-)
Balada del Indio
Ismael Ledesma is a Paraguayan harpist and composer born in 1962, currently
residing in France. He has traveled around the world performing
his own original compositions.
“Balada del Indio” was first recorded in his album of the same
title in 2000. Latin-American and contemporary elements are present.
The rhythms of the main two voices and how they fit together make this
piece very rhythmically driving. This particular arrangement was done by
one of Cristian’s mentors: Paraguayan classical guitarist Berta Rojas.
Robert Schumann (1810-1856)
Fantasy Piece Op. 73 for Cello and Piano (1st movement)
This work was written in 1849, one of Schumann’s most productive
composing years. Schumann said this of his productivity “For some time
now I’ve been very busy – it’s been my most fruitful year – it seemed as if
the outer storms compelled people to turn inward.” Originally composed
for clarinet and piano, Schumann also included cello and violin parts in
the original composition. It was his intention that the piece could also be
performed by cello or violin with piano accompaniment. Fantasy Pieces
consists of a three movement “cycle of poetic miniatures” beginning with
a movement marked ‘Zart und mit Ausdruck’ which means ‘tender with
longing.’
Sources:
John Daverio and Eric Sams. “Schumann, Robert.” In Grove Music Online. Oxford Music
Online, http://www.oxfordmusiconline.com.mutex.gmu.edu/subscriber/article/grove/
music/40704pg17 (accessed April 18, 2011).
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Johann Strauss (1825-1899)
Mein Herr Marquis from Die Fledermaus
Johann Strauss, II (October 25, 1825 – June 3, 1899) was an Austrian
composer of over 500 waltzes, polkas, and other types of dance music,
as well as ballets and operettas. Among his most notable works are the
operas Die Fledermaus and Der Zigeunerbaron.
Mein Herr Marquis, ein Mann wie Sie My lord, marquis, a man like you
Solt’ besser das versteh’n! should understand this better!
Darum rate ich, Therefore I advise you
Ja genauer sich die Leute anzuseh’n! to look at people more closely
Die Hand ist doch wohl gar zu fein, ah, My hand is indeed much too delicate,
Die Füßchen so zierlich und klein, ah this little foot so graceful and tiny, ah
Die sprache, die ich führe, The language that I speak,
Die Taille, die Tournüre, my waistline, my shape-
Dergleichen finden Sie bei ener Zofe nie! The likes of which you’ll never find in
a chambermaid
Gestehen müssen Sie fürwahr You must truly admit:
Sehr komisch dieser Irrtum war this mistake was truly funny
Ja, sehr komisch, ha ha ha Yes, very funny, ha ha ha
Ist die Sache, ha ha ha! is the thing, ha ha ha!
Drum verzeih’n Sie, ha ha ha, Therefore forgive me, ha ha ha
Wenn ich lache, ha ha ha…! if I laugh, ha ha ha…!
Ach, sehr komisch, Herr Marquis, sind Sie Oh, very funny, lord marquis, you are!
Mis dem Profil im griech’ schen Stil With a profile in the Grecian style
Beschenkte mich Natur nature has endowed me
Wenn nicht dies Gesicht If this face doesn’t
Schon genügend spricht, already say enough,
So seh’n Sie die Figure! Then observe my figure!
Schau’n durch die Lorgnette Sie dann, ah Just gaze through your lorgnette, ah
Sich diese Toilette nur an, ah at this party dress, ah
Mir scheinet wohl, die Liebe It certainly seems to me that love
Macht Ihre Augen trübe; is making your eyes blurry;
Der schönen Zofe Bild the image of a pretty chambermaid
Hat ganz Ihr Herz erfüllt! Has completely filled your heart
Nun sehen Sie sie überall; Now you see her everwhere;
Sehr komisch ist fürwahr der Fall very funny, indeed, is the situation
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Aram Khachaturian (1903-1978)
Toccata
Aram Khachaturian was an Armenian composer and performer. He
began his musical studies with the cello as a nineteen-year old, then later
attended the Moscow National Conservatory where he learned from Sergei
Prokofiev for a short time. He composed Toccata in 1932 as the first
of three pieces in his Suite for piano. The word toccata in Italian means,
“to touch.” Springing from this definition, a toccata is a fast, fingery, often
chordal, virtuosic piece. This toccata thrives on a driving pulse and big
chords, but not without a contrasting, slower, melodious middle section.
Khachaturian composed a variety of music from symphonies and ballet
music to piano solos and vocal works. His style generally gleans from folk
tunes and dances, with strong rhythms and timbre.
Sources:
Virtual Museum of Aram Khachaturian. 14 April 2011.
.
“Aram Khachaturian.” Classical Net 2011. 14 April 2011.
.
“Toccata.” Encyclopedia Britannica 2011. 14 April 2011.
.
Wolfgang Amadeus Mozart (1756-1791)
Sinfonia zu “Die Hochzeit des Figaro”
Shortly after the successful first performance of Mozart’s comic opera The
Marriage of Figaro, publishers brought out a number of arrangements of
the entire work as well as of various pieces from within it for a variety of
instrumental combinations. Howard Cohen’s arrangement of Mozart’s
Sinfonia for four flutes actively integrates each of the parts into the musical
texture and gives each flutist the opportunity to discover one of the
most famous works of Viennese Classicism.
Richard Strauss (1864-1949)
Oboe Concerto in D major, (mvt. I. Allegro Moderato)
The following personal account was shared with GMU oboist Mr. Paul Chinen
by MSG Robert Huffman (an oboist for 32 years with The United States Army
Band “Pershing’s Own”).
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Huffman maintained a close professional relationship with oboist,
John de Lancie. This included collaborations on this concerto with
“Pershing’s Own” in the years before Mr. de Lancie’s passing. The Strauss
oboe concerto is unique among compositions in that the story behind
it can be directly traced. This story is even more remarkable when one
learns of the amazing coincidences that led up to its creation.
In the mid 1930s, a young oboist (age 15) was accepted into the
prestigious Curtis Institute of Music in Philadelphia. He would study
with the legendary oboist Marcel Tabuteau. Graduating at age 18, John de
Lancie was named principal oboist of the Pittsburgh Symphony (under
the renowned Strauss expert, Fritz Reiner). As World War II began, de
Lancie enlisted in the United States Army Band (now, Pershing’s Own)
in Washington DC. The Army Band was deployed to North Africa and
spent nine months in Algiers (a French speaking colony). This offered de
Lancie an opportunity to learn French fluently. When the band deployed
to the United Kingdom, de Lancie was asked to join the OSS (a precursor
to the CIA). The OSS was urgently seeking Americans who spoke French.
Shipped off to France, de Lancie used his French to expose spies
radio-ing American troop movements back to Germany. At the conclusion
of the war he was sent to Germany himself to search for the handlers
of those French spies. It was in Garmisch-Partenkirschen that de
Lancie ran into his old friend from The Curtis Institute, Alfred Mann.
Since, Reiner had communicated such an appreciation for Strauss, de
Lancie was excited by the possibility of meeting Strauss in person. To this
Alfred replied that the Strauss villa was just up the street. Alfred and de
Lancie spent three days with Strauss. Strauss spoke French quite well, so
they all had no trouble communicating.
At one point, de Lancie asked Strauss if he had ever considered
writing an oboe concerto (since he seemed to have a special affinity for
the oboe, writing such beautiful oboe solos in Don Juan and Death and
Transfiguration). Strauss replied simply: “no”, and was the end of the matter,
or so it seemed. It was the end of WW II, and even though Strauss’
association with the Nazi party had been nominal (at most) he still had
to be cleared of enemy suspicion. Waiting around his villa – he decided
to use this otherwise idle time to put pen to paper, one month later, the
Strauss Oboe Concerto was finished.
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Soon after, de Lancie received a clipping from Stars and Stripes
(a compilation of American news articles to keep the troops informed)
sent to him by his brother stationed in the Pacific. The article stated that
the great German composed Richard Strauss had just finished an oboe
concerto inspired by a young American soldier. (This was inscribed on
the original manuscript, although other sorts of personalized inscriptions
appear on various editions). You can imagine the overwhelming surprise
this must have been.
Strauss later got in touch with de Lancie and offered him the
American premier of the concerto. By this point, de Lancie was assistant
principal oboist in the Philadelphia Orchestra. The orchestra management
was very excited about the idea. However, the principal oboist,
Marcel Tabuteau, let it be known in no uncertain terms that if there was
to be an oboe soloist, it would be him – and none other! Thus the mantel
of the American premier passed to de Lancie’s friend in New York
– Mitch Miller – a jazz oriented player, record producer, and the future
host of the TV show – Sing Along With Mitch.
-Robert Huffman, April 18, 2011
Florence Price (1888-1953)
Song to the Dark Virgin
Langston Hughes (1902-1967) Florence Price (1888-1953)
Florence Price (née Smith) was born in Little Rock, Arkansas on April 9,
1888. Her father was a dentist and her mother was a piano teacher, who
served as Price’s instructor. In 1903, Price continued her studies at the
New England Conservatory of Music with a major in organ and piano
instruction. After graduating in 1907, Price taught at a couple of colleges
before becoming head of the music department at Clark University
in 1912. Price has composed more than 300 compositions throughout
her lifetime, ranging from vocal compositions to symphonies and concertos.
On June 15, 1933, the Chicago Symphony Orchestra performed
her Symphony in E minor. She became the first African-American
female composer to have a symphonic composition performed by a major
American symphony orchestra. “Song to the Dark Virgin” is one of her
most popular vocal compositions.
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Pyotr Ilyich Tchaikovsky (1840-1893)
Dumka, Op. 50
A form of Polish or Ukrainian ballad, a dumka is characterized by a
predominantly sad or plaintive tone contrasted with a central celebratory
section. Given the biographical events leading up to its composition, it is
difficult not to hear the composer’s personal narrative in this music. The
opening chords establish an immediate mood of intense melancholy and
solitude. A pleading repeated pattern leads into the central “con anima”
section and its dance-like folkloric exuberance. But the darkness of the
opening is not dispelled, and a desolate resignation closes in, concluding
the emotional journey more sadly than it began. Tchaikovsky wrote, again
to von Meck:
“You want to know my methods of composing… the
circumstances under which a new work comes into
the world vary considerably in each case.
“(1) Works I compose on my own initiative - that is to say,
from an invincible inward impulse.
“(2) Works that are inspired by external circumstances: the
wish of a friend, or publisher, and commissioned work.
“Works belonging to the first category do not require the least
effort of will. It is only necessary to obey our inward promptings, and if
our material life does not crush our artistic life under its weight of depressing
circumstances, the work progresses with inconceivable rapidity.
Everything else is forgotten, the soul throbs with an incomprehensible
and indescribable excitement, so that, almost before we can follow this
swift flight of inspiration, time passes literally unreckoned and unobserved.”
The Dumka is an epic on a small scale, its emotional charge no
less potent than that of the Pathetique Symphony to be composed six
years later.
Johann Strauss (1825-1899)
Chacun a son gout from Die Fledermaus
Johann Strauss II was an Austrian composer of light music, particularly
dance music and operettas. He composed over 500 waltzes, including The
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Blue Danube, and other dance music such as polkas, quadrilles, as well as
several operettas and a ballet. He was known as “The Waltz King” and
was largely responsible for the popularity of the waltz in Vienna during
the 19th century.
Die Fledermaus (The Bat) is a three-act operetta set in Vienna,
1890s. Chacun à son goût is sung by the Prince Orlofsky who is hosting a
masquerade ball at his mansion. The prince proclaims his guests free to
do anything that suits their fancy — “Chacun à son goût”— as long as
they please him and share his love of wine.
“Chacun à son goût” Translation
Ich lade gern mir Gäste ein, I like to invite guests,
Man lebt bei mir recht fein, One lives quite well at my house,
Man unterhält sich, wie man mag One enjoys oneself, as he likes
Oft bis zum hellen Tag. Often until the light of day.
Zwar langweil’ ich mich stets dabei, Although I am bored most of the
time,
Was man auch treibt und spricht; Whatever one says or does;
Indes, was mir als Wirt steht frei, In that, what I allow myself as host,
Duld’ ich bei Gästen nicht! I will not tolerate in guests!
Und sehe ich, es ennuyiert And should I see anyone looking
bored
Sich jemand hier bei mir, Here in my home,
So pack’ ich ihn ganz ungeniert, I will seize him shamelessly.
Werf ’ ihn hinaus zur Tür. And throw him out the door.
Und fragen Sie, ich bitte And ask me, I beg you
Warum ich das denn tu’? Why then this I do?
‘S ist mal bei mir so Sitte, It’s simply my custom:
Chacun à son goût! Each to his own taste!
Wenn ich mit andern sitz’ beim Wein When I sit with others over wine
Und Flasch’ um Flasche leer’, Emptying bottle after bottle,
Muss jeder mit mir durstig sein, Everyone with me must be thirsty,
Sonst werde grob ich sehr. Otherwise I become crude.
Und schenke Glas um Glas ich ein, And if I’m pouring glass after glass,
Duld’ ich nicht Widerspruch; I tolerate no contradiction;
Nicht leiden kann ich’s wenn sie schrein: I can’t stand it when they yell:
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Ich will nicht, hab’ genug! I don’t want to; I have enough!
Wer mir beim Trinken nicht pariert, Anyone who doesn’t keep drinking
with me
Sich zieret wie ein Tropf, And refuses like a ninny,
Dem werfe ich ganz ungeniert, I throw, quite unashamedly,
Die Flasche an den Kopf. The bottle at his head.
Und fragen Sie, ich bitte, And would you ask me please,
Warum ich das denn tu’? Why I do that?
‘S ist mal bei mir so Sitte, It’s simply my custom:
Chacun à son goût! Each to his own taste!
Witold Lutoslawski (1913-1994)
Variations on a theme of Paganini
Wariacje na temat Paganiniego (1941)
Witold Lutoslawski was a polish composer, pianist, and conductor. He
began to study the piano at the age of six and studied theory and composition
with Maliszewski at Warsaw Conservatory and in Hamburg. As
many other musicians, his career as a composer was interrupted with the
outbreak of World War II. During the German occupation of Poland,
the Germans had banned public concerts so that he worked as pianist in
Warsaw cafés with another composer, Andrezj Panufnik. The duo made
over two hundred arrangements, from Bach to Debussy and Ravel. Unfortunately,
the only composition of his to have survived from this period
is the Variations on a Theme of Paganini for two pianos (1941). 1
In this piece, Lutoslawski follows the scheme of Paganini’s wellknown
Caprice, but added a harmonic dimension to it. He recalled: “As
a basis I took Paganini’s 24 th Caprice for solo violin and my Variations
closely follow his model. In each Variation I translate the violin line for
the keyboard. Polyharmony often occurs between the two keyboards but
tonality remains a clear force with frequent traditional dominant-tonic
cadences.” In 1977, he revised these variations as a Concerto for Piano
and Orchestra, asked by the pianist, Felicja Blumental, who gave the first
performance two years later, with the Florida Philharmonic Orchestra. 2
1 “Lutoslawski, Witold,” The Oxford Dictionary of Music, 2nd ed. rev., edited by Michael
Kennedy. Oxford Music Online, http://www.oxfordmusiconline.com.mutex.gmu.edu/
subscriber/article/opr/t237/e6318 (accessed April 10, 2011).
2 “Lutoslawski – Variaion on a Theme of Paganini for Two Pianos,” edited by Felix Aprahamian,
Chester Music Online,
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meet tHe Performers
Dominick izzo, a native of upstate New York, is a sophomore music education
student with a double concentration in piano and voice. He studies
piano with Dr. Linda Monson and voice with Dr. Kathryn Hearden.
He also has had the opportunity to study conducting techniques with Dr.
Stan Engebretson and serves as an undergraduate conducting assistant
for the GMU Chamber Singers. Dominick serves as a leader (elected
member) of the Student Advisory Council for the School of Music. In
addition, he is a member of the National Philharmonic Chorale and
serves as an assistant choir director at the historic New York Avenue
Presbyterian Church. Dominick also teaches piano to thirteen private
piano students. Dominick has performed in ensembles at the Strathmore
and Kennedy Center. He also has had the opportunity to participate in
ensemble performance in Austria, Italy, Iceland, and Germany.
Gina mirenDa was born in Costa Rica. She attended Catholic University
of America for two years where she performed as Pallade (Pallas
Athena) and Damigella in Monteverdi’s “L’incoronazione di Poppea” and
participated in the chorus of Die Fledermaus by Strauss. She is very happy
to be at Mason and participated in last Fall’s production of GMU opera.
She was the soloist for John Rutter’s Gloria last Fall with the University
Singers and recently performed as a soloist with the University Singers
for the first movement of Haydn’s Mass in C.
Sarah hauGhton is a sophomore at GMU pursuing her Bachelor of
Music degree in cello performance. Sarah currently serves as principal
cellist of both George Mason University Symphony Orchestra and the
George Mason University Chamber Orchestra. She is a full-time cellist
with the McLean Orchestra based out of McLean, Virginia and currently
studies with Professor Marcio Botelho.
criStian Perez is a graduate student at GMU, currently studying with
Larry Snitzler, Rick Whitehead, and Glenn Smith. He obtained his
Bachelor’s degree from Mason with a double concentration in Classical
Guitar Performance and Jazz Studies, and a minor in Spanish. He is an
active free-lance guitarist performing solo guitar and in multiple instrumental
combinations such as his Dâle Project, which will perform at the
2011 Argentine Festival on May 28 th in Arlington, VA.
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yan aShley nobleS is pursuing a Masters in Cello Performance at
George Mason University. She received a Bachelor’s degree in music
from the University of Mary Washington. While attending the University
of Mary Washington (UMW) she was principal cellist in the University-Community
Symphony Orchestra and Chamber Orchestra and
also performed with then Mary Washington Symphony as a high school
student for their Carnegie Hall performance in 2002. After graduating
from UMW Ryan worked as the Executive Director of the Rappahannock
Youth Symphony, private instructor, and performed with the Piedmont
Symphony, Rappahannock POPS Orchestra and other ensembles
in the greater Fredericksburg area before relocating to Fairfax to pursue
an advanced degree in performance. Ryan currently studies cello with
Marcio Botelho.
kyra WaGStaff is currently a junior voice performance major at George
Mason University studying under Dr. Kathryn Hearden. Originally from
Baytown, TX, she was a part of the Humphrey School of Musical Theatre
with Theatre Under the Stars in Houston from 2001-2007, having performed
in the Mainstage productions of The Wizard of Oz and Singin’
in the Rain as well as been a featured cast member in the premier of The
Stephen Schwartz Project. In addition to this, she also participated in
Baytown Little Theatre’s production of Chicago, where she played Roxie
Hart. While at GMU, Kyra has been involved in such opera productions
as Gallantry (Poof Girl), Amahl and the Night Visitors, Suor Angelica (Suor
Infermiera), and A Tribute to the Music of Rodgers and Hammerstein and
Andrew Lloyd Webber (soloist). Over the past 3 years, she has been actively
involved with summer voice programs, including New York Opera Studio
with Nico Castel where she portrayed Frasquita in “The Card Scene”
from Bizet’s Carmen, Spoleto Vocal Arts Symposia with Enza Ferrari,
and, most recently, the V.O.I.C.Experience in Tampa, Florida with Sherrill
Milnes, David Friedman, and Susan Yankee.
aliSa hirScher is a freshman piano performance major studying with
Dr. Linda Monson. Alisa is from Woodbridge, Virginia and is in the
Honors College at Mason. She has played piano since second grade and
has been home schooled. She had the opportunity to perform as keyboardist
with the GMU Chamber Orchestra and Opera in Amahl and the
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Night Visitors. She is serving as an accompanist for the children’s choirs at
Springfield United Methodist Church and she also teaches piano lessons.
Alisa recently performed as solo pianist in the Fairfax Spotlight on the
Arts Mayor’s Ball in the gala opening of the new Sherwood Community
Arts Center. She is the grateful recipient of the Spotlight on the Arts
Ruth Haycock Piano Award.
PulSe is George Mason University’s resident flute choir. It is comprised
of music performance and education majors, bachelor of arts students,
and non-music majors. Formerly known as Champagne Flutes, Pulse was
established in September of 2009 under the direction of Judith Lapple.
The group continues today under the direction of Jennifer Lapple. Their
mission is musical outreach through performance and education.
Pulse Flute Choir
Carly Alba
Sarah Angel
Conor Cafferty
Kate Freeburn
Sara van der Horst
Courtney Kerby
Grace Lane
Yvonne LeFrancois
Kim Miller
Paul chinen is a freshman undergraduate student at George Mason
University. He currently studies oboe under Dr. Lorrie Berkshire-Brown.
In the Fall of 2010 he was selected as a Howarth Young Artist to participate
in a master-class at Pepperdine University in California. Paul has also
played with the American Festival Orchestra and is Principal Oboe of the
George Mason University Wind Symphony and Symphony Orchestra.
Originally from Honolulu, Hawaii, Paul has performed with the Honolulu
Civic Orchestra as well as the Honolulu State Pops Orchestra. He attended
the Interlochen Summer Music institute in the year 2009 and has
studied Oboe under Mrs. Susan Ochi-Onishi, and Linda Strommen. Paul
is also an avid Saxophonist and currently studies with Mr. Rick Parrell.
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Andrea Murano
Caitlin Oliver
Sally O’Neill
Katie Rehm
Agnes Rhee
Jessica Salas
Sarah Shapiro
Amy Tanna
Meghan Walsh

Jonathan rayniDo chamP is a 19-year-old sophomore at George Mason
University. Jonathan went to high school at the Governor’s School
for the Performing Arts where he developed his passion for opera/classical
music. While at the Governor’s School, he was a Virginia Opera
S.T.A.R. (Student Training Artistic Residency) Intern where he performed
as a member of the chorus in their 100 th production of Verdi’s Il
Trovatore. Since his enrollment at GMU, he has been a two time winner
at the Virginia NATS (National Association of Teacher’s of Singing)
competition as well as an active member of GMU Opera performing
roles like The Page (Amahl and the Night Visitors), Alcindoro (La Boheme),
and most recently Marco and Ser Amantio di Nicolao (Gianni Schicchi).
This past summer, Jonathan made his international debut in Vietri sul
Mare, Italy performing the role of Monostatos (Die Zauberflote) in the
Amalfi Music Festival, under the baton of Maestro Joseph Walsh. Jonathan
is a student of Patricia Miller and Samuel Bonds.
miJail tumanov was born in Ukraine in 1988. In 1994, he moved to-
Costa Rica, where he started his musical education at the age of 8, with
Alexandr Sklioutovsky. In 1998, he was accepted into the Intensive Precollege
Piano Training program at the National University of Costa Rica,
as well as its sister school, the Instituto Superior de Artes, where he also
studied with Ludmila Melzer. Tumanov won the Young Soloists competition
of the National Symphony Orchestra of Costa Rica. Mijail has
also performed with the National Symphony Orchestra of Ukraine, the
Youth Symphony Orchestra of Costa Rica and the Ball State Symphony
Orchestra. In 2001, he won the 5th Pinault International Competition
in New York. Tumanov finished the B.M. in piano performance and
pedagogy at the National University of Costa Rica in 2005 and the following
year, began working towards his M.M. in piano performance at
Ball State University in Indiana, under Ray Kilburn. After finishing his
M.M. degree, he remained at Ball State, in the Artist Diploma program.
In 2009, Tumanov advanced to the Division Round of the Music Teachers
National Association Competition where he represented Indiana and
was chosen as the Alternate Winner. Currently, Tumanov is working on
his D.M.A. in Piano Performance at George Mason University, studying
with Dr. Anna Balakerskaia.
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StePhanie renée eDeWaarD, Mezzo-Soprano, is a senior in the Vocal
Studio of University Professor Patricia Miller, Director of Vocal Studies.
Ms. Edewaard has performed the roles of “Cherubino” in Le Nozze di Figaro
and “Second Lady” in Die Zauberflöte at the 2009 and 2010 Amalfi
Coast Music Festivals in Vietri sul Mare, Italy. Recently with the George
Mason Opera, she appeared as “La Ciesca” in Gianni Schicchi and “Hansel”
in Humperdinck’s Hansel and Gretel. Ms. Edewaard has also sung
supporting and leading roles in GMU productions of Street Scene (Nursemaid),
Gallantry (The Announcer), Suor Angelica (The Monitor), and La
Boheme (Mother). She has performed in various opera scenes including
those from Così fan Tutte, The Mikado, Candide, Lakme, Die Fledermaus,
Carmen, and Le Nozze di Figaro for galas at George Mason and at the
Amalfi Coast Music Festival.
In March 2011, Ms. Edewaard won First Place at the Virginia
State NATS (National Association of Teachers of Singing) Vocal Competition,
continuing on to win Third Place in the Mid-Atlantic Regional
NATS Competition. Ms. Edewaard was a winner in both the 2009 and
2010 Virginia State NATS, advancing both times to the Regional NATS.
More recently, Ms. Edewaard received Third Place in the 2011 Friday
Morning Music Club Sue Goetz Ross Memorial Student Voice Competition.
yoonJi kim, a student of Dr. Linda Apple Monson, is currently a doctoral
student in music at George Mason University. She graduated from
Mason in 2005 with a Bachelor of Music in Piano Performance and
again in 2007 with a Master of Music in Piano Performance. Yoonji has
been chosen to perform in GMU’s annual Jean Carrington Cook Piano
Scholarship Concerts, and was featured in the All-Steinway School
Piano Dedication Concert at GMU. She was also chosen to perform
in the 2009, 2007, and 2004 GMU Honors Recitals. Additionally, she
performed the Grieg Piano Concerto and Chopin’s Concerto No. 1 in E
minor several years ago with the GMU Symphony Orchestra as a result
of winning the annual concerto competitions. She has performed in
Fairfax Old Town Hall for Spotlight on the Arts Scholarship Concerts
and the 2009 and 2010 ARTS by George! gala. Yoonji has performed in
piano master classes with Awadagin Pratt, Lise Keiter-Brotzman, and
Jeffrey Siegel. She is a previous and current Friends of Music Scholarship
Recipient. Yoonji teaches keyboard skills at Mason to freshmen and
sophomore students. She serves as accompanist for Kwon-Sa Ensemble
of Korean Central Presbyterian Church in Centreville, VA.
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ina mirtcheva started playing the piano when she was five years old
and attended L. Pipkov Music School in Sofia, Bulgaria. In 1998 she
moved with her family to the United States and continued her studies
with Dr. Anna Balakerskaia first at Levine School of Music and then at
George Mason University where she earned her Bachelors and Masters
of Music in Piano Performance. She earned a second Masters in Instrumental
Collaborative Piano at the University of Cincinnati College-
Conservatory of Music, where she had a full graduate scholarship and assistantship
and studied piano and chamber music with James Tocco and
Sandra Rivers. Currently, Ina Mirtcheva is back at George Mason in the
D.M.A. program and teaches Keyboard Skills classes. Ms. Mirtcheva has
performed in numerous recitals around the USA and abroad as a soloist
and with chamber music ensembles including at venues such as the Kennedy
Center, Smithsonian Institute and in recital halls in Italy, Holland,
Poland, Bulgaria and Canada. She is a winner of Schlern International
Competition, VMTA and GMU Concerto Competition. She is also a
recipient of a Strathmore Hall Award, J. C. Cook Scholarship, Peterson
Award.
Honors reCognition
to outstanding 2011 graduates:
anDrea lively (BA Music; BS Economics) While a student at the
George Mason University School of Music, Andrea participated in many
ensembles, including the Symphony Orchestra, Chamber Ensembles, as
well as the String Chamber Orchestra. She studied applied violin with
Professor Peter Haase.
michelle fleiSchman (BM Music Education) During her time as
a music student at George Mason University, Michelle was an active
participant with the Symphony Orchestra, Various Chamber Ensembles,
Chamber Orchestra, Pep Band, and String Chamber Orchestra. She
studied applied violin with Professor Peter Haase.
aDam PhilliPS (BM Music Education; Jazz Studies and Music & Technology
Minors) As a student at the George Mason University School of
Music, Adam student applied guitar with Professor Larry Snitzler. He
also performed with the Symphonic Band, Jazz Combos, Jazz Workshop,
and University Chorale.
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uPcominG muSic eventS at maSon
Brass ensemble Concert:
Brass Music From Renaissance to Rock
Tues | May 17 | 8 pm | de Laski 3001
Free and Open to the Public
703-993-1380 for information
music.gmu.edu
George Mason University School of Music
For more information and a complete listing of concerts and recitals,
Visit the Web site at http://music.gmu.edu
George Mason University is a registered All-Steinway School
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