Two Falling Stars: Music of Love, Loss and Living UW Chamber Singers with special guests Illumni Men's Chorale May 27, 2016

Concert Program

Mass for our Time University Chorale University Chamber Singers University Symphony with University Dance Department March 12, 2010

Concert Program

Piano recital consisting of works by J. S. Bach, L. Van Beethoven and F. Chopin with extended program notes

Partita No 4 in D Major, BWV 828 - Johann Sebastian Bach (1685-1750) Sonata No 23 in F minor, Op 57 - Ludwig van Beethoven (1770-1827) Scherzo No 1 in B minor, Op 20 - Frederic Chopin (1810-1849)

Decolourisation of Acid orange 7 in a microbial fuel cell with a laccase-based biocathode: Influence of mitigating pH changes in the cathode chamber

Biocathodes may be a suitable replacement of platinum in microbial fuel cells (MFCs) if the cost of MFCs is to be reduced. However, the use of enzymes as bio-cathodes is fraught with loss of activity as time progresses. A possible cause of this loss in activity might be pH increase in the cathode as pH gradients in MFCs are well known. This pH increase is however, accompanied by simultaneous increase in salinity; therefore salinity may be a confounding variable. This study investigated various ways of mitigating pH changes in the cathode of MFCs and their effect on laccase activity and decolourisation of a model azo dye Acid orange 7 in the anode chamber. Experiments were run with catholyte pH automatically controlled via feedback control or by using acetate buffers (pH 4.5) of various strength (100 mM and 200 mM), with CMI7000 as the cation exchange membrane. A comparison was also made between use of CMI7000 and Nafion 117 as the transport properties of cations for both membranes (hence their potential effects on pH changes in the cathode) are different.

Tracing Beethoven Through the Ten Sonatas for Piano and Violin

Examination of Beethoven’s ten sonatas for piano and violin as a single arc, to uncover linkages between the individual sonatas and observe their stylistic evolution as a set, benefits from placing these works also in relation to the wider realm of Beethoven’s chamber music as a whole. During the years in which his sonatas for piano and violin were written, Beethoven often produced multiple works simultaneously. In fact, the first nine sonatas for piano and violin were written within a mere five-year span (1798 – 1803.) After a gap of nine years, Beethoven completed his tenth and final sonata, marking the end of his “Middle Period.” Because of this distribution, it is important to consider each of these sonatas not only as an interdependent set, but also in relation to the whole of Beethoven’s output for small ensemble. Beethoven wrote the last of his piano and violin sonatas in 1812, with a decade and a half of innovation still ahead of him. This provokes one to look beyond these sonatas to discover the final incarnation of the ideas introduced in these works. In particular, the key creative turning points within the ten sonatas for piano and violin become strikingly apparent when compared to Beethoven’s string quartets, which dramatically showcase Beethoven’s evolution in sixteen works distributed more or less evenly across his career. From the perspective of a string quartet player, studying the ten sonatas for piano and violin provides an opportunity to note similarities between the genres. This paper argues that examining the ten sonatas from a viewpoint primarily informed by Beethoven’s string quartets yields a more thorough understanding of the sonatas themselves and a broader conception of the vast network of interrelationships that produce Beethoven’s definitive voice. The body of this paper contains a full exploration of each of the ten sonatas for piano and violin, highlighting key musical, historical, and theoretical elements. Each of the sonatas is then put not only in context of the set of ten, but is contrasted with Beethoven’s sixteen string quartets, identifying unifying motives, techniques, and structural principles that recur across both bodies of work.

The Emergence of Spanish Impressionism and its Interaction with French Impressionism in Music at the Turn of the Twentieth Century: selections from the solo and collaborative piano repertoire

French Impressionism is a term which is often used in discussing music originating in France towards the end of the nineteenth century. The term Spanish Impressionism could also be used when discussing Spanish music written by the Spanish composers who studied and worked in Paris at the same time as their French counterparts. After all, Spanish music written during this time exhibits many of the same characteristics and aesthetics as French music of the same era. This dissertation will focus on the French and Spanish composers writing during that exciting time. Musical impressionism emphasizes harmonic effects and rhythmic fluidity in the pursuit of evocative moods, sound pictures of nature or places over the formalism of structure and thematic concerns. The music of this time is highly virtuosic as well as musically demanding, since many of the composers were brilliant pianists. My three dissertation recitals concentrated on works which exhibited the many facets of impressionism as well as the technical and musical challenges. The repertoire included selections by Spanish composers Manuel de Falla, Isaac Albéniz, Enrique Granados, Joaquín Turina, and Joaquín Rodrigo and French composers Claude Debussy and Maurice Ravel. The recitals were on April 30, 2013, February 23, 2014 and October 11, 2015. They included solo piano works by Granados and Albéniz, vocal works by Debussy, Ravel, de Falla, Turina and Rodrigo, piano trios by Granados and Turina, instrumental duos by Debussy, Ravel and de Falla, and a two-piano work of Debussy transcribed by Ravel. All three recitals were held in Gildenhorn Recital Hall at the University of Maryland and copies of this dissertation and recordings of each recital may be found through the Digital Repository at the University of Maryland (DRUM).

Move, for string quartet, piano, percussion and electronics

MOVE is a composition for string quartet, piano, percussion and electronics of approximately 15-16 minutes duration in three movements. The work incorporates electronic samples either synthesized electronically by the composer or recorded from acoustic instruments. The work aims to use electronic sounds as an expansion of the tonal palette of the chamber group (rather like an extended percussion setup) as opposed to a dominating sonic feature of the music. This is done by limiting the use of electronics to specific sections of the work, and by prioritizing blend and sonic coherence in the synthesized samples. The work uses fixed electronics in such a way that allows for tempo variations in the music. Generally, a difficulty arises in that fixed “tape” parts don’t allow tempo variations; while truly “live” software algorithms sacrifice rhythmic accuracy. Sample pads, such as the Roland SPD-SX, provide an elegant solution. The latency of such a device is close enough to zero that individual samples can be triggered in real time at a range of tempi. The percussion setup in this work (vibraphone and sample pad) allows one player to cover both parts, eliminating the need for an external musician to trigger the electronics. Compositionally, momentum is used as a constructing principle. The first movement makes prominent use of ostinato and shifting meter. The second is a set of variations on a repeated harmonic pattern, with a polymetric middle section. The third is a type of passacaglia, wherein the bassline is not introduced right away, but becomes more significant later in the movement. Given the importance of visual presentation in the Internet age, the final goal of the project was to shoot HD video of a studio performance of the work for publication online. The composer recorded audio and video in two separate sessions and edited the production using Logic X and Adobe Premiere Pro. The final video presentation can be seen at geoffsheil.com/move.

Pairings: Quintets and Duos from the Collaborative Piano Repertoire

Chamber music with piano comprises some of the greatest masterpieces in the Western canon. The works range from duo sonatas with various instruments through septets. In regard to duo sonatas, the violin is the instrument most frequently paired with the piano. Of all the chamber works for larger ensembles, the most popular is the quintet. In this dissertation, I will be exploring the similarities and differences between the duo sonatas and quintets of a given composer. I will be surveying Robert Schumann’s Piano Quintet in E-flat Major, Op. 44 along with his Violin and Piano Sonata in A Minor, Op. 105. The next pairing will be Johannes Brahms’ Piano Quintet in F Minor, Op. 34 and his Piano and Violin Sonata in D Minor, Op. 108. Dmitri Shostakovich’s Piano Quintet in G Minor, Op. 57 and his Cello and Piano Sonata in D Minor, Op. 40 will be the last two works examined in this dissertation. This dissertation project consisted of three recitals, presented in the Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center of the University of Maryland. The recitals featured works by Johannes Brahms, Robert Schumann and Dmitri Shostakovich and took place on March 14, 2014, February 13, 2015 and November 22, 2015. All three recitals were recorded on compact discs, which can be accessed at the Digital Repository at the University of Maryland (DRUM) and at the University of Maryland Hornbake Library.

Ted Botsford double bass with Marissa Winship and Megan McElroy, piano November 13, 2016

Concert Program

UW Symphony David Alexander Rahbee Music Director and Conductor with Jonathan Biss, piano December 9, 2016

Concert Program

Efficacy And Safety Of Intravitreal Bevacizumab In Eyes With Neovascular Glaucoma Undergoing Ahmed Glaucoma Valve Implantation: 2-year Follow-up.

To evaluate the efficacy and safety of intravitreal bevacizumab (IVB) in eyes with neovascular glaucoma (NVG) undergoing Ahmed glaucoma valve (AGV) implantation. This was a multicentre, prospective, randomized clinical trial that enrolled 40 patients with uncontrolled neovascular glaucoma that had undergone panretinal photocoagulation and required glaucoma drainage device implantation. Patients were randomized to receive IVB (1.25 mg) or not during Ahmed valve implant surgery. Injections were administered intra-operatively, and 4 and 8 weeks after surgery. After a mean follow-up of 2.25 ± 0.67 years (range 1.5-3 years), both groups showed a significant decrease in IOP (p < 0.05). There was no difference in IOP between groups except at the 18-month interval, when IOP in IVB group was significantly lower (14.57 ± 1.72 mmHg vs. 18.37 ± 1.06 mmHg - p = 0.0002). There was no difference in survival success rates between groups. At 24 months, there was a trend to patients treated with IVB using less antiglaucoma medications than the control group (p = 0.0648). Complete regression of rubeosis iridis was significantly more frequent in the IVB group (80%) than in the control group (25%) (p = 0.0015). Intravitreal bevacizumab may lead to regression of new vessels both in the iris and in the anterior chamber angle in patients with neovascular glaucoma undergoing Ahmed glaucoma valve implantation. There is a trend to slightly lower IOPs and number of medications with IVB use during AGV implantation for neovascular glaucoma.