Cedarville University Digital Commons

Pimpo, Mackenzie

Cedarville University 
CedarCommons 
Junior and Senior Recitals Concert and Recital Programs 
3-16-2025 
Mackenzie Pimpo, Junior Piano Recital 
Mackenzie Pimpo 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/junior_and_senior_recitals 
 Part of the Music Performance Commons 
Recommended Citation 
Pimpo, Mackenzie, "Mackenzie Pimpo, Junior Piano Recital" (2025). Junior and Senior Recitals. 404. 
https://digitalcommons.cedarville.edu/junior_and_senior_recitals/404 
This Program is brought to you for free and open 
access by CedarCommons, a service of the Centennial 
Library. It has been accepted for inclusion in Junior 
and Senior Recitals by an authorized administrator of 
CedarCommons. For more information, please contact 
digitalcommons@cedarville.edu. 
Keyboard Sonata in D Major, Op. 2, No.1. . . . .Baldassare Galuppi (1706–1785)
  I. Adagio
II. Allegro assai
 Piano Sonata in e minor, Hob. XVI:34. . . . . . .Franz Joseph Haydn (1732–1809)
I. Presto
II. Adagio
III. Finale. Molto vivace
 Bilder aus Osten, Op. 66 . . . . . . . . . . . . . . . . . . . . . Robert Schumann (1810–1856)
V. Lebhaft
VI. Reuig andächtig
Assisted by Sarah Funkhouser, piano
 Morceaux de fantaisie, Op. 3 . . . . . . . . . . . . . . Sergei Rachmaninoff (1873–1943)
I. Elégie
 Pastorale on a Hungarian Christmas Song . . . . . . .Ernő Dohnányi (1877–1960)
Mackenzie is a student of John Mortensen
 The Bolthouse Center for Music                                                                                   No flash photography
Recital Hall Please turn off all cell phones
Keyboard Sonata in D Major, Op. 2, No.1. . . .Baldassare Galuppi (1706–1785)
  I. Adagio
II. Allegro assai
 Piano Sonata in e minor, Hob. XVI:34. . . . . .Franz Joseph Haydn (1732–1809)
I. Presto
II. Adagio
III. Finale. Molto vivace
 Bilder aus Osten, Op. 66 . . . . . . . . . . . . . . . . . . . . Robert Schumann (1810–1856)
V. Lebhaft
VI. Reuig andächtig
Assisted by Sarah Funkhouser, piano
 Morceaux de fantaisie, Op. 3 . . . . . . . . . . . . . Sergei Rachmaninoff (1873–1943)
I. Elégie
 Pastorale on a Hungarian Christmas Song . . . . . .Ernő Dohnányi (1877–1960)
Mackenzie is a student of John Mortensen
 The Bolthouse Center for Music                                                                                   No flash photography
Recital Hall Please turn off all cell phones
Keyboard Sonata in D Major, Op. 2, No.1. . . . .Baldassare Galuppi (1706–1785)
  I. Adagio
II. Allegro assai
 Piano Sonata in e minor, Hob. XVI:34. . . . . . .Franz Joseph Haydn (1732–1809)
I. Presto
II. Adagio
III. Finale. Molto vivace
 Bilder aus Osten, Op. 66 . . . . . . . . . . . . . . . . . . . . . Robert Schumann (1810–1856)
V. Lebhaft
VI. Reuig andächtig
Assisted by Sarah Funkhouser, piano
 Morceaux de fantaisie, Op. 3 . . . . . . . . . . . . . . Sergei Rachmaninoff (1873–1943)
I. Elégie
 Pastorale on a Hungarian Christmas Song . . . . . . .Ernő Dohnányi (1877–1960)
Mackenzie is a student of John Mortensen
 The Bolthouse Center for Music                                                                                   No flash photography
Recital Hall Please turn off all cell phones
Keyboard Sonata in D Major, Op. 2, No.1. . . .Baldassare Galuppi (1706–1785)
  I. Adagio
II. Allegro assai
 Piano Sonata in e minor, Hob. XVI:34. . . . . .Franz Joseph Haydn (1732–1809)
I. Presto
II. Adagio
III. Finale. Molto vivace
 Bilder aus Osten, Op. 66 . . . . . . . . . . . . . . . . . . . . Robert Schumann (1810–1856)
V. Lebhaft
VI. Reuig andächtig
Assisted by Sarah Funkhouser, piano
 Morceaux de fantaisie, Op. 3 . . . . . . . . . . . . . Sergei Rachmaninoff (1873–1943)
I. Elégie
 Pastorale on a Hungarian Christmas Song . . . . . .Ernő Dohnányi (1877–1960)
Mackenzie is a student of John Mortensen
 The Bolthouse Center for Music                                                                                   No flash photography
Recital Hall Please turn off all cell phones


English

Mackenzie Pimpo, Junior Piano Recital

Colley, Brendan

Cedarville University 
CedarCommons 
Junior and Senior Recitals Concert and Recital Programs 
4-22-2025 
Brendan Colley, Senior Recital, Trumpet 
Brendan Colley 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/junior_and_senior_recitals 
 Part of the Music Performance Commons 
Recommended Citation 
Colley, Brendan, "Brendan Colley, Senior Recital, Trumpet" (2025). Junior and Senior Recitals. 415. 
https://digitalcommons.cedarville.edu/junior_and_senior_recitals/415 
This Program is brought to you for free and open 
access by CedarCommons, a service of the Centennial 
Library. It has been accepted for inclusion in Junior 
and Senior Recitals by an authorized administrator of 
CedarCommons. For more information, please contact 
digitalcommons@cedarville.edu. 
Prelude and Fugue for Trumpet Choir
Prelude and Fugue for Trumpet Choir is a dynamic and engaging work composed for six
B-flat trumpets. The piece begins with a lively and intricate prelude, showcasing the
trumpet choir's versatility through bold, rhythmic motifs and rich harmonies. This is
followed by a contrapuntal fugue, where each trumpet voice enters in turn, weaving
together complex and interlocking themes. The contrast between the prelude's energetic
spirit and the fugue's intellectual structure highlights the trumpet ensemble's power and
precision. The composition explores both technical skill and expressive potential,
creating an exciting and dramatic journey for both performers and listeners alike.
Sonata No.1
Johann Georg Christian Störl, a German Baroque composer, wrote chamber music that is
emotionally expressive. His Sonata No. 1 in g minor is a typical example of Baroque-era
sonatas, structured with alternating slow and fast movements. The piece starts with a
slow, sorrowful Largo, followed by a lively Allegro with energetic runs. The Adagio
brings back a slow, thoughtful mood, and the final Allegro ends the piece with a cheerful
flourish. Robert King’s 1959 edition preserves the original style of Störl’s music while
making it more accessible for modern performers.
Concertino Classico
Joseph Horovitz’s Concertino Classico, written in 1985, is a trumpet duet accompanied
by piano. The work opens with a lively first movement where the two trumpets engage
in playful call-and-response exchanges. The second movement presents a more lyrical
contrast, with both trumpet parts weaving together in a smooth, expressive manner,
allowing the performers to showcase their technical skill and musicality. The final
movement is bright and energetic, featuring intricate trumpet lines and lively rhythmic
patterns that bring the piece to a spirited conclusion. Horovitz’s clever use of harmony
and rhythm ensures that both trumpet players are featured equally, creating a balanced
and engaging musical conversation. Concertino Classico is an energetic work, offering
both the performers and audiences a delightful experience through its engaging themes
and lively interactions.
Solo de cornet à pistons No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . .Georges Hüe (1858–1948)
Trumpet Concerto in E Major . . . . . . Johann Baptist Georg Neruda (1708–1780)
   ed. David R. Hickman (b. 1950)
I. Allegro
Trumpet Concerto in E Major, Hob. VIIe:1. . . . . . . . . . Joseph Haydn (1732–1809)
II. Andante
Prayer of Saint Gregory . . . . . . . . . . . . . . . . . . . . . . . . . . . Alan Hovhaness (1911–2000)
Prelude and Fugue for Trumpet Choir . . . . . . . . . . . . . . . . . . . . . Eric Ewazen (b.1954)
assisted by David Botkin, Emmah Bagin, Seth Mitchell, Grant Criss 
and Holly Campbell, trumpet
Sonata No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . Johann Georg Christian Störl (1675–1719)
ed. Robert King (1914–1999)
assisted by Emmah Bagin, trumpet; Will Stone, trombone; Caleb Staten, horn
Concertino Classico . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joseph Horovitz (1926–2022)
I. Con brio
II. Larghetto
III. Allegro rustico
assisted by Greg Colley, trumpet
Brendan is a student of Charles Pagnard.
This recital is presented in partial fulfillment 
of the Bachelor of Arts in music degree.
No flash photography.  Please turn off all cell phones.
Program Notes
Solo de cornet à pistons
Georges Hüe’s Solo de cornet à pistons (First Solo for Cornet with Pistons), composed in
1905, is a showcase song for the cornet, but I will be playing it on the trumpet. This piece
emphasizes both lyrical and technical capabilities of both the cornet and trumpet. Written
for cornet and piano, this piece is steeped in French late-Romantic style, featuring a blend of
expressive melodies and intricate technical passages. Hüe, a renowned French composer
and teacher, crafted a work that not only emphasizes the cornet’s rich tone but also its
agility and range. The solo is imbued with a sense of elegance and drama, making it a
captivating piece for both performer and listener. 
Neruda: Trumpet Concerto in E Major
Johann Baptist Georg Neruda was born in Czechoslovakia in 1708 and was known as a
talented violinist, touring around Prague until 1742, when he became concertmaster of the
Dresden court orchestra. He retired in 1772 and passed away in 1780. Throughout his life,
Neruda composed multiple works for symphonies, operas, soloists, and small ensembles,
with his most known work being Trumpet Concerto in E-flat Major. This piece was originally
written for the valveless horn during the transition from the Baroque to the Classical era
and showcases characteristics of both periods. I will be playing the first movement, which is
rooted in the old ritornello form, meaning the piano refrain returns (ritorno in Italian) to
separate the soloist’s intervening episodes. There are three such formal alternations in the
opening “Allegro,” with the last solo episode featuring a cadenza.
Haydn: Trumpet Concerto in E Major
The second movement of Joseph Haydn's Trumpet Concerto in E  Major, “Andante,”is a
beautifully lyrical and deeply expressive piece that contrasts the bright, energetic character
of the surrounding movements. In this movement, Haydn highlights the trumpet’s more
mellow and poignant qualities, allowing the performer to showcase the instrument's ability
to sing with warmth and emotional depth. The soloist's part is elegant and flowing, weaving
through gentle, lyrical phrases that soar over a delicate orchestral accompaniment. The
orchestration is sparse and provides a soft and supportive backdrop, allowing the trumpet
to emerge as the focal point of the movement. The movement’s slow, measured tempo
creates an intimate atmosphere where the trumpet's tone can shine with its full range of
color and subtlety. Haydn's mastery of melody and orchestration is evident as he creates a
moment of serenity and emotional resonance, making the Andante a standout within the
concerto.
Prayer of Saint Gregory
Alan Hovhaness’ Prayer of Saint Gregory, composed in 1959, is one of the most celebrated
works in his prolific output, reflecting his deep connection to both mysticism and Eastern
religious traditions. The work is inspired by the life and spiritual legacy of Saint Gregory the
Great, a sixth-century pope and one of the most important figures in the early Christian
Church. Hovhaness, who was deeply influenced by Eastern spirituality and Christianity,
imbues the piece with a sense of reverence and prayer, drawing on Gregorian chant and
modes reminiscent of early Christian music. The trumpet, often used as a voice of
meditation and prayer, acts as a vocal element, symbolizing the saint’s devout prayer.
Prayer of Saint Gregory blends Western classical traditions with a meditative Eastern
influence, creating an emotionally resonant and deeply introspective experience. It remains
a powerful example of Hovhaness' ability to fuse diverse musical traditions and spiritual
themes into a unified, transcendent work.
Continued on back
Solo de cornet à pistons No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . .Georges Hüe (1858–1948)
Trumpet Concerto in E Major . . . . . . Johann Baptist Georg Neruda (1708–1780)
   ed. David R. Hickman (b. 1950)
I. Allegro
Trumpet Concerto in E Major, Hob. VIIe:1. . . . . . . . . . Joseph Haydn (1732–1809)
II. Andante
Prayer of Saint Gregory . . . . . . . . . . . . . . . . . . . . . . . . . . . Alan Hovhaness (1911–2000)
Prelude and Fugue for Trumpet Choir . . . . . . . . . . . . . . . . . . . . . Eric Ewazen (b.1954)
assisted by David Botkin, Emmah Bagin, Seth Mitchell, Grant Criss 
and Holly Campbell, trumpet
Sonata No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . Johann Georg Christian Störl (1675–1719)
ed. Robert King (1914–1999)
assisted by Emmah Bagin, trumpet; Will Stone, trombone; Caleb Staten, horn
Concertino Classico . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joseph Horovitz (1926–2022)
I. Con brio
II. Larghetto
III. Allegro rustico
assisted by Greg Colley, trumpet
Brendan is a student of Charles Pagnard.
This recital is presented in partial fulfillment 
of the Bachelor of Arts in music degree.
No flash photography.  Please turn off all cell phones.
Program Notes
Solo de cornet à pistons
Georges Hüe’s Solo de cornet à pistons (First Solo for Cornet with Pistons), composed in
1905, is a showcase song for the cornet, but I will be playing it on the trumpet. This piece
emphasizes both lyrical and technical capabilities of both the cornet and trumpet. Written
for cornet and piano, this piece is steeped in French late-Romantic style, featuring a blend of
expressive melodies and intricate technical passages. Hüe, a renowned French composer
and teacher, crafted a work that not only emphasizes the cornet’s rich tone but also its
agility and range. The solo is imbued with a sense of elegance and drama, making it a
captivating piece for both performer and listener. 
Neruda: Trumpet Concerto in E Major
Johann Baptist Georg Neruda was born in Czechoslovakia in 1708 and was known as a
talented violinist, touring around Prague until 1742, when he became concertmaster of the
Dresden court orchestra. He retired in 1772 and passed away in 1780. Throughout his life,
Neruda composed multiple works for symphonies, operas, soloists, and small ensembles,
with his most known work being Trumpet Concerto in E-flat Major. This piece was originally
written for the valveless horn during the transition from the Baroque to the Classical era
and showcases characteristics of both periods. I will be playing the first movement, which is
rooted in the old ritornello form, meaning the piano refrain returns (ritorno in Italian) to
separate the soloist’s intervening episodes. There are three such formal alternations in the
opening “Allegro,” with the last solo episode featuring a cadenza.
Haydn: Trumpet Concerto in E Major
The second movement of Joseph Haydn's Trumpet Concerto in E  Major, “Andante,”is a
beautifully lyrical and deeply expressive piece that contrasts the bright, energetic character
of the surrounding movements. In this movement, Haydn highlights the trumpet’s more
mellow and poignant qualities, allowing the performer to showcase the instrument's ability
to sing with warmth and emotional depth. The soloist's part is elegant and flowing, weaving
through gentle, lyrical phrases that soar over a delicate orchestral accompaniment. The
orchestration is sparse and provides a soft and supportive backdrop, allowing the trumpet
to emerge as the focal point of the movement. The movement’s slow, measured tempo
creates an intimate atmosphere where the trumpet's tone can shine with its full range of
color and subtlety. Haydn's mastery of melody and orchestration is evident as he creates a
moment of serenity and emotional resonance, making the Andante a standout within the
concerto.
Prayer of Saint Gregory
Alan Hovhaness’ Prayer of Saint Gregory, composed in 1959, is one of the most celebrated
works in his prolific output, reflecting his deep connection to both mysticism and Eastern
religious traditions. The work is inspired by the life and spiritual legacy of Saint Gregory the
Great, a sixth-century pope and one of the most important figures in the early Christian
Church. Hovhaness, who was deeply influenced by Eastern spirituality and Christianity,
imbues the piece with a sense of reverence and prayer, drawing on Gregorian chant and
modes reminiscent of early Christian music. The trumpet, often used as a voice of
meditation and prayer, acts as a vocal element, symbolizing the saint’s devout prayer.
Prayer of Saint Gregory blends Western classical traditions with a meditative Eastern
influence, creating an emotionally resonant and deeply introspective experience. It remains
a powerful example of Hovhaness' ability to fuse diverse musical traditions and spiritual
themes into a unified, transcendent work.
Continued on back
Prelude and Fugue for Trumpet Choir
Prelude and Fugue for Trumpet Choir is a dynamic and engaging work composed for six
B-flat trumpets. The piece begins with a lively and intricate prelude, showcasing the
trumpet choir's versatility through bold, rhythmic motifs and rich harmonies. This is
followed by a contrapuntal fugue, where each trumpet voice enters in turn, weaving
together complex and interlocking themes. The contrast between the prelude's energetic
spirit and the fugue's intellectual structure highlights the trumpet ensemble's power and
precision. The composition explores both technical skill and expressive potential,
creating an exciting and dramatic journey for both performers and listeners alike.
Sonata No.1
Johann Georg Christian Störl, a German Baroque composer, wrote chamber music that is
emotionally expressive. His Sonata No. 1 in g minor is a typical example of Baroque-era
sonatas, structured with alternating slow and fast movements. The piece starts with a
slow, sorrowful Largo, followed by a lively Allegro with energetic runs. The Adagio
brings back a slow, thoughtful mood, and the final Allegro ends the piece with a cheerful
flourish. Robert King’s 1959 edition preserves the original style of Störl’s music while
making it more accessible for modern performers.
Concertino Classico
Joseph Horovitz’s Concertino Classico, written in 1985, is a trumpet duet accompanied
by piano. The work opens with a lively first movement where the two trumpets engage
in playful call-and-response exchanges. The second movement presents a more lyrical
contrast, with both trumpet parts weaving together in a smooth, expressive manner,
allowing the performers to showcase their technical skill and musicality. The final
movement is bright and energetic, featuring intricate trumpet lines and lively rhythmic
patterns that bring the piece to a spirited conclusion. Horovitz’s clever use of harmony
and rhythm ensures that both trumpet players are featured equally, creating a balanced
and engaging musical conversation. Concertino Classico is an energetic work, offering
both the performers and audiences a delightful experience through its engaging themes
and lively interactions.


Brendan Colley, Senior Recital, Trumpet

Canning, Caroline

Cedarville University 
CedarCommons 
Junior and Senior Recitals Concert and Recital Programs 
3-28-2025 
Caroline Canning, Soprano, Senior Voice Recital 
Caroline Canning 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/junior_and_senior_recitals 
 Part of the Music Performance Commons 
Recommended Citation 
Canning, Caroline, "Caroline Canning, Soprano, Senior Voice Recital" (2025). Junior and Senior Recitals. 
416. 
https://digitalcommons.cedarville.edu/junior_and_senior_recitals/416 
This Program is brought to you for free and open access 
by CedarCommons, a service of the Centennial Library. It 
has been accepted for inclusion in Junior and Senior 
Recitals by an authorized administrator of 
CedarCommons. For more information, please contact 
digitalcommons@cedarville.edu. 
Away from the gloomy winter
Let me sleep
Before stripping it.
Ah!
Sweet flame,
Stay in my soul
Like a sweet treasure 
For a long time, again!
https://lyricstranslate.com/en/je-veux-vivre-i-want-li
ve.html-2
Oh! quante volte
Here I am, in such gay clothing...
Here I am, dressed up
like a victim about to be sacrificed at the altar
Oh, if I could at least, like a victim,
fall at the feet of the altar!
Oh, nuptial lights, repulsive,
so, so fateful,
oh, be to me
ferocious torches,
I burn... a flame, a fire
wrecks me completely.
I ask for relief
to the winds, in vain.
Where are you, Romeo?
In which land do you roam?
Where should I send you
my sighs, where?
Oh, how many times, how many
I ask the sky for you in tears!
With such passion I await you,
deceiving my own desire!
Ah, the light of the day
looks to me like a ray of your appearance:
ah, the wind blowing around here
Seems your breath to me!
ah, the wind blowing around here
Seems your breath to me!
https://lyricstranslate.com/en/vincenzo-bellini-oh-qu
ante-volte-oh-quan-english
I.
The Blessed Virgin’s Expostulation, Z. 196 . . . . . . . . . . . . Henry Purcell (1659–1695)
II. 
Oh! quante volte from I CAPULETI E I MONTECCHI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vincenzo Bellini (1801–1835)
III. 
Die Nacht , Op. 10, No. 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . Richard Strauss (1862–1949)
Ich wollt’ ein Sträußlein binden, Op. 68, No. 2 . . . . . . . . . . . . . . . . . . . . Richard Strauss  
Pantomime from FÊTES GALANTES POUR MADAME VASNIER, No. 1. . . . . . . . . . . . . .
 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Claude Debussy (1862–1918)
IV. 
Ah! Je veux vivre from ROMÉO ET JULIETTE . . . . . . . . Charles Gounod (1818–1893)
PAUSE
V. 
Selections from SONGS ABOUT SPRING. . . . . . . . . . Dominick Argento (1927–2019)
III. in Just-spring
IV. in Spring comes
V. when faces called flowers float out of the ground
 
VI.
In His Eyes from JEKYLL AND HYDE . . . . . . . . . . . . . . . . . . . . Frank Wildhorn (b. 1958)
Assisted by Brooke Bauman, soprano 
Selections from WICKED. . .  . . . . . . . . . . . . . . . . . . . . . . . . . .Stephen Schwartz (b. 1948)
The Wizard and I
What Is This Feeling?
Assisted by Savannah Atkins, soprano, and Mackenzie Pimpo, piano
James Schenck, choreographer
 
Caroline is a student of Beth Cram Porter.
This recital is presented in partial fulfillment
of the Bachelor of Music in performance degree.
No flash photography please.  Please turn off all cell phones.
Translations 
Pantomime
Pierrot, who is no Clitandre,
Gulps down a bottle without delay
And, being practical, starts on a pie.
Cassandre, at the end of the avenue,
Sheds an unnoticed tear
For his disinherited nephew.
That rogue of a Harlequin schemes
How to abduct Colombine
And pirouettes four times.
Colombine dreams, amazed
To sense a heart in the breeze
And hear voices in her heart.
Translation © Richard Stokes, author of 
A French Song Companion (Oxford University Press),
provided via Oxford International Song Festival
(www.oxfordsong.org). 
Die Nacht
Night steps from the woods,
Slips softly from the trees,
Gazes about her in a wide arc,
Now beware!
All the lights of this world,
All the flowers, all the colours
She extinguishes and steals the sheaves
From the field.
She takes all that is fair,
Takes the silver from the stream,
Takes from the cathedral’s copper roof
The gold.
The bush stands plundered:
Draw closer, soul to soul,
Ah the night, I fear, will steal
You too from me.
Translation © Richard Stokes, author of: The Book of
Lieder (Faber); The Complete Songs of Hugo Wolf
(Faber), provided via Oxford International Song Festival
(www.oxfordsong.org).
 Ich wollt’ ein Sträußlein binden 
I meant to make you a posy,
But dark night then came,
There were no flowers to be found,
Or I’d have brought you some.
Tears then flowed down my cheeks
Into the clover,
And now I saw a flower
That had sprung up in the garden.
I meant to pick it for you
There in the dark clover,
When it started to speak:
‘Ah, do no hurt me!
Be kind in your heart,
Consider you own suffering,
And do not make me die
In torment before my time!’
And had it not spoken these words,
All alone in the garden,
I’d have picked it for you,
But now that cannot be.
My sweetheart stayed away,
I am utterly alone.
Sadness dwells in loving,
And cannot be otherwise. 
https://oxfordsong.org/song/ich-wollt-ein-str%C3%A4u
sslein-binden
Ah! Je veux vivre
Ah! 
I want to live
In this dream that intoxicates me
Again this day!
Sweet flame,
I keep you in my soul
Like a treasure!
 
This intoxication
Of youth
Alas, don't last just one day!
Then the time comes
When we cry
The heart gives way to love
And happiness flees without return.
Ah! 
I want to live
In this dream that intoxicates me
Again this day!
Sweet flame,
I keep you in my soul
Like a treasure!
I.
The Blessed Virgin’s Expostulation, Z. 196 . . . . . . . . . . . . Henry Purcell (1659–1695)
II. 
Oh! quante volte from I CAPULETI E I MONTECCHI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vincenzo Bellini (1801–1835)
III. 
Die Nacht , Op. 10, No. 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . Richard Strauss (1862–1949)
Ich wollt’ ein Sträußlein binden, Op. 68, No. 2 . . . . . . . . . . . . . . . . . . . . Richard Strauss  
Pantomime from FÊTES GALANTES POUR MADAME VASNIER, No. 1. . . . . . . . . . . . . .
 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Claude Debussy (1862–1918)
IV. 
Ah! Je veux vivre from ROMÉO ET JULIETTE . . . . . . . . Charles Gounod (1818–1893)
PAUSE
V. 
Selections from SONGS ABOUT SPRING. . . . . . . . . . Dominick Argento (1927–2019)
III. in Just-spring
IV. in Spring comes
V. when faces called flowers float out of the ground
 
VI.
In His Eyes from JEKYLL AND HYDE . . . . . . . . . . . . . . . . . . . . Frank Wildhorn (b. 1958)
Assisted by Brooke Bauman, soprano 
Selections from WICKED. . .  . . . . . . . . . . . . . . . . . . . . . . . . . .Stephen Schwartz (b. 1948)
The Wizard and I
What Is This Feeling?
Assisted by Savannah Atkins, soprano, and Mackenzie Pimpo, piano
James Schenck, choreographer
 
Caroline is a student of Beth Cram Porter.
This recital is presented in partial fulfillment
of the Bachelor of Music in performance degree.
No flash photography please.  Please turn off all cell phones.
Translations 
Pantomime
Pierrot, who is no Clitandre,
Gulps down a bottle without delay
And, being practical, starts on a pie.
Cassandre, at the end of the avenue,
Sheds an unnoticed tear
For his disinherited nephew.
That rogue of a Harlequin schemes
How to abduct Colombine
And pirouettes four times.
Colombine dreams, amazed
To sense a heart in the breeze
And hear voices in her heart.
Translation © Richard Stokes, author of 
A French Song Companion (Oxford University Press),
provided via Oxford International Song Festival
(www.oxfordsong.org). 
Die Nacht
Night steps from the woods,
Slips softly from the trees,
Gazes about her in a wide arc,
Now beware!
All the lights of this world,
All the flowers, all the colours
She extinguishes and steals the sheaves
From the field.
She takes all that is fair,
Takes the silver from the stream,
Takes from the cathedral’s copper roof
The gold.
The bush stands plundered:
Draw closer, soul to soul,
Ah the night, I fear, will steal
You too from me.
Translation © Richard Stokes, author of: The Book of
Lieder (Faber); The Complete Songs of Hugo Wolf
(Faber), provided via Oxford International Song Festival
(www.oxfordsong.org).
 Ich wollt’ ein Sträußlein binden 
I meant to make you a posy,
But dark night then came,
There were no flowers to be found,
Or I’d have brought you some.
Tears then flowed down my cheeks
Into the clover,
And now I saw a flower
That had sprung up in the garden.
I meant to pick it for you
There in the dark clover,
When it started to speak:
‘Ah, do no hurt me!
Be kind in your heart,
Consider you own suffering,
And do not make me die
In torment before my time!’
And had it not spoken these words,
All alone in the garden,
I’d have picked it for you,
But now that cannot be.
My sweetheart stayed away,
I am utterly alone.
Sadness dwells in loving,
And cannot be otherwise. 
https://oxfordsong.org/song/ich-wollt-ein-str%C3%A4u
sslein-binden
Ah! Je veux vivre
Ah! 
I want to live
In this dream that intoxicates me
Again this day!
Sweet flame,
I keep you in my soul
Like a treasure!
 
This intoxication
Of youth
Alas, don't last just one day!
Then the time comes
When we cry
The heart gives way to love
And happiness flees without return.
Ah! 
I want to live
In this dream that intoxicates me
Again this day!
Sweet flame,
I keep you in my soul
Like a treasure!
Away from the gloomy winter
Let me sleep
Before stripping it.
Ah!
Sweet flame,
Stay in my soul
Like a sweet treasure 
For a long time, again!
https://lyricstranslate.com/en/je-veux-vivre-i-want-li
ve.html-2
Oh! quante volte
Here I am, in such gay clothing...
Here I am, dressed up
like a victim about to be sacrificed at the altar
Oh, if I could at least, like a victim,
fall at the feet of the altar!
Oh, nuptial lights, repulsive,
so, so fateful,
oh, be to me
ferocious torches,
I burn... a flame, a fire
wrecks me completely.
I ask for relief
to the winds, in vain.
Where are you, Romeo?
In which land do you roam?
Where should I send you
my sighs, where?
Oh, how many times, how many
I ask the sky for you in tears!
With such passion I await you,
deceiving my own desire!
Ah, the light of the day
looks to me like a ray of your appearance:
ah, the wind blowing around here
Seems your breath to me!
ah, the wind blowing around here
Seems your breath to me!
https://lyricstranslate.com/en/vincenzo-bellini-oh-qu
ante-volte-oh-quan-english


Caroline Canning, Soprano, Senior Voice Recital

Bucsynski da Silva, Davi

Cedarville University 
CedarCommons 
Junior and Senior Recitals Concert and Recital Programs 
3-16-2025 
Davi Buczynski da Silva, Senior Violin Recital 
Davi Bucsynski da Silva 
Follow this and additional works at: https://digitalcommons.cedarville.edu/junior_and_senior_recitals 
 Part of the Music Performance Commons 
Recommended Citation 
Bucsynski da Silva, Davi, "Davi Buczynski da Silva, Senior Violin Recital" (2025). Junior and Senior 
Recitals. 413. 
https://digitalcommons.cedarville.edu/junior_and_senior_recitals/413 
This Program is brought to you for free and open access 
by CedarCommons, a service of the Centennial Library. It 
has been accepted for inclusion in Junior and Senior 
Recitals by an authorized administrator of 
CedarCommons. For more information, please contact 
digitalcommons@cedarville.edu. 
Élégie 
Composed in 1915, Villa-Lobos most likely wrote this piece as a recital work
for himself on the cello and his wife, Lucília Guimarães, on the piano.
Written for either violin or cello and piano, this is one of the first pieces he
published, and stands out as fairly different from the bulk of his
compositions. While Villa-Lobos is renowned for his avant-garde blending
of European and popular Brazilian musical elements, this piece deviates
from that style. Instead, it features a European Romantic melody and
accompaniment that are less explorative compared to his more famous
works. An elegy is a poem of serious reflection, often centered on themes of
death. Villa-Lobos seems to parallel this idea in the music beginning with
the presentation of a sorrowful melody. This initial theme transitions into a
second, more protesting theme, before ultimately returning to and
accepting the first theme which is presented one final time.
Violin Concerto in d minor 
Armenian composer Aram Khachaturian is a highly controversial figure in
music history. Born in the country of Georgia the country,  Khachaturian
grew up under Soviet rule. Regarded as an esteemed composer by the
Soviet government, he enjoyed the rare status of being an “approved”
composer for most of his life, a privilege many Russian composers did not
get to enjoy. Some speculate that Khachaturian only saw such approval from
the government because of his Armenian roots, as having a composer from
an ethnical minority made the government look better. Adding to his
controversial legacy, he served as the Secretary of the Soviet Union
Composers' Union for 21 years, which some consider to be a sign that
Khachaturian agreed with the communist government’s brutal censorship.
Despite his political affiliations, Khachaturian’s Violin Concerto, dedicated
to David Oistrakh, stands as an extraordinary piece for the instrument,
showcasing his Armenian roots in a way that is deeply satisfying to play.
The concerto is extremely challenging, not only due to its demanding runs
and double stops but also because of its strong national character. As a
minority group, the Armenian people have faced significant adversity
throughout history, including the Armenian Genocide of 1915–1916, which
made researching their culture particularly challenging as I prepared to
perform this piece. David Oistrakh's lengthy and intense cadenza
particularly attracts me to this piece.
 
Partita No. 2 in d minor for Solo Violin, BWV 1004
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Johann Sebastian Bach (1685-1750)
V. Ciaccona
Adagio in E Major for Violin and Orchestra, K. 261
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wolfgang Amadeus Mozart (1756-1791)
Assisted by Mark Merchant, piano
Violin Concerto in D Major, Op. 35 . . . . Pyotr Ilyich Tchaikovsky (1840-1893)
I. Allegro moderato-Moderato assai
Assisted by Stephen Estep
Élégie, W094. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Heitor Villa-Lobos (1887-1959)
Assisted by Mark Merchant, piano
Violin Concerto in d minor . . . . . . . . . . . Aram Ilyich Khachaturian (1903-1978)
I. Allegro con fermezza
Assisted by Stephen Estep
Davi is a student of Carlos Elias
This recital is presented in partial fulfillment 
of the Bachelor of Music in performance degree.
No flash photography.  Please turn off all cell phones.
Program Notes
Partita No. 2 in d minor for Solo Violin 
Bach’s second violin partita, written around 1720, is perhaps his most famous
work for the violin. Composed while he was the Kapellmeister in the court of
Köthen, each movement of this partita is in a minor key. The movement I am
playing is the final one, and it is also the most intense and dramatic. Many
believe the tragic character of this piece was inspired by Bach’s grief upon
learning of the death of his wife, Maria Barbara, although this is a contested
claim since there is evidence that Bach finished writing the movement before
receiving the news. The movement receives its name from the musical form of
the chaconne, which, especially famous during the Baroque period, is a
variation built over the same short bass line. It requires a great deal of
creativity and serves as an excellent display of the composer’s skill. What is
particularly remarkable about this piece is Bach’s ability to expand the
horizons of the violin, moving beyond simple melodic lines to explore multiple
harmonic and melodic layers.
Adagio in E Major 
The Adagio in E Major is a classic showcase of Mozart’s mastery of beautiful
and lavish melodies. Originally composed for violin and orchestra in 1776, it
came just one year after his famous Violin Concerto No. 5 in a minor. This piece
and his Rondo in C Major were both dedicated to the Italian violinist Antonio
Brunetti. The Adagio was composed as a substitute for the second movement of
Mozart’s Violin Concerto No. 5 because Brunetti considered the original
movement outdated and too slow. While not as virtuosic as some of his other
works, the challenge of this piece lies in achieving a clean and “silky” sound,
which is very characteristic of the Classical period.
Violin Concerto in D Major
Considered one of the "big five" violin concerti, it is surprising to learn that
Tchaikovsky’s piece, composed in 1878, was initially poorly received by the
public and critics. Declared “too difficult” by Leopold Auer, one of the most
influential violinists of the 19th century, Tchaikovsky’s concerto was heavily
criticized for its extensive use of double stops, glissandi, and dissonance
throughout the three movements. The piece was eventually premiered in 1881
by Russian violinist Adolph Brodsky. Today, the Concerto in D Major is
regarded as a cornerstone of the violin repertoire, celebrated for its virtuosic
demands and Tchaikovsky’s beautiful melodic themes. Tonight’s performance
of this first movement is dedicated to my grandfather, Carlos, who has been a
major musical influence in my life and considers this his to be his favorite.
Continued on back
 
Partita No. 2 in d minor for Solo Violin, BWV 1004
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Johann Sebastian Bach (1685-1750)
V. Ciaccona
Adagio in E Major for Violin and Orchestra, K. 261
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wolfgang Amadeus Mozart (1756-1791)
Assisted by Mark Merchant, piano
Violin Concerto in D Major, Op. 35 . . . . Pyotr Ilyich Tchaikovsky (1840-1893)
I. Allegro moderato-Moderato assai
Assisted by Stephen Estep
Élégie, W094. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Heitor Villa-Lobos (1887-1959)
Assisted by Mark Merchant, piano
Violin Concerto in d minor . . . . . . . . . . . Aram Ilyich Khachaturian (1903-1978)
I. Allegro con fermezza
Assisted by Stephen Estep
Davi is a student of Carlos Elias
This recital is presented in partial fulfillment 
of the Bachelor of Music in performance degree.
No flash photography.  Please turn off all cell phones.
Program Notes
Partita No. 2 in d minor for Solo Violin 
Bach’s second violin partita, written around 1720, is perhaps his most famous
work for the violin. Composed while he was the Kapellmeister in the court of
Köthen, each movement of this partita is in a minor key. The movement I am
playing is the final one, and it is also the most intense and dramatic. Many
believe the tragic character of this piece was inspired by Bach’s grief upon
learning of the death of his wife, Maria Barbara, although this is a contested
claim since there is evidence that Bach finished writing the movement before
receiving the news. The movement receives its name from the musical form of
the chaconne, which, especially famous during the Baroque period, is a
variation built over the same short bass line. It requires a great deal of
creativity and serves as an excellent display of the composer’s skill. What is
particularly remarkable about this piece is Bach’s ability to expand the
horizons of the violin, moving beyond simple melodic lines to explore multiple
harmonic and melodic layers.
Adagio in E Major 
The Adagio in E Major is a classic showcase of Mozart’s mastery of beautiful
and lavish melodies. Originally composed for violin and orchestra in 1776, it
came just one year after his famous Violin Concerto No. 5 in a minor. This piece
and his Rondo in C Major were both dedicated to the Italian violinist Antonio
Brunetti. The Adagio was composed as a substitute for the second movement of
Mozart’s Violin Concerto No. 5 because Brunetti considered the original
movement outdated and too slow. While not as virtuosic as some of his other
works, the challenge of this piece lies in achieving a clean and “silky” sound,
which is very characteristic of the Classical period.
Violin Concerto in D Major
Considered one of the "big five" violin concerti, it is surprising to learn that
Tchaikovsky’s piece, composed in 1878, was initially poorly received by the
public and critics. Declared “too difficult” by Leopold Auer, one of the most
influential violinists of the 19th century, Tchaikovsky’s concerto was heavily
criticized for its extensive use of double stops, glissandi, and dissonance
throughout the three movements. The piece was eventually premiered in 1881
by Russian violinist Adolph Brodsky. Today, the Concerto in D Major is
regarded as a cornerstone of the violin repertoire, celebrated for its virtuosic
demands and Tchaikovsky’s beautiful melodic themes. Tonight’s performance
of this first movement is dedicated to my grandfather, Carlos, who has been a
major musical influence in my life and considers this his to be his favorite.
Continued on back
Élégie 
Composed in 1915, Villa-Lobos most likely wrote this piece as a recital work
for himself on the cello and his wife, Lucília Guimarães, on the piano.
Written for either violin or cello and piano, this is one of the first pieces he
published, and stands out as fairly different from the bulk of his
compositions. While Villa-Lobos is renowned for his avant-garde blending
of European and popular Brazilian musical elements, this piece deviates
from that style. Instead, it features a European Romantic melody and
accompaniment that are less explorative compared to his more famous
works. An elegy is a poem of serious reflection, often centered on themes of
death. Villa-Lobos seems to parallel this idea in the music beginning with
the presentation of a sorrowful melody. This initial theme transitions into a
second, more protesting theme, before ultimately returning to and
accepting the first theme which is presented one final time.
Violin Concerto in d minor 
Armenian composer Aram Khachaturian is a highly controversial figure in
music history. Born in the country of Georgia the country,  Khachaturian
grew up under Soviet rule. Regarded as an esteemed composer by the
Soviet government, he enjoyed the rare status of being an “approved”
composer for most of his life, a privilege many Russian composers did not
get to enjoy. Some speculate that Khachaturian only saw such approval from
the government because of his Armenian roots, as having a composer from
an ethnical minority made the government look better. Adding to his
controversial legacy, he served as the Secretary of the Soviet Union
Composers' Union for 21 years, which some consider to be a sign that
Khachaturian agreed with the communist government’s brutal censorship.
Despite his political affiliations, Khachaturian’s Violin Concerto, dedicated
to David Oistrakh, stands as an extraordinary piece for the instrument,
showcasing his Armenian roots in a way that is deeply satisfying to play.
The concerto is extremely challenging, not only due to its demanding runs
and double stops but also because of its strong national character. As a
minority group, the Armenian people have faced significant adversity
throughout history, including the Armenian Genocide of 1915–1916, which
made researching their culture particularly challenging as I prepared to
perform this piece. David Oistrakh's lengthy and intense cadenza
particularly attracts me to this piece.


Davi Buczynski da Silva, Senior Violin Recital

Cedarville University

Cedarville University 
CedarCommons 
Ensemble Concerts Concert and Recital Programs 
2-23-2025 
The Quintessential Brass Recital 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/ensemble_concerts 
 Part of the Music Performance Commons 
Recommended Citation 
Cedarville University, "The Quintessential Brass Recital" (2025). Ensemble Concerts. 257. 
https://digitalcommons.cedarville.edu/ensemble_concerts/257 
This Program is brought to you for free and open 
access by CedarCommons, a service of the 
Centennial Library. It has been accepted for inclusion 
in Ensemble Concerts by an authorized administrator 
of CedarCommons. For more information, please 
contact digitalcommons@cedarville.edu. 
Carbon Marsupial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  Trent Mitchell (b. 2004)
III. Wombat
II. Opossum
assisted by Trent Mitchell, percussion     
Chanson du forestier. . . . . . . . . . . . . . .  . . . . . . . . . . . .Guillaume Balay (1871–1943)
    Jayda Archer, horn
assisted by Maria Lindskog
Air and Bourrée . . . . . . . . . . . . . . . . . . . . . . . . .Johann Sebastian Bach (1685–1750)
arr. William J. Bell (1902–1971)
Harmonie Helmuth, tuba
assisted by Gabbi Vincent, piano
Nearer, My God, to Thee . . . . . . . . . . . . . . . . . . . . . . . . . .Lowell Mason (1792–1872)
arr. Harmonie Helmuth (b. 2005)
     
Morceau symphonique, Op. 88 . . . . . . . . . . . . . .Alexandre Guilmant (1837–1911)
Levi Atherton, euphonium
assisted by Maddie Mowery, piano
Libertango. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . Astor Piazzolla  (1921–1992)
    arr. Chris Van Hof (b. 1983)
     assisted by Isaac Burke, percussion
The Quintessential Brass are coached by Charles Pagnard.
 
 The Bolthouse Center for Music                                                                                   No flash photography
Recital Hall Please turn off all cell phones
Carbon Marsupial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Trent Mitchell (b. 2004)
III. Wombat
II. Opossum
assisted by Trent Mitchell, percussion     
Chanson du forestier. . . . . . . . . . . . . . .  . . . . . . . . . . .Guillaume Balay (1871–1943)
    Jayda Archer, horn
assisted by Maria Lindskog
Air and Bourrée . . . . . . . . . . . . . . . . . . . . . . . .Johann Sebastian Bach (1685–1750)
arr. William J. Bell (1902–1971)
Harmonie Helmuth, tuba
assisted by Gabbi Vincent, piano
Nearer, My God, to Thee . . . . . . . . . . . . . . . . . . . . . . . . .Lowell Mason (1792–1872)
arr. Harmonie Helmuth (b. 2005)
     
Morceau symphonique, Op. 88 . . . . . . . . . . . . .Alexandre Guilmant (1837–1911)
Levi Atherton, euphonium
assisted by Maddie Mowery, piano
Libertango. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . Astor Piazzolla  (1921–1992)
    arr. Chris Van Hof (b. 1983)
     assisted by Isaac Burke, percussion
The Quintessential Brass are coached by Charles Pagnard.
 
 The Bolthouse Center for Music                                                                                   No flash photography
Recital Hall Please turn off all cell phones
Carbon Marsupial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  Trent Mitchell (b. 2004)
III. Wombat
II. Opossum
assisted by Trent Mitchell, percussion     
Chanson du forestier. . . . . . . . . . . . . . .  . . . . . . . . . . . .Guillaume Balay (1871–1943)
    Jayda Archer, horn
assisted by Maria Lindskog
Air and Bourrée . . . . . . . . . . . . . . . . . . . . . . . . .Johann Sebastian Bach (1685–1750)
arr. William J. Bell (1902–1971)
Harmonie Helmuth, tuba
assisted by Gabbi Vincent, piano
Nearer, My God, to Thee . . . . . . . . . . . . . . . . . . . . . . . . . .Lowell Mason (1792–1872)
arr. Harmonie Helmuth (b. 2005)
     
Morceau symphonique, Op. 88 . . . . . . . . . . . . . .Alexandre Guilmant (1837–1911)
Levi Atherton, euphonium
assisted by Maddie Mowery, piano
Libertango. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . Astor Piazzolla  (1921–1992)
    arr. Chris Van Hof (b. 1983)
     assisted by Isaac Burke, percussion
The Quintessential Brass are coached by Charles Pagnard.
 
 The Bolthouse Center for Music                                                                                   No flash photography
Recital Hall Please turn off all cell phones
Carbon Marsupial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Trent Mitchell (b. 2004)
III. Wombat
II. Opossum
assisted by Trent Mitchell, percussion     
Chanson du forestier. . . . . . . . . . . . . . .  . . . . . . . . . . .Guillaume Balay (1871–1943)
    Jayda Archer, horn
assisted by Maria Lindskog
Air and Bourrée . . . . . . . . . . . . . . . . . . . . . . . .Johann Sebastian Bach (1685–1750)
arr. William J. Bell (1902–1971)
Harmonie Helmuth, tuba
assisted by Gabbi Vincent, piano
Nearer, My God, to Thee . . . . . . . . . . . . . . . . . . . . . . . . .Lowell Mason (1792–1872)
arr. Harmonie Helmuth (b. 2005)
     
Morceau symphonique, Op. 88 . . . . . . . . . . . . .Alexandre Guilmant (1837–1911)
Levi Atherton, euphonium
assisted by Maddie Mowery, piano
Libertango. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . Astor Piazzolla  (1921–1992)
    arr. Chris Van Hof (b. 1983)
     assisted by Isaac Burke, percussion
The Quintessential Brass are coached by Charles Pagnard.
 
 The Bolthouse Center for Music                                                                                   No flash photography
Recital Hall Please turn off all cell phones


The Quintessential Brass Recital

Cedarville University 
CedarCommons 
Men's Track & Field Rosters Men's Track & Field (1996-Current) 
Spring 2025 
2024-2025 Men's Track & Field Roster 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/mens_track_and_field_rosters 
 Part of the Higher Education Commons, and the Sports Studies Commons 
Recommended Citation 
Cedarville University, "2024-2025 Men's Track & Field Roster" (2025). Men's Track & Field Rosters. 70. 
https://digitalcommons.cedarville.edu/mens_track_and_field_rosters/70 
This Roster is brought to you for free and open access by 
CedarCommons, a service of the Centennial Library. It 
has been accepted for inclusion in Men's Track & Field 
Rosters by an authorized administrator of 
CedarCommons. For more information, please contact 
digitalcommons@cedarville.edu. 
Cedarville University Athletics
2025 Men's Track & Field Roster
Sort By:  Name Go
ATHLETE HT. WT. YR. HOMETOWN HIGH SCHOOL EVENTS
Eden Antrim 5-11 140 So. Bluffton, OH Bluffton Distance
Nehemiah Barrett 6-2 170 Fr. Williamsburg, VA Bruton High Jump
Jeremy Bavaro 5-9 140 So. Clinton, NJ North Hunterdon Distance
Josh Benore 5-11 165 Jr. Lake Orion, MI Oakland Christian Sprints
Trevor Billingsley 5-9 145 Jr. Wilmington, OH Wilmington Distance
Michael Braxton 6-1 170 So. Cincinnati, OH Wilson Hill Academy Sprints
Kaleb Brickner 5-10 170 Fr. Peoria, IL Peoria Christian Hurdles
Samuel Burke 6-4 195 Sr. Baldwin, MD Archbishop Curley Throws
Ethan Callarman 5-7 145 Sr. Edmund, OK Homeschool Distance
Joey Carroll 5-8 130 Fr. Hebron, KY Conner Distance
Finn Christensen-Kraft 5-10 135 Fr. Derry, NH Pinkerton Academy Distance
Andrew Denial 5-11 150 Fr. Saranac, NY Saranac Distance
Rylan Felumlee 5-9 145 Jr. Newark, OH Licking Valley Distance
Andrew Ferradino 5-10 145 Jr. Toledo, OH Northview Distance
Nathan Garrett 5-11 155 Fr. Pittsburgh, PA Eden Christian Academy Distance
Daniel George 5-11 150 Jr. Hilliard, OH Hilliard Bradley Distance
David Gerdin 6-2 170 Fr. Orange County, NY Washingtonville Sprints
Collin Gilmour 5-11 145 Sr. Wheaton, IL Wheaton North Distance
Nathan Golding 5-10 150 So. Zeeland, MI Zeeland West Distance
Josh Handy 6-0 175 Fr. Brownsburg, IN Brownsburg Sprints
Trenton Hannah 6-5 270 Jr. Greenup, KY Greenup County Throws
Jeremiah Hetrick 5-8 140 Jr. Dillsburg, PA Homeschool Distance
Carter Holland 6-2 165 Fr. Nevada, IA Nevada Long Sprints
Collin Houg 6-3 155 Fr. Urbanadale, IA Des Moines Christian Distance
Oliver House 5-11 145 Fr. Lake Orion, MI Lake Orion Distance
Finley Huber 6-2 195 Fr. Lafayette, IN Harrison Sprints
Ethan Hunter 6-1 185 Sr. Lexington, OH Lexington Long Sprints
Camden Johnecheck 5-10 150 So. Williamston, MI Williamston Distance
Jaden Johnson 5-11 170 Gr. Windsor, CO Heritage Christian
Academy
Sprints/Jumps
Jarrett Johnson 6-1 230 Jr. Windsor, CO Heritage Christian
Academy
Throws
Jeremy Johnson 6-3 165 Jr. Warsaw, IN Warsaw Community Sprints
5/28/25, 9:34 AM 2025 Men's Track & Field Roster - Cedarville University Athletics
https://yellowjackets.cedarville.edu/sports/mens-track-and-field/roster?print=true 1/3
Men's Track & Field Coaching Staff
NAME TITLE
Jeff Bolender Head Coach (Jumps)
ATHLETE HT. WT. YR. HOMETOWN HIGH SCHOOL EVENTS
Clayton Kaneversky 5-9 140 Fr. Brownsburg, IN Brownsburg Distance
Micah Katz 5-10 150 Fr. Cincinnati, OH Cincinnati Christian Distance
Dylan Killilea 6-2 185 Fr. Zeeland, MI Zeeland East Sprints
Kolson Kytta 6-2 170 Jr. Chassell, MI Chassell Distance
Evan Leist 5-9 145 Gr. Beaver, OH Eastern Distance
Nate Lewis 5-9 135 So. Jamestown, NY Southwestern Distance
Jack Major 6-2 170 So. Zeeland, MI Homeschool Distance
Loris Manaresi 5-10 160 Fr. Centerville, OH Centerville Distance
Colton Martin 6-1 190 So. Warsaw, IN Warsaw Community Sprints
Joey Merrill 6-2 160 So. Milwaukee, WI Wisconsin Lutheran Distance
Levi Moss 5-6 115 Fr. Alto, MI Caledonia Distance
Tanner Muhlenkamp 6-0 180 Jr. Coldwater, OH Coldwater Sprints
Josh Paul 6-0 170 Fr. Naples, FL Homeschool Jumps
Nehemiah Peters 6-1 190 Jr. Columbus, NE Nebraska Christian Throws
Aidan Peterson 5-11 160 Sr. Chatham, IL Glenwood Distance
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Doada Sieh 5-10 160 Sr. Knoxville, TN Fairdale Sprints
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Andrew Spencer 6-4 180 Sr. Farmington Hills, MI Farmington Distance
Caleb Sultan 6-1 155 So. Cedarville, OH Cedarville Distance
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Ethan Withers 5-9 155 Fr. Dayton, OH Dayton Christian Middle Distance
Drew Wyss 6-1 165 Fr. Mason, OH Homeschool Distance
Caleb Yun 5-10 150 Jr. Gilberts, IL Wheaton Academy Distance
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Archives Guides Archives Guides and Holdings
4-2019
Chronological History of Administrative Positions
and Titles, 1953-
Cedarville University
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https://digitalcommons.cedarville.edu/archives_guides/25
Cedarville University Archives 
CUA Guide #6 
 
Chronological History of Administrative Positions and Titles, 1953- 
Prepared 1995 
Revised April 2019 
 
Administrative Council/President’s Cabinet 
     
  President 
       Leonard Webster, 1953-1954 
      James T. Jeremiah, 1954-1978 
      Paul H. Dixon, 1978-2003 
  William E. Brown, 2003-2013 
  Thomas White, 2013- 
 
 Chancellor 
  James T. Jeremiah, 1978-2000 
  Paul H. Dixon, 2003- 
   
 Provost    (position created 2008/eliminated 2014) 
  John Gredy,   2008-2014 
 
      Vice President for Academics 
   Clifford Rhea Maddox, Academic Dean, 1957-1965 
       Clifford W. Johnson,  
   Academic Dean, 1965-1983 
              Academic Vice President, 1983-1987 
       Duane R. Wood, 1987-2005 
  Robert Milliman, 2005-2008 
  John Gredy, (Acting), Academic Vice President, 2008-2009 
  Thomas Cornman, Academic Vice President, 2009-2015 
  Loren Reno, Vice President for Academics, 2015-2017 
  Thomas Mach, 2017- 
 
 Executive Vice President for Strategic Growth (position created 2014/eliminated 2015) 
  John Gredy, 2014-2015   
 
      Vice President for Business/CFO 
       Lloyd Miller, Business Manager, 1962-1964 
       Kenneth H. St. Clair,  
   Business Manager, 1964-1983 
                            Vice President of Business, 1983-1985 
                            Vice President for Business, 1985-1988 
       John C. Anglea, 1988-2009 
  Christopher Sohn, 2012- 
 
      Vice President for Christian Ministries  
            (became a part of the Administrative Council in 1979; merged with Student Life in 2013)  
       Harold R. Green,  
   Director of Christian Service, 1970-1983 
                        Vice President of Campus Ministries, 1983-1985 
                        Vice President for Christian Ministries, 1985-1995 
  Robert K. Rohm, 1995-2013 
 
      Vice President for Advancement 
  Lee Turner, 
   Public Relations, 1965-1967   
                   Director of Development, 1967-1981 
       Charles F. Ross,  
   Director of Development, 1981-1983 
                        Vice President of Development, 1983-1984 
       Martin E. Clark,  
   Vice President of Development, 1984-1985 
                        Vice President for Development, 1985-2003 
  David Ormsbee, Vice President for Advancement, 2004-2007 
  Ron Harris, Interim Vice President for Advancement, 2007-2008 
  William Bigham, 2008-2014 
  David Bartlett, Interim Vice President for Advancement, 2014-2016 
  Richard J. Melson, 2016- 
 
 Vice President for Enrollment Management   
   (became part of the Administrative Council in 1996) 
  David Ormsbee, 1996-2005 
  John Gredy, 2005-2009 
Janice Supplee, Vice President for Enrollment Management & Marketing, 2009-
2016 
  Scott Van Loo, Vice President for Enrollment Management, 2016- 
  
 Vice President for Marketing and Communication  
   (split from Enrollment Management & Marketing in 2016) 
  Janice Supplee, 2016- 
 
 Vice President for Student Life and Christian Ministries 
   (merged with Christian Ministries in 2013) 
       Arthur F. Williams, Dean of Students, 1955-1960 
       Richard T. McIntosh, Dean of Students, 1960-1970 
       Donald W. Rickard, 
   Dean of Students, 1970-1983 
                         Vice President of Student Services, 1983-1985 
                         Vice President for Student Services, 1985-2000 
  Carl A. Ruby, 2000-2012 
   Vice President for Student Services, 2000-2004 
   Vice President for Student Life, 2004-2012 
  Jonathan Wood, 2013- 
   Vice President for Student Life and Christian Ministries, 2013-  
 
 Other Selected Administrators 
    
   Athletic Director 
       Robert Underwood, 1955-1957 
       Sherwin Bowser, 1957-1962 
       Donald Callan, 1962-1998 
  Ronald L. “Pete” Reese, 1998-2008     
  Alan Geist, 2008- 
 
      Registrar 
      John Henry Stoll, 1953-1956 
       Robert W. Wallace, 1956-1957 
       Robert Underwood, 1957-1961 
       Carol Barker (Mr.), 1961-1962 
       Clifford W. Johnson, 1962-1966 
       Charles B. Hurst, 1966-1973 
       L. Robert White, 1973-1980 
  (No Registrar), 1980-1982 
       Barbara E. McIntosh, 1982-1984 
      Jack N. Campbell, 1984-1997 
  Neal Livingston, 1997-1999 
  Lisa Cole (Acting) 1999 
  Francis Campbell, 1999-  
 
 Dean of Library Services* 
       Martha Hall, 1954-1957 
       G. Paul Wyland, 1957-1962 
       Alberta Chaffe, 1962-1975 
       Lynn A. Brock, 1975-2018 
  Joshua Michael, 2018- 
* Title changed from Director of Library Services [2006] 
 
  
      archives guides/cu.administration.history.1953 


Chronological History of Administrative Positions and Titles, 1953-

This paper provides historical context for the McMillans’ trips to town, the family’s economic and community connection to the Cedarville township, Ohio, and the hospitality they showed toward their neighbors in Martha McMillan’s 1889 journal

Crane, Rachel

Cedarville University 
DigitalCommons@Cedarville 
Martha McMillan Research Papers Martha McMillan Journal Collection 
1-13-2025 
Travel and Transportation as a Reflection of Hospitality and 
Community in Martha McMillan’s 1889 Journal 
Rachel Crane 
Cedarville University, rachelcrane@cedarville.edu 
Follow this and additional works at: https://digitalcommons.cedarville.edu/mcmillan_research_papers 
 Part of the Agriculture Commons, Animal Sciences Commons, Christianity Commons, Civic and 
Community Engagement Commons, Education Commons, and the Family, Life Course, and Society 
Commons 
The McMillan Journal Collection is an archive of the journals of Martha McMillan of Cedarville, 
Ohio, who maintained a daily journal from 1867 until her death in 1913. 
Recommended Citation 
Crane, Rachel, "Travel and Transportation as a Reflection of Hospitality and Community in Martha 
McMillan’s 1889 Journal" (2025). Martha McMillan Research Papers. 27. 
https://digitalcommons.cedarville.edu/mcmillan_research_papers/27 
This Research Paper is brought to you for free and open 
access by DigitalCommons@Cedarville, a service of the 
Centennial Library. It has been accepted for inclusion in 
Martha McMillan Research Papers by an authorized 
administrator of DigitalCommons@Cedarville. For more 
information, please contact 
digitalcommons@cedarville.edu. 
Crane 1 
 
Rachel Crane 
Dr. Wood 
LIT-3090 
11 April 2024 
 
Travel and Transportation as a Reflection of Hospitality and Community 
 in Martha McMillan’s 1889 Journal 
Martha McMillan, in her journal entries for July and August, records that “This morning 
Clayton went to C- and brought grandmother Murdock and Uncle Daniel out—they were here to 
dinner and till after tea when Mr Mc and I took them down home” (McMillan, 24 July 1889). 
When hosting guests—whether family or friends—Martha McMillan, her husband, or one of 
their children often brought guests to their farm, then drove these guests home when the visit 
ended. Martha records these details in her usual matter-of-fact manner, but they reveal her 
commitment to hospitality. Moreover, the McMillans’ many trips to town highlight their 
interconnection with their community. While modern readers may view life on a farm as isolated, 
the McMillans and their employees traveled back and forth almost daily.  
Just as modern readers may hold misconceptions about nineteenth-century farm life, they 
may also perceive journals—especially women’s journals—as an individualistic writing form 
where the writer displays her own feelings. Martha McMillan, however, focuses on the doings 
around the farm or in town. Speaking on the content of nineteenth-century journals, scholar 
Margo Culley writes that “[many] nineteenth-century diaries were thought of as semi-public 
documents and the life recorded within them is usually complexly woven with the life of family 
and community matters” (4). Martha wove herself into her own family and community and 
recorded this weaving in her journals. Even in a practice as ordinary as driving guests to and 
Crane 2 
 
from the farm, Martha McMillan displays both her connection to her community and her 
hospitality.  
The fact that Martha mentions her family’s trips to and from their farm and the town 
naturally raises the question of why she includes these details and why she might consider them 
important. Scholar Jane Marie Pederson, discussing visiting and traveling patterns in nineteenth-
century rural towns, lists questions that arise from these observations (347-348). Though 
Pederson primarily draws her analysis from newspaper accounts, the questions she asks still 
prove relevant to Martha’s journals. Pederson asks why writers consider their visits important 
enough to record, what the visits mean to the community, and how the visits relate to the “social 
and economic life of the family and the community” (347-348). Martha records the events of 
each day, so the visits to town comprise part of that. As for what her visits mean to her 
community, Martha demonstrates a concern for the sick. Specifically, she mentions “call[ing] to 
see Mrs Mitchel and [taking] her a dish of honey” and noting that “She seems a great deal better” 
(McMillan, 22 July 1889). Visiting a sick woman—and bringing her honey from the farm—
indicates a care for this neighbor. Martha’s journal entries include frequent visits to neighbors 
and extended family, and these visits reveal both her connection to her neighbors and her care for 
them.  
The McMillans’ visits to town show how they engage with their community and how 
they weave themselves into its social and economic life. They attend social events, run errands, 
and seek help from townspeople. In her entries for mid-July, Martha mentions her children 
attending an ice cream supper—Homer, for example, eats ice cream at his Uncle Silas’s house 
(McMillan, 16 July 1889). Martha also reports that an ice cream supper occurred at a neighbor’s 
house that same evening (McMillan, 16 July 1889). Though Martha attends neither event, she 
Crane 3 
 
records her children and neighbors doing so, indicating that her children also engage with their 
community via social events. The McMillans also connect with their community through work. 
Frequently throughout her journal, Martha writes that someone in her household went to town on 
errands. Her entry for July 17th places “Clara at C- this morning on some errands” (McMillan, 17 
July 1889). Though the McMillans live outside of Cedarville, they still patronize the businesses 
in town. Their errands likely involve purchasing items for the farm, so they weave themselves 
into the town economy. They also seek help from townspeople, and drive to town to enlist that 
help. When Martha needs help with sewing, she takes a lengthy trip to Cedarville and asks at 
three houses. She reports that “Miss Daily […] could not come—then I drove to see Mrs Harris 
and Miss Wilson but neither of these could come—I [came?] took dinner and called to see Hattie 
May McMillan her mother let her come” (McMillan, 15 July 1889). Hattie May McMillan 
arrives at the farm and helps Martha’s daughter, Fannie, with the sewing (McMillan, 15 July 
1889). These records of attending social events, running errands, and seeking help from 
neighbors demonstrate how the McMillans wove themselves into their community in various 
ways.  
 The McMillans’ trips to and from town also nuance the idea that all rural dwellers lived 
lives of isolation. Isolation in this context refers to physical isolation, specifically the idea that 
rural dwellers never left their properties or connected with their neighbors.  According to 
Pederson, studying the country visitor’s behavior challenges the idea that all community 
members lived in isolation from one another (350). Pederson also discusses women in her article, 
stating that “[rural] women in the Midwest have often been portrayed as living lives of hard 
work, isolation, and despair” (352). Contesting this portrayal, Pederson observes that rural 
women often visited family and neighbors independently of their male relatives (356). Some 
Crane 4 
 
farm wives may have led isolated lives, but many had the freedom to call on family and 
neighbors. Martha McMillan’s journals reflect this visiting pattern, as she spends her time 
working on the farm and calling in Cedarville. Specifically, one of Martha’s entries shows her 
“attend[ing] to the kitchen this a.m.,” and later “call[ing] at Aunt Janes” (McMillan, 8 August 
1889). Martha’s work on the farm keeps her busy, but she still makes time for visiting neighbors 
and relatives. Moreover, she often travels to town by herself. While life on a farm involved hard 
work for both men and women, Martha’s frequent visits to town—and the number of visitors she 
entertained—indicate that she rarely felt isolated from the community. Moreover, her large 
family and the number of workers they employ reveals that she has frequent company even 
without guests around the farm. Rather than feeling isolated, Martha McMillan remains 
connected to her community via entertaining visitors and visiting friends and family in 
Cedarville.   
 As Martha weaves her life and her home into the community, she practices hospitality. 
Hospitality may look different depending on historical and cultural context, so defining it for 
Martha’s context proves necessary.  Author A.K. Sandoval-Strausz defines hospitality as a 
process in “which one status is temporarily exchanged for another. Through a ritual of 
hospitality, the individual loses their status as a stranger and becomes a community member” 
(Sandoval-Strausz 137). Applying this definition to Martha’s context indicates that she treats her 
guests—whether friend or stranger—as part of her own family. Her journal shows her inviting 
“Aunt Roseanna […] and hers to take dinner with us tomorrow” (McMillan, 15 July 1889). The 
following day, Martha’s son Clayton takes “the carriage to town for Aunt Roseanna and Lijah 
and her son Daniel” (McMillan, 16 July 1889). She invites residents from town into her home, 
then she or another family member brings the guest to the farm. As she invites guests into her 
Crane 5 
 
home and hosts them, Martha maintains a connection to the wider community by practicing 
hospitality toward her neighbors. Welcoming guests into her home allows her to spend time with 
them and treat both her neighbors and her extended family as part of her immediate family. As 
Martha shows hospitality toward friends and family, she maintains her relationships with them, 
thus building and maintaining community.  
 Martha’s efforts toward hospitality and community left an impression on the people 
around her. Her children, particularly her son Jason, remember her actions. Since Jason and his 
siblings spent their early lives in the same house as their mother—and would have been present 
when guests visited—they witnessed her hospitality firsthand. Looking back on his childhood, 
Jason recalls that his mother “possessed a strong community consciousness, which made her a 
good neighbor and friend to all sorts and conditions of people for miles around” (MacMillan 37). 
Martha’s journals record her many trips to Cedarville, indicating that she remained aware of the 
needs in her community. Whether she visited a sick woman in town or invited a local family to 
take dinner at her house, Martha demonstrates what her son calls “a strong community 
consciousness” (MacMillan 37). She shows concern for her neighbors by practicing hospitality 
toward them. Her son Jason confirms his mother’s actions in his book, indicating that her 
concern for her community and her resulting hospitality left an impression on both him and 
others who benefitted from Martha’s actions.  
 Though Jason remembers his mother’s community consciousness and hospitality, he also 
admits that she sometimes felt ill-suited for farm life. He looks back on Martha’s life and 
acknowledges that when she married her husband, neither of them anticipated the hard times 
they would endure (MacMillan 42-43). Though the McMillans nearly lost their farm—and 
grieved the loss of three of their children—Martha herself remained faithful in serving her 
Crane 6 
 
community. Jason writes that his mother “didn’t dream that her life was to be one of almost 
unbroken drudgery, a round of duties for which in temperament she was no more fitted than a 
prima-donna on the concert stage is fitted for a treadmill existence” (Macmillan 43). However, 
Jason notes that Martha still worked hard in her life, and that her work “brought forth golden 
grain” (MacMillan 43). Martha’s journals reflect her attitude toward the life that she may have 
felt ill-suited for. When she attends church, she records her thoughts on the sermon, and in her 
reflection on 1 Samuel 7:10, she writes that “no matter what our trouble is if we take it trustingly 
to God and lean on his almighty arm the trouble will be removed or else we will be made happy 
in it” (McMillan, 21 July 1889). Though Martha may have considered farm life a trial, she 
trusted in God to make her happy in it. She likely found joy in serving her community and 
showing hospitality to her friends and neighbors. Life on a farm created difficulties, but she 
trusted God and lived out the call to love her neighbors. In something as everyday as traveling to 
town—and driving others to and from town—Martha shows hospitality.  
 Martha McMillan’s hospitality stems from her desire to live faithfully for God. As she 
and her family drive people to and from town and engage with their community, they live out 
this everyday faithfulness. Luiz Carlos Susin writes that “hospitality is the soul of the Church 
that seeks to be the continuation of the gospel, because it is the golden thread that justifies it 
from its foundational narratives” (60). Martha, as a believer seeking to live faithfully, sought to 
live out the gospel in her life. Jesus commands His followers to love God and love their 
neighbors, and Martha, a woman who loves God, loves her neighbors by showing them 
hospitality. Though Martha was imperfect, and though she would have disliked being placed on a 
pedestal, her everyday commitment to living out her faith and loving her neighbors provides an 
example for today’s Christians.  
Crane 7 
 
Works Cited 
Bapst, Emma; Brock, Lynn A.; Caldwell, Adam; Chandler, Alexis; Crane, Rachel; Crowder,  
Brodie; Frasier, Emily; Knierim, Rachel; and Kollstedt, Haley. “Complete Transcript of  
the 1889 Journal” (1889). Transcripts.  
Culley, Margo. “Women's Diary Literature: Resources and Directions in the Field.” Legacy, vol  
1, no 1, 1984, pp. 4-5. JSTOR, http://www.jstor.org/stable/25684384. 
MacMillan, Jason. “Home of Boundless Hospitality. The MacMillan Homestead, 1828-1953.  
Supplemental Material, 1953, pp. 35-43. Supplemental Material. 7.  
https://digitalcommons.cedarville.edu/mcmillan_supplemental_material/7  
Pederson, Jane Marie. “The Country Visitor: Patterns of Hospitality in Rural Wisconsin, 1880- 
1925.” Agricultural History, vol. 58, no. 3, 1984, pp. 347-364. JSTOR, 
https://www.jstor.org/stable/3743084 
Sandoval-Strausz, A.K. “Hospitality.” Hotel: An American History. Yale University Press, 2007,  
pp. 137-227.  
Susin, Luiz Carlos. “A Church Open to All: Hospitality as the Soul of the Church.” Hospitality  
and Friendship. SCM Press, 2022, pp. 60-66. 


Travel and Transportation as a Reflection of Hospitality and Community in Martha McMillan’s 1889 Journal

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