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Music at Maryville Spring 2024 Concert 1

Franz Schubert (1797-1828): Winterreise (Winter Journey)

Sunday, February 4, 2024 • 3:00 p.m. Maryville University Auditorium • Directions

Free Admission

The concert will not be live-streamed, and no recording will be available, so please consider enjoying this performance in person. Feel free to share this information with anyone you know who may be interested.

Artists

Jeffrey Heyl, bass-baritone

Jeffrey Heyl, bass-baritone
Jeffrey Heyl, bass-baritone

Ann Choomack, flute

Ann Choomack, flute
Ann Choomack, flute

Peter Henderson, piano

Musical Program

Julius Schmid (1854-1935): "Schubertiade" (1897 oil painting)
Julius Schmid (1854-1935): “Schubertiade” (1897 oil painting)

Franz Schubert: Introduction and Variations on “Trockne Blumen” (“Withered Flowers”) for Flute and Piano, D. 802 (1824) — ca. 15 minutes

Franz Schubert (1797-1828): Winterreise (Winter Journey), Song Cycle for Voice and Piano, D. 911 (1827) — Texts: Wilhelm Müller (1794-1827) — ca. 70 minutes

  1. Gute Nacht (Good Night)
  2. Die Wetterfahne (The Weathervane)
  3. Gefrorene Tränen (Frozen Tears)
  4. Erstarrung (Numbness)
  5. Der Lindenbaum (The Linden Tree)
  6. Wasserflut (Flood Water)
  7. Auf dem Flusse (On the River)
  8. Rückblick (A Look Backward)
  9. Irrlicht (Will o’ the Wisp)
  10. Rast (Rest)
  11. Frühlingstraum (Dream of Spring)
  12. Einsamkeit (Solitude)
  13. Die Post (The Mail)
  14. Der greise Kopf (The Old Man’s Head)
  15. Die Krähe (The Crow)
  16. Letzte Hoffnung (Last Hope)
  17. Im Dorfe (In the Village)
  18. Der stürmische Morgen (The Stormy Morning)
  19. Täuschung (Illusion)
  20. Der Wegweiser (The Signpost)
  21. Das Wirtshaus (The Inn)
  22. Mut (Courage)
  23. Die Nebensonnen (The False Suns)
  24. Der Leiermann (The Hurdy-Gurdy Man)

Brief Program Note

This concert will celebrate the art of Franz Schubert (1797-1828). While Schubert did not tend toward overt virtuosity in his instrumental works, his variations for flute and piano on his own, previously composed song Trockne Blumen (Withered Flowers) are a brilliant showcase for the skills of the instrumentalists. The concert will conclude with Schubert’s final completed art song cycle, Winterreise (Winter Journey). A song cycle is the classical music equivalent of a concept album, in which each song is integral to a larger idea. The generally bitter songs of Winterreise explore a common Romantic theme: a young person’s despair upon being rejected by a lover. It is widely accepted that, by the end of the journey, the protagonist has descended into madness. As is typical in Schubert’s songs, the piano’s texture is varied to match visual or other cues in each song’s text, creating an astoundingly varied tapestry. Schubert’s Winterreise is considered one of the pinnacles of the art song tradition.

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Relaxing classical music selections

Composers (listed chronologically by life dates)

Stephen of Liège (ca. 850-920)

Josquin Desprez (ca. 1450/1455-1521)

Giovanni Pierluigi da Palestrina (ca. 1525-1594)

  • Kyrie from the Pope Marcellus Mass

Gregorio Allegri (ca. 1582-1652)

Remo Giazotto (1910-1998) [after Tomaso Albinoni (1671-1751)]

George Frideric Handel (1685-1759)

  • Adagio from Keyboard Suite No. 2 in F major, HWV 427
  • Largo from Serse (opera)

Johann Sebastian Bach (1685-1750)

Christoph Willibald Gluck (1714-1787)

Joseph Haydn (1732-1809)

Wolfgang Amadeus Mozart (1756-1791)

Ludwig van Beethoven (1770-1827)

Franz Schubert (1797-1828)

Fryderyk (Frédéric) Chopin (1810-1849)

Robert Schumann (1810-1856)

Franz Liszt (1811-1886)

Johannes Brahms (1833-1897)

Alexander Borodin (1833-1887)

Camille Saint-Saëns (1835-1921)

  • The Swan from Carnival of the Animals for two pianos and orchestra

Antonín Dvořák (1841-1904)

Jules Massenet (1842-1912)

  • Meditation from Thaïs (opera, 1894/1898) for violin and piano

Edvard Grieg (1843-1907)

  • Morning Mood from Peer Gynt Suite No. 1, op. 46 for orchestra

Gabriel Fauré (1845-1924)

Engelbert Humperdinck (1854-1921)

Giacomo Puccini (1858-1924)

Isaac Albéniz (1860-1909), arr. Leopold Godowsky (1870-1938)

Edward MacDowell (1860-1908)

Claude Debussy (1862-1918)

Richard Strauss (1864-1949)

Jean Sibelius (1865-1957)

Erik Satie (1866-1925)

Scott Joplin (1868-1917)

Ralph Vaughan Williams (1872-1958)

Arnold Schoenberg (1874-1951)

Maurice Ravel (1875-1937)

Samuel Coleridge-Taylor (1875-1912)

Maurice Duruflé (1902-1986)

  • Introit from Requiem, op. 9 for solo voices, mixed chorus, orchestra, and organ

Arvo Pärt (b. 1935)

Philip Glass (b. 1937)

Eric Whitacre (b. 1970)

Film music excerpts

John Barry (1933-2011)

Howard Shore (b. 1946)

  • “The Shire” from the soundtrack for The Lord of the Rings: The Fellowship of the Ring (2001 motion picture)

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Haydn Project 2022-23

Haydn Project 2022-23

My 2022-23 music performance season will culminate with March 3 & 4, 2023, subscription concert performances with the St. Louis Symphony (SLSO) conducted by Stephanie Childress.

These SLSO concerts will feature Piano Concerto No. 11 by Joseph Haydn (1732-1809).

Leading up to these SLSO performances, I will also be exploring the vibrant musical legacy of Joseph Haydn by:

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Guidelines for usage of the Bösendorfer grand piano in Huttig Chapel 

When the Bösendorfer grand piano is stored, please:

  • Ensure that the piano is in its usual position close to the side of the altar platform, with its long (not curved) side nearest the platform.
  • Ensure that the piano’s keyboard lid is closed, and the keyboard lock on the left side is in place and locked (Maryville Public Safety—314-529-9500—has a copy of the keyboard-lock key).
  • Ensure that the piano’s undercarriage humidisitat is plugged into the nearest electrical outlet.
  • Ensure that the piano’s custom cover is on the instrument, and the sign asking people to refrain from placing things on the piano is in place on top of the custom cover. The piano’s dedicated bench can be placed under the keyboard in a way that will allow it to fit under the custom cover.
  • Please do not move this piano. Its usual position ensures that it will not be damaged by air blown upward from the registers along the chapel’s walls.

When using the Bösendorfer grand piano:

  • Remove the piano’s custom cover and keyboard lid-lock (Maryville Public Safety—314-529-9500—has a copy of the keyboard lid-lock’s key), then place them in a safe place.
  • When opening the piano’s lid, please first open the lid’s small section near the keyboard, then the main portion of the lid.
  • The lid will open partway, or fully. This is important!:
    • The hole in the lid nearest the edge is for the two shorter lid-support stick(s).
    • The hole in the lid farther in from the edge is for the full-length lid-support stick. 
    • Once the lid is supported in its desired inclination, please ensure that the stick is perpendicular to the lid. If the lid and its supporting stick are mismatched, there’s a chance that the lid (which is heavy) may collapse, endangering people nearby.
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Music at Maryville and other 2022-23 professional music performances

Music at Maryville series
Music at Maryville series

Spring 2023

  • Sunday, April 16, 2023, 3:00 p.m.Music at Maryville Concert 4 of 5: Music by Maryville Faculty Composers — World premieres of the first Music at Maryville commissioned work by David NalesnikPeter Henderson‘s Five Poems of John Wickersham, and portions of Scott Lyle‘s Missa Pro Defunctis; also featuring performances of original songs by Maryville faculty members Gabriel Colbeck, Jonathan FahnestockJesse Kavadlo, and John MarinoMaryville University Auditorium • Free admission; donations gratefully accepted
Haydn Project 2022-23
Haydn Project 2022-23

Fall 2022

  • Sunday, November 13, 2022, 3:00 p.m.Music at Maryville Concert 2 of 5: Adam Maness Combo plays Jazz Standards and Originals Maryville University Auditorium • Free admission; donations gratefully accepted
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2022-23 Maryville University Music Program Student Performances (not including Senior Recitals)

Ensembles Concerts

  • Fall Semester Choral and Instrumental Ensembles Concert — Sunday, December 4, 2022, 7:00-9:30 p.m. • Maryville University Auditorium • Free admission
  • Spring Semester Choral and Instrumental Ensembles Concert — Sunday, April 30, 2022, 7:00-9:30 p.m. • Maryville University Auditorium • Free admission

Student Recitals (each Music Therapy major must perform twice individually across Fall 2022 and Spring 2023) + new Performance Classes

  • Performance Class 1 — Monday, September 19, 2022, 12:30-2:00 p.m. • Maryville University Auditorium • Free admission
  • Student Recital 1 — Friday, October 21, 2022, 9:30-11:00 a.m. • Maryville University Auditorium • Free admission
  • Performance Class 2 — Monday, November 14, 2022, 12:30-2:00 p.m. • Maryville University Auditorium • Free admission
  • Student Recital 2 — Monday, November 28, 2022, 2:00-3:30 p.m.; Maryville University Auditorium
  • Student Recital 3 / Performance Class 3 (one combined event) — Friday, February 10, 2023 — 11:00 a.m.-12:30 p.m. • Maryville University Auditorium • Free admission
  • Student Recital 4 — Friday, March 24, 2023, 11:00 a.m.-12:30 p.m. • Maryville University Auditorium • Free admission
  • Student Recital 5 — Friday, April 21, 2023, 11:00 a.m.-12:30 p.m. • Maryville University Auditorium • Free admission
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Peter’s Summer 2022 and Spring 2023 Performance Highlights

On 28 July 2022, I will enjoy the special opportunity of performing Franz Schubert‘s Fantasy in F minor for piano four-hands with internationally renowned pianist George Li at the Sun Valley Music Festival. Our upcoming SVMF performance was mentioned in Pianist Magazine on 28 April 2022.

On 3 and 4 March 2023, I will have the honor and pleasure of performing Joseph Haydn‘s Piano Concerto No. 11 in D major with the St. Louis Symphony under the baton of Stephanie Childress. The SLSO has sent out the following Tweet and shared an “SLSO Story” (The Amazing Pianists You Need to See in the SLSO’s 2022/2023 Season) about all nine piano soloists (including me!) who will be featured with the orchestra during the 2022-2023 season.

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Remembrances of Katja Georgieff (1926-2021)

Katja with her piano teacher Leo Sirota at the St. Louis Institute of Music (photograph shared by Nicole Gordon)

Message from Peter Henderson

We hope to see you at my Tribute Recital for Katja on Sunday, April 24, 2022, at 3:00 p.m. CST, in the Maryville University Auditorium. My own written appreciation of Katja was posted on Maryville University’s blog, MPress. Please feel free to read it there.

Remembering Katja Georgieff, by Cynthia Briggs

Any time I think of Katja I picture a ball of energy, smiling most of the time, but always full of ideas, plans, inquiries, thoughts, reflections and more. While we were co-faculty members for only a year, she continued to be part of life at Maryville, planning Music at Maryville and often stopping by to check in on the music therapy program or just to say hello. I quickly deduced that musicianship made up her core. I gained credibility with Katja when she learned that I had studied piano with Audrey Hammann, a St. Louis pianist whom she respected.

Just a few months before the pandemic began, I was invited to dine with Katja and Rosalie Duvall, the director of the music therapy program who preceded me. It was a dinner full of conversation, speculation, information, possible gossip, inquiries regarding shared friendships and more. A non-stop conversation that I am so grateful for, though I didn’t know at the time how fortunate I was to get to spend the evening with Katja and Rosalie. I feel so privileged to have had Katja as a colleague.

Cynthia Briggs
Professor Emeritus, Music Therapy
Maryville University

Katja, by Mariam Simonyan

I met Katja in 1998 shortly after I started working at Maryville. Jackie Plunkett, former HR director, introduced us and Katja was eager to meet me since I spoke Russian. We later found out that we share Armenian heritage and much more. Very soon Katja became a good friend and part of my family.

It is hard for me to talk about Katja in past sense, she is very much alive in the hearts and memories of everyone that had the privilege to know her. My life is so much better, fuller and brighter because of Katja. Her enthusiasm, endless curiosity about people, world history, music, art and positive outlook on life is what I miss every day. She was ageless and could relate to anyone from great-grandkids to people well in their nineties. Although, she referred to them as “old people” and preferred to hang out with younger folks. Katja was young at heart and for her, age only mattered because her body was showing signs of it, but her mind was sharp and she was full of life and ready for the next adventure.

I look forward to the concert on April 24 to listen to the music Katja loved so much and to feel her presence in the Auditorium she performed so many times.

Mariam Simonyan
Associate Director of Financial Aid, Operational Excellence
Maryville University

On not saying good-bye to Katja, by Nicole Gordon

Katja was my piano teacher.

She had been a student of my grandfather, Leo Sirota, at the St. Louis Institute of Music, for many years. So our family visited St. Louis from New York every summer when my brother and I were growing up. In that way I came to know the Georgieff family: Stoyan, Katja, Michael, and Nic, but the last time I saw Katja until recently would have been in about 1965, almost sixty years earlier. Still, I had warm recollections of her.

Fortuitously, about four years ago a musicologist doing research on my grandfather asked whether I knew of any of Sirota’s students whom he could interview. I was able to track Katja down and arranged a three-way interview, and when it was over, Katja invited my husband Roger and me to visit her in St. Louis, which we did.

In the meantime, after having studied piano to a reasonable degree through high school, I had abandoned playing for about fifty years. But around the time I became reconnected with Katja, I had started up again in a modest way.

When we met, it was a love-at-first-sight episode. We had so much to discuss about things Russian, things Austro-Hungarian, Vienna, marzipan, Italy, Yugoslavia, detective stories, Tolstoy’s views on Wagner, Pushkin’s poetry, my grandparents, Katja’s strong views on absolutely everything, including her amazing attachment to her white Lexus sports car (that actually had to be squeezed into the garage), and naturally music, music, music. It was for me like opening up an entirely new world that had to do with my family’s history and background, but was also in particular an education and re-education on the piano by a master teacher. It was serious, intense, and fun, dotted with Katja’s wicked wit.

My fateful reconnection with Katja as a grown up necessarily began with her question, would I play for her? I was to be sure intimidated, but told her I had been working on some Bach, Chopin, Beethoven, and Brahms. I asked what she would like to me to play. She said, “play what you are most comfortable with.”

So first I played a Bach prelude. When it ended there was a silence, and then she said, “You play the Bach as though you were living in the nineteenth century. It is not played that way now, and I would not play it that way, but it is beautiful and convincing and you should keep it as it is.”

I could not have been more astonished and pleased.

But then I played the fugue, and after a longer silence, she said, “you may think that sounds nice, but it is not ‘Bach.'” My balloon was burst, but she was encouraging, and not long after, we established a way for me to have lessons though we were a thousand miles apart.

I would come to St. Louis about once every eight weeks and live with her for three blissful days. We would sit at the piano and work together for hours and hours, measure by measure, phrase by phrase. What I learned, and the intensity of the time we spent together, live in my memory as among the very happiest experiences I have ever had.

My way of not saying any false goodbye has been to listen over and over again to Lensky’s Aria (from Tchaikovsky’s Eugene Onegin) sung by Sergei Lemeshev in 1937 (we agreed that it was the best performance of the best aria in the best opera of all time) and to countless versions of “Morgen!” by Richard Strauss, among her favorite pieces.

And my way of staying connected to her is to practice the piano and to recollect particularly my adventure with her working on a particular Brahms Intermezzo to a level that satisfied her (“Brava!”) and which she took on with me because I loved it so, and she had never taught it, so it felt very much like something special we did together.

I cannot say goodbye to Katja, who gave me so much, whom I loved so deeply, for whom I will always grieve so deeply, and to whom I dare hope I brought some measure of pleasure.

To close on music she loved, sad and hopeful,

Eugene Onegin: “Kyda, kyda, kyda vi ydalilise…”

And “Morgen!”: “Und morgen wird die Sonne wieder scheinen…“

Nicole (“Nicky”) Gordon
Katja’s piano student and friend

Katja, by Ana Simonyan

It is still difficult to believe that the world lost an extraordinary human being in 2021; a timeless and beautiful woman who embodied humility, gratitude, joy, acceptance, light, intelligence, creativity, and generosity. I am overwhelmingly thankful for all the time I spent with Katja, and for the opportunity to have known her in this life.

Katja was truly exceptional and so special to all that knew her. I have never known anyone so capable of effortlessly and meaningfully connecting with others across generations, cultures, time, and distance. I sincerely admire how Katja believed in the beauty of the small things in life. She loved so big and made other people love themselves more deeply as a result. I hope one day I can be half the person, teacher, mother, and friend that she was. I feel extremely grateful that I was a special person for whom she shared her wisdom, smile, laughter, kindness, love of literature and music, talent, and memories. Katja’s life was full and she made mine even fuller. I will miss her always.

Ana Simonyan
Katja’s friend

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Sangeetha — Classical Indian Music (Mar. 18 @ 7:30 p.m.)

“Shiva – Shakti” — “Power of the Almighty”

Friday, March 18, 2022 • 7:30 p.m.

Maryville University Auditorium

Free admission • Donations gratefully accepted

Campus guests must sign in on paper when entering the Maryville University Auditorium, providing your name, phone number, and email address

Mask-wearing is optional on campus

The realtime-only livestream of this concert has been canceled

Program

Introductions of the Artists

  • Main Vocals: Vidya Anand, Vrisha Jagdish, Saiva Gadi
  • Violin: Ramesh Cherupalla
  • Mridangam: Subbaraman Kameswaran (Subbu)
  • Presenter: Bala Anantharama

Brief Introduction to Indian Classical Music

  • Nada Tanumanisham Shankaram — Ragam Chittaranjani — Talam Adi
  • Ekambaresha Nayika Shivey — Ragam Suddha Saveri — Adi Talam
  • Shiva Namama — Ragam Hamsandam — Talam — Adi Shankara Chandrasekhara — Ragam Madhyamavathu — Talam Mishra Chapu
  • Every Classical concert starts with a Varnam, followed by Prayer to Lord Ganesha for removing all obstacles

Varnam

  • Sri Rajamathangi

Prayer to Lord Ganesha

  • Gajavadana maam paahi
  • Shiva Shiva yana Rada with Kalpana swaras
  • Sharanagatham Endru Nambi Vanden

Main Song

  • Bhuvaneshwariya with Alapana and Kalpana Swaras
  • Namah parvathi — Bho Shambho — Shiva Shambho

Concluding Song

  • Thillana 
Sangeetha – St. Louis

“The basis of existence is in vibration, which is sound. Indian Classical Music is divine and spiritual, helping a person evolve into higher dimensions of experience, and evolution from within.”

— from Sangeetha’s website

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Katja Georgieff — Tribute Recital by Peter Henderson, pianist (Apr. 24 @ 3 p.m.)

Tribute to Dr. Katja Georgieff

Dr. Katja Georgieff (1926-2021)
Dr. Katja Georgieff (1926-2021)

Peter Henderson, solo piano

Sunday, April 24, 2022 • 3:00 p.m.

Maryville University Auditorium

Free admission • Donations gratefully accepted

UPDATE (April 23, 2022) — GUEST SIGN-IN NO LONGER REQUIRED

Mask-wearing is optional on campus

Click here to register for the realtime-only livestream of this concert

Katja was a dear friend and mentor to many in our community, including me. I miss Katja, but I am tremendously grateful to have known her! In honor of her legacy, I offer this solo recital featuring Romantic-era piano music that Katja loved deeply. — Peter Henderson

PROGRAM

FRANZ SCHUBERT (1797 – 1828)

Four Impromptus, D 899 (op. 90)

  • No. 1 in C minor: Allegro molto moderato
  • No. 2 in E-flat major: Allegro
  • No. 3 in G-flat major: Andante
  • No. 4 in A-flat major: Allegretto — Trio

FRYDERYK (FRÉDÉRIC) CHOPIN (1810 – 1849)

Two Nocturnes, op. 55

  • No. 1 in F minor: Andante
  • No. 2 in E-flat major: Lento sostenuto

INTERMISSION (ca. 10 minutes)

JOHANNES BRAHMS (1833 – 1897)

Three Intermezzi, op. 117

  • No. 1 in E-flat major: Andante moderato
  • No. 2 in B-flat minor: Andante non troppo e con molta espressione
  • No. 3 in C-sharp minor: Andante con moto

ROBERT SCHUMANN (1810 – 1856)

Fantasia in C major, op. 17

  1. Durchaus fantastisch und leidenschaftlich vorzutragen — Im Legenden-Ton — Tempo primo
  2. Mäßig. Durchaus energisch — Etwas langsamer — Viel bewegter
  3. Langsam getragen. Durchweg leise zu halten — Etwas bewegter