A graduate piano accompanying recital

The extended program notes include historical background on the composers and pieces being performed, as well as the analytical form regarding the works. Chapter One includes Piano and Violin Sonata in B flat Major, K 454 by Wolfgang Amadeus Mozart, Introduction and Rondo Capriccioso, Opus 28 by Camille Saint-Saens, Nocturne by Aaron Copland, Violin Concerto No. 2 in D minor, Opus 22 by Henryk Wieniawski. Chapter Two includes selected songs from Die Schone Mullerin D. 759 by Franz Schubert, La Regata Veneziana by Gioacchino Rossini, selected songs by Henri Duparc, Cowboy Songs by Libby Larsen, Poema enforma de canciones by Joaquin Turina.

Violoncello recital

Program: Passacaglia for Violin and Cello ........... Johan Halvorsen (1864-1935) Cello Concerto in E minor Op. 85 .............. Edward Elgar (1857-1934) Sonata for Cello and Piano Op. 38 .......... Johannes Brahms (1833-1897)

Musical commonplace book : manuscript, [approximately 1790-approximately 1810]

Contains songs, partly from English operas, and instrumental music.

RACHMANINOFF AND MEDTNER: SELECTED WORKS FROM THE SOLO AND COLLABORATIVE PIANO REPERTOIRE

Sergei Rachmaninoff and Nikolai Medtner occupy a special place in the history of Russian music. Both composers were exceptional pianists and left us some of the greatest works in the piano repertoire. Although these composers shared many similarities, and were often compared, their musical languages and views on composition were very different. Unfortunately, Medtner’s music, which Rachmaninoff admired greatly, has remained neglected for several generations of performers and listeners. In my dissertation I will explore the similarities and contrasts in Rachmaninoff’s and Medtner’s music. Through these performances, I hope to encourage other musicians to discover the imaginative power of Medtner’s music. Of course, no such encouragement is needed for Rachmaninoff’s extremely popular music; however, the technical and musical challenges of performing that repertoire are an invaluable part of every pianist’s education. This dissertation project was presented in three recitals which were performed in Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center of the University of Maryland on May 8, 2014, December 5, 2014 and March 21, 2016. The following pieces comprised the survey of Rachmaninoff music: Vocalise Op. 34, Variations on a Theme of Corelli Op. 42, Piano Concerto No 2 Op. 18, Selected Songs Opp. 4 and 8, and two Moments Musicaux Op. 16 - Nos 3 and 4. The following pieces were included to represent Medtner: Sonata for Violin and Piano Op. 57 in E minor “Epica”, Fairy Tales for solo piano Op. 20 No 1, Op. 26 No 3 and Op. 51 No 1, and Selected Songs Op. 6 and 15. My partners in this project were Lilly Ahn, soprano, Jennifer Lee, violin and Nadezhda Christova, piano. All three recitals can be found in the Digital Repository at the University of Maryland (DRUM).

Contrasts: Quartets and Art Songs of the Nineteenth Century

The nineteenth-century Romantic era saw the development and expansion of many vocal and instrumental forms that had originated in the Classical era. In particular, the German lied and French mélodie matured as art forms, and they found a kind of equilibrium between piano and vocal lines. Similarly, the nineteenth-century piano quartet came into its own as a form of true chamber music in which all instruments participated equally in the texture. Composers such as Robert Schumann, Johannes Brahms, and Gabriel Fauré offer particularly successful examples of both art song and piano quartets that represent these genres at their highest level of artistic complexity. Their works have become the cornerstones of the modern collaborative pianist’s repertoire. My dissertation explored both the art songs and the piano quartets of these three composers and studied the different skills needed by a pianist performing both types of works. This project included the following art song cycles: Robert Schumann’s Dichterliebe, Gabriel Fauré’s Poème d’un Jour, and Johannes Brahms’ Zigeunerlieder. I also performed Schumann’s Piano Quartet in E-flat Major, Op. 47, Fauré’s Piano Quartet in C minor, Op. 15, and Brahms’ Piano Quartet in G minor, Op. 25. My collaborators included: Zachariah Matteson, violin and viola; Kristin Bakkegard, violin; Molly Jones, cello; Geoffrey Manyin, cello; Karl Mitze, viola; Emily Riggs, soprano, and Matthew Hill, tenor. This repertoire was presented over the course of three recitals on February 13, 2015, December 11, 2015, March 25, 2016 at the University of Maryland’s Gildenhorn Recital Hall. These recitals can be found in the Digital Repository at the University of Maryland (DRUM).

Estudio comparativo de tres interpretaciones de la sonata I Op. 45 en Bb mayor para violonchelo y piano de Félix Mendelssohn

En el presente trabajo se realiza un Estudio Comparativo de tres Interpretaciones de la Sonata I Op. 45 en Bb Mayor para Violonchelo y Piano de Félix Mendelssohn. El mismo que fue analizado con ayuda del performance de tres grandes violonchelistas como son: Natalia Gutman (Rusia 1942), Inbal Segev (Israel 1974) y Xenia Jankovic (Serbia 1958), en donde se puede examinar cada una de sus ejecuciones comparando varios aspectos técnicos y estilísticos; los mismos que apoyaron al desarrollo musical y técnico de la autora del trabajo. Además, fue reforzado por material teórico acerca de la vida de cada una de ellas, como de la obra estudiada. Las conclusiones brindan un soporte técnico, fraseológico y de precisión de las dinámicas que pueden ayudar al lector a tener una nueva perspectiva interpretativa

Zoroastrianism, Cosmology, and Chaos: A Detailed Analysis of the Musical Composition, Druj Aeterni

Druj Aeterni is a large chamber ensemble piece for flute, clarinet, French horn, two trumpets, piano, two percussionists, string quintet, and electric bass. My composition integrates three intellectual pursuits and interests, ancient mythology, cosmology, and mathematics. The title of the piece uses Latin and the language of the Avesta, the holy book of Zoroastrianism, and comments upon a philosophical perspective based in string theory. I abstract the cosmological implications of string theory, apply them to the terminology and theology of Zoroastrianism, and then structure the composition in consideration of a possible reconciliation. The analysis that follows incorporates analytical techniques similar to David Cope’s style of Vectoral Analysis.

Graduate Violin Recital

Sonata for Solo Violin in G-minor, J. S. Bach (1685-1750) Adagio Fuga Siciliana Presto Sonata for Violin and Piano in G-major, L. Beethoven (1770-1827) Allegro assai Tempo di Menuetto Allegro vivace Sonata for Violin and Piano in A-major, G. Faure (1845-1924) Allegro molto Andante Allegro vivo Allegro quasi presto Jennifer Snyder, piano

Cello day

This one-act two hander was intended as an experiment in incorporating JS Bach’s cello suites into a dramatic context. It also played with the dramatic possibilities and constraints of one character being verbal, and the other non-verbal. This first draft was shortlisted in the 2005 Queensland Theatre Company’s Queensland Premier’s Drama Award.

Altered nociceptive, endocrine, and dorsal horn neuron responses in rats following a neonatal immune challenge

Summary The neonatal period is characterized by significant plasticity where the immune, endocrine, and nociceptive systems undergo fine-tuning and maturation. Painful experiences during this period can result in long-term alterations in the neurocircuitry underlying nociception, including increased sensitivity to mechanical or thermal stimuli. Less is known about the impact of neonatal exposure to mild inflammatory stimuli, such as lipopolysaccharide (LPS), on subsequent inflammatory pain responses. Here we examine the impact of neonatal LPS exposure on inflammatory pain sensitivity and HPA axis activity during the first three postnatal weeks. Wistar rats were injected with LPS (0.05 mg/kg IP, Salmonella enteritidis) or saline on postnatal days (PNDs) 3 and 5 and later subjected to the formalin test at PNDs 7, 13, and 22. One hour after formalin injection, blood was collected to assess corticosterone responses. Transverse spinal cord slices were also prepared for whole-cell patch clamp recording from lumbar superficial dorsal horn neurons (SDH). Brains were obtained at PND 22 and the hypothalamus was isolated to measure glucocorticoid (GR) and mineralocorticoid receptor (MR) transcript expression using qRT-PCR. Behavioural analyses indicate that at PND 7, no significant differences were observed between saline- or LPS-challenged rats. At PND 13, LPS-challenged rats exhibited enhanced licking (p < .01), and at PND 22, increased flinching in response to formalin injection (p < .05). LPS-challenged rats also displayed increased plasma corticosterone at PND 7 and PND 22 (p < .001) but not at PND 13 following formalin administration. Furthermore, at PND 22 neonatal LPS exposure induced decreased levels of GR mRNA and increased levels of MR mRNA in the hypothalamus. The intrinsic properties of SDH neurons were similar at PND 7 and PND 13. However, at PND 22, ipsilateral SDH neurons in LPS-challenged rats had a lower input resistance compared to their saline-challenged counterparts (p < .05). These data suggest neonatal LPS exposure produces developmentally regulated changes in formalin-induced behavioural responses, corticosterone levels, and dorsal horn neuron properties following noxious stimulation later in life. These findings highlight the importance of immune activation during the neonatal period in shaping pain sensitivity later in life. This programming involves both spinal cord neurons and the HPA axis.

Cuticular Hydrocarbons of Buffalo Fly, Haematobia exigua, and Chemotaxonomic Differentiation from Horn Fly, H.irritans

We determined the quantity and chemical composition of cuticular hydrocarbons of different strains, sex and age of buffalo flies, Haematobia exigua. The quantity of cuticular hydrocarbons increased from less than 1 µg/fly for newly-emerged flies to over 11 µg/fly in 13 d-old flies. The hydrocarbon chain length varied from C21 to C29, with unbranched alkanes and monounsaturated alkenes the major components. Newly emerged flies produced almost exclusively C27 hydrocarbons. Increasing age was accompanied by the appearance of hydrocarbons with shorter carbon chains and an increase in the proportion of alkenes. 11 Tricosene and 7-tricosene were the most abundant hydrocarbons in mature buffalo flies. Cuticular hydrocarbons of buffalo flies are distinctly different from those of horn flies. The most noticeable differences were in the C23 alkenes, with the major isomers 11- and 7-tricosene in buffalo flies and (Z)-9- and (Z)-5-tricosene in horn flies, respectively. Cuticular hydrocarbon analysis provides a reliable method to differentiate buffalo and horn fly, which are difficult to separate morphologically. The differences in cuticular hydrocarbons also support their recognition as separate species, H. exigua and H. irritans, rather than as subspecies.

Albert Einstein playing the violin with small orchestra; Princeton, New Jersey Portraits Men

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Pianist Heida Hermanns née Goldschmidt seated at a piano; New York Portraits Women

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Pianist Heida Hermanns née Goldschmidt seated at a piano; Berlin Portraits Women

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