Music

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    Trois Fables de Jean de la Fontaine
    (2008) Bower, John
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    Begierig Rot
    (2008) Albrecht, Hannah
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    From Iconography to Opacity: The harp’s mythological origins and modern neglect
    (2009) Press, Lily Ann Cascio; Freedman, Richard
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    Three Movements for String Quartet
    (2012) Colvson, Jonathan; Arauco, Ingrid
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    Recital by Haig Minassian '12
    (2012) Minassian, Haig
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    Inventios I, II, & III
    (2013) Foster, Alyssa Lynne
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    String Quartet Number 2 : Empire
    (2013) Safran, Benjamin
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    Vespers
    (2014) Walter, Micah John; Arauco, Ingrid
    Vespers is unmistakably inspired by liturgy. The title alone simply denotes an evening service of prayer; in this case, the text and structure are drawn from an Eastern-rite vespers service. On the other hand, I wished to write a work that would stand on its own, performed outside of a liturgical context. These two factors--a love for liturgical music and a desire to write a concert work--influenced my choice of Vespers as the service to set. Rather than composing a setting of the Mass or Divine Liturgy, each a central eucharistic celebration, I chose to set a service of a quieter and more contemplative nature. Of a different character from the celebratory eucharistic services, Vespers emphasizes petitions for mercy as well as a sense of quiet assurance. I think of Vespers, then, as primarily a concert work (rather than a liturgical work) reflecting these qualities--albeit one that retains most of the form of its liturgical source, and which as a result could feasibly be adapted to use in worship. Vespers is written for mixed choir with soloists and lasts approximately 54 minutes. The work's premiere performance was at Haverford College on April 7, 2014.
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    Who Speaks for the Gods?: For Baritone and Piano
    (2014) Burke, Andrew; Arauco, Ingrid
    Who Speaks for the Gods? is a song cycle based on a course I took as a student at Millsaps College with Dr. James E. Bowley. The class dealt with the issue of interpreting ancient religious texts and how different religious extremist groups throughout history have validated their severe social agendas by using these texts according to their own interpretations. In this sort of process, the original message of the text can become quite adulterated or distorted. I attempt to explore these same issues by using the song cycle in a novel way. Specifically, I focus on the Westboro Baptist Church (WBC). In my piece, each song's text is composed of passages from the Bible that the WBC has used to legitimize one of their claims. Thus, each song represents one of their infamous picket signs. The Biblical text is presented in Latin so that the listener cannot readily comprehend the message. This emphasizes the text's vulnerability to subjective interpretation. In keeping with this concept of misrepresentation and misinterpretation, the "mistakes" in the text setting are actually intentional. At times, the text is misaligned so that the stress does not fall on a strong beat. The motivation behind this choice was to allow the text itself to feel misunderstood or distorted. As a musical vehicle for these texts, I seek to reflect the nature of the distortion at play in the religious message by taking inspiration from traditional, mainstream religious music constructions and twisting them in harmony, rhythm, and structure. The music also seeks to evoke pain, isolation, joy, confusion, and other psychological and emotional complexities that seem to exist with members of the WBC. The performance of the piece must incorporate visuals to enhance the experience. For each piece, there will be a projection or representation of the corresponding picket sign used by WBC members (i.e. "God Hates Fags," "God Hates Islam," etc).
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    "The Grand Tour"
    (2014) Leto, Bruce; Cacioppo, Curtis
    For my thesis, I presented a multi-media senior project on March 28 -- a piano recital played simultaneously with a visual show that I put together with Microsoft Powerpoint. I performed piano works written by non-Italian composers who wrote with different geographical areas of Italy in mind. The composers that were featured in my performance were: Mozart, Liszt, Poulenc, Mendelssohn, and Cacioppo. Each piece that was performed corresponded to a different area in Italy, which was depicted in the visual slideshow. I began with Mozart's "Italian" Piano Sonata in E flat major, written about the Italian Alps and northern Italy. I concluded with Poulenc's "Suite Napoli Pour Piano", which was composed about the exhilarating area of Naples!
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    The Voices: Five Songs for Mezzo-Soprano and Piano
    (2014) Abaya, Miriam; Arauco, Ingrid
    "The Voices" is a German song cycle for mezzo-soprano and piano. I found a set of poems by Rainer Maria Rilke whose haunting stories and imagery captivated me. "The Voices" contains one introductory poem and nine other poems that are songs of the destitute. Rilke wrote the poems as songs for many suffering people whose voices are rarely heard in society. I was inspired to set five of these poems to music.
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    Piano Recital: Music by Bach, Mozart, Takemitsu, Debussy, Messiaen, Chopin
    (2015) Seltzer, Nicholas; Cacioppo, Curtis
    Most of the music on my recital program is repertoire required for graduate auditions. However, the idea of having Takemitsu, Debussy, and Messiaen together on the program grew out of a project on the relationship between Japanese and French music across the 20th Century. The Impressionist Movement was profoundly influenced by its contact with Japanese art and thought, especially Japanese prints that made their way into France after the opening of Japan in the 1850s. Thus, Debussy's radical new treatment of musical texture and timbre and his abandonment of traditional form and harmony took place in an artistic environment informed and inspired by its contact with Japanese and other Asian aesthetics. I believe Takemitsu's emulation of Debussy and Messiaen later in the 20th Century reflects a continuing relationship of mutual affinity and influence between French and Japanese artistic culture rather than a Japanese adoption of a Western idiom or mode of thought.
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    Abigail Stephenson’s Senior Thesis Recital
    (2016) Stephenson, Abigail; Lloyd, Thomas
    Track 01. Tornami a vagheggair by George Frideric Handel --Track 02. Con que la Lavare by Joaquin Rodrigo -- Track 03. De los Alamos Vengo Madre by Joaquin Rodrigo -- Track 04. Fruhlingsmorgen by Gustav Mahler -- Track 05. Wer Hat dies Liedlein Erdacht by Gustav Mahler -- Track 06. Hans und Grethe by Gustav Mahler -- Track 07. My Dear Marquis by Johann Straus -- Track 08. Clair de lune by Claude Debussy -- Track 09. Die Nacht by Richard Strauss -- Track 10. Song to the Moon by Antonin Dvorak -- Track 11. Nuit d'etoiles by Claude Debussy -- Track 12. He's got the Whole World in his Hands by Jacqueline Hairston -- Track 13. Acknowledgements -- Track 14. Guide my Feet by Jacqueline Hairston.
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    Whispers of Hiraeth
    (2016) Ordiway, George; Cacioppo, Curtis
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    Senior Thesis Recital: Samuel Walter, cello, HC '17
    (2017) Walter, Samuel; Jacob, Heidi
    The term Counterpoint is used to refer to music consisting of concurrent melodic lines. Although it has its roots in early church music going back to the 14th century, it was derived from the earlier theory of descant. Ultimately, the highly contrapuntal writing of the Renaissance became increasingly less popular over the 17th and 18th centuries; however, elements of the style and compostitional technique continue to be used by composers to this day. My thesis “Counterpoint in the Cello Repertoire from the 18th-20th centuries: Performance of contrapuntal works by Bach, Haydn, Brahms and Ligeti” takes a close look at four works from three centuries and four eras, from the Baroque to the contemporary. In the program notes I note the way in which each composer employed contrapuntal techniques within their compositions to achieve certain effects. The performance supplemented the program notes, allowing the audience to both understand and experience the polyphonic effects within the compositions.
    Track 01 Cello Suite No. 3 Prelude by Bach -- Track 02 Cello Suite No. 3 Allemande by Bach -- Track 03 Cello Suite No. 3 Courante by Bach -- Track 04 Cello Suite No. 3 Sarabande by Bach -- Track 05 Cello Suite No. 3 Bourrees by Bach -- Track 06 Cello Suite No. 3 Gigue by Bach -- Track 07 Cello Concerto in C Major III. Allegro Molto by Haydn -- Track 08 Cello Sonata No. 1 in E Minor Allegro non troppo by Brahms -- Track 09 Cello Sonata No. 1 in E Minor Allegretto quasi Menuetto and Trio by Brahms -- Track 10 Cello Sonata No. 1 in E Minor Allegro by Brahms -- Track 11 Sonata for Solo Cello Dialogo by Ligeti -- Track 12 Sonata for Solo Cello Capriccio by Ligeti -- Track 13 Cello Suite in C Minor Sarabande by Bach.
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    Biomes
    (2017) Gillen, Daniel; Cacioppo, Curtis
    "Biomes" is a musical microcosm of the world's ecological, climatic, geographic, and cultural diversity. Through seven linked movements, this work is a modern take on the nineteenth-century aesthetic of the character piece cycle, a time-honored tradition championed by the Schumanns and their contemporaries. These movements enrich both the old and modernistic vocabulary with a potpourri of influences spanning from the polar icecaps to the tropical savannas of India and East Africa. The music is evocative of the regions in question either through texture and density, the use of culturally native forms, or the general flow from one thematic area to the next. Much respect is given to the various cultural influences which include Andalusian flamenco, Arabic/Ottoman Turkish samaisi, North Indian bandishes, Javanese gamelan pieces, and more. The presentation combines music (recorded and live piano performances of the various movements) and conversation.