Cedarville University Digital Commons

Articles in this issue: Scholars Symposium, New Employees, Follow the Library on Social Media, Library Holiday Hours, Biblical Heritage Gallery, Founding of Cedarville College, Library Careers Program, Fall Book Sale, Open Access Publishing, Centennial Library Scholarship in Library Science Application, Digital Commons Publishing Corner, Digital Services, CedarScholar, CedarCommons, Cedrus Press, Student Author Submissionshttps://digitalcommons.cedarville.edu/library_enews/1131/thumbnail.jp

Cedarville University

Cedarville University 
CedarCommons 
Centennial Library Newsletter: Shelf Life Centennial Library 
2-13-2025 
Centennial Library Shelf Life, January/February 2025 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/library_enews 
 Part of the Higher Education Commons, and the Library and Information Science Commons 
Recommended Citation 
Cedarville University, "Centennial Library Shelf Life, January/February 2025" 32.3 (2025). Centennial 
Library Newsletter: Shelf Life. 
https://digitalcommons.cedarville.edu/library_enews/130 
This Issue is brought to you for free and open access by 
CedarCommons, a service of the Centennial Library. It 
has been accepted for inclusion in Centennial Library 
Newsletter: Shelf Life by an authorized administrator of 
CedarCommons. For more information, please contact 
digitalcommons@cedarville.edu. 
Follow Us On
Social Media!
@cedarvillelib Centennial
 Library
Newsletter
Highlights
Notable News from the Centennial Library
J A N / F E B  2 0 2 5
V O L U M E   3 2  N U M B E R  3
SHELF LIFE
Upcoming 
Schedule Changes
and Events
Online Calendar
New Library Employees
Scholarship Opportunity
Publish Your Research
Successful Fall Book Sale
Digital Commons Gets a
Makeover
Spring Break
Mar 1-2: CLOSED
Mar 3-6: 9AM - 5PM
Mar 7-9: CLOSED
Do you know students interested in research, creative arts,
presenting, or publication?
Scholars Symposium 2025 is now open for new
submissions via the Student Author Submission page!
Cedarville students and faculty who are interested in
presenting posters, podium presentations, performances,
or art pieces are encouraged to submit a proposal by
February 28. The symposium will be held on campus
Wednesday, April 16, 2025. 
Chelsea Baker became the newest member of the library staff in
January. Chelsea will be serving as Biblical and Theological
Studies Librarian, working directly with students and faculty in
the School of Biblical and Theological Studies as well as
assisting students in Bible Minor courses. Chelsea knows
Cedarville well, having completed a B.A. in Intercultural
Studies/Missiology in 2021 and a Master of Divinity in 2024. In
her role in the library, Chelsea will be providing classroom
instruction on research skills and information literacy, meeting
with students one-on-one to help them with their research and
information needs, and working as part of the library’s
Research Team.
New Employees Join Staff!
In December, Alayna Drollinger assumed the staff role of Digital
Services Assistant at Centennial Library. This position in Digital
Services works with the university’s digital repository
(CedarCommons) and publishing services (Cedrus Press).
Alayna completed a B.A. in English at Cedarville in Fall 2024
and previously worked in the library as a student assistant.
While a student, she also served as Editor-in-Chief of The
Cedarville Review and will now have the opportunity to work
with the publishing side of that journal, among other
publications.
Library Book Sale
Apr 7-11
Scan the QR code to visit
the virtual exhibit
Library Careers Program: Independent Study
After gaining experience with academic library operations through the Centennial Library Internship last fall, Emma Bapst
and Madison Kennedy are now exploring areas of personal interest through the Library's spring semester independent
study course. The students selected a variety of activities which will go more in depth with Research & Instruction and
Collection Development & Management. Due to their interest in archival studies, both chose to work with University
Archivist Lynn Brock on their major project. Emma, an English major, is transcribing a literary journal compiled by Clara
McMillan, from the Martha McMillan collection. She is also investigating the origins of the included works to determine if
any are original compositions. Madi, a History major, is assisting with some sections of the literary journal but spending
most of her time creating a content inventory of former Cedarville University president Dr. James T. Jeremiah's
scrapbooks. The Library independent study course is offered in cooperation with the Department of English, Literature &
Modern Languages. 
Biblical Heritage Gallery
Each year, during the month of January, Cedarville University celebrates
Charter Day to commemorate the issuing of Cedarville’s founding charter
on January 26, 1887.  But a few short years later, in 1890, the dream of a
college established in Cedarville almost died.
Revisit those fraught days from the charter to the first commencement
with the Biblical Heritage Gallery’s current exhibit “From Dream to
Reality: The Founding of Cedarville College, 1887-1897.” The early
documents of Cedarville’s history tell the story of how God worked
through individuals to enable the college to fulfill the vision of its
founders. The exhibit is on display in the Library’s upper level from
January 10 to March 9 and is also available online.
Emma Bapst Madi Kennedy
Apply Today!
Books
5013
Other Items
856
Funds Raised
$2688
Cedarville faculty – have you considered publishing
your research as open access? This can expand the
reach of your work and lower barriers to access.
Through OhioLINK, the library has Transformative
Agreements with several publishers including Springer,
Elsevier, Wiley, and Cambridge. These agreements
allow faculty to publish hybrid or open access in some
journals with these publishers at no cost to the author
or the institution.
A guide is available for more information or reach out
to your liaison librarian with questions.
The Centennial Library Scholarship in Library Science is
now accepting qualified applicants. Learn more about
this scholarship (including necessary prerequisites)
online. 
“Open access without the cost!
I would NEVER publish open
access without this.”
Dr. Aleda Chen, Pharmacy
“The publication process was straightforward.
Utilizing the Transformative Agreements...
simplified the process by reducing the financial
barriers and paperwork typically associated with
publishing in open access journals”
Dr. Chao Liu, Psychology
Mark your calendars for our Spring book sale – currently scheduled for April 7-11!
Open Access Publishing
Fall Book Sale by the Numbers
The Fall 2024 library book sale was our largest single-semester sale ever! All
proceeds from the library’s book sales go toward two scholarships for Cedarville
University students: the Centennial Library Scholarship in Library Science and
the Don and Julie Deardorff English Scholarship.
DigitalCommons was the name of a software platform, a service, a staff team, and even a location in the library. In
preparation for a 2025 software platform conversion, and to clarify our services, we are pleased to announce the
following new names and associated logos.
What remains unchanged is our commitment to serving faculty and students on campus. As our tagline says: “We
share your work with the world.”
DIGITAL COMMONS
PUBLISHING CORNER
Digital Commons is Transforming!
Digital Services is the library team that updates and manages
Cedarville’s institutional repository and digital archives
content, maintains faculty scholarly profiles, and provides
faculty publishing services. 
Digital Services also identifies the library 038 office suite.
CedarScholar is the faculty scholarly profile platform, formerly
known as “Scholarly Works” or “Expert Gallery Suite,” that will
showcase faculty research interests, education, publications,
presentations, and contributions to the popular press.
CedarScholar will launch in early 2025.
Cedrus Press offers a collection of book and textbook
formatting and publishing services to Cedarville faculty.
Cedrus Press is also the imprint for Cedarville journals and
books.
CedarCommons is the new institutional repository and digital
archive of Cedarville University that will be fully available late
2025. Continued access to DigitalCommons@Cedarville is
available through the end of 2025.  
Students interested in submitting upper-level research papers,
creative writing, artwork and/or photography for publication in
one of the university’s academic journals or the institutional
repository should refer to the associated submission and
publication dates listed on the submission site.
Student
Authors
Scan Here


English

Centennial Library Shelf Life, January/February 2025

Digital Services collaborates with faculty and staff from many different schools and departments on campus. The candy bars are a nice way to thank those individuals who contribute to our success. The wrappers are branded with the new Digital Services logo

Cedarville University 
CedarCommons 
Documents CedarCommons Repository 
1-14-2025 
Thank You Candy Bar Wrapper 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/digital_commons_documents 
 Part of the Higher Education Commons, Scholarly Communication Commons, and the Scholarly 
Publishing Commons 
Recommended Citation 
Cedarville University, "Thank You Candy Bar Wrapper" (2025). Documents. 43. 
https://digitalcommons.cedarville.edu/digital_commons_documents/43 
This Promotional Material is brought to you for free and 
open access by CedarCommons, a service of the 
Centennial Library. It has been accepted for inclusion in 
Documents by an authorized administrator of 
CedarCommons. For more information, please contact 
digitalcommons@cedarville.edu. 



Thank You Candy Bar Wrapper

Cedarville University 
CedarCommons 
Women's Basketball Schedules Women's Basketball 
Spring 2025 
2024-2025 Women's Basketball Schedules 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/
womens_basketball_schedules 
 Part of the Higher Education Commons, and the Sports Studies Commons 
Recommended Citation 
Cedarville University, "2024-2025 Women's Basketball Schedules" (2025). Women's Basketball Schedules. 
86. 
https://digitalcommons.cedarville.edu/womens_basketball_schedules/86 
This Schedule is brought to you for free and open access 
by CedarCommons, a service of the Centennial Library. It 
has been accepted for inclusion in Women's Basketball 
Schedules by an authorized administrator of 
CedarCommons. For more information, please contact 
digitalcommons@cedarville.edu. 




2024-2025 Women\u27s Basketball Schedules

Color photograph of a women\u27s track and field teamhttps://digitalcommons.cedarville.edu/womens_track_and_field_gallery/1045/thumbnail.jp

2024-2025 Women\u27s Track & Field Team

Cedarville University 
CedarCommons 
Baseball Statistics Baseball 
Spring 2025 
2025 Baseball Statistics 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/baseball_statistics 
 Part of the Higher Education Commons, and the Sports Studies Commons 
Recommended Citation 
Cedarville University, "2025 Baseball Statistics" (2025). Baseball Statistics. 1188. 
https://digitalcommons.cedarville.edu/baseball_statistics/1188 
This Statistics is brought to you for free and open 
access by CedarCommons, a service of the 
Centennial Library. It has been accepted for inclusion 
in Baseball Statistics by an authorized administrator 
of CedarCommons. For more information, please 
contact digitalcommons@cedarville.edu. 
2025 Cedarville University Baseball
Overall Statistics (as of May 5, 2025)
 
 
Overall Record: 21-29   Conf: 14-18   Home: 8-13   Away: 8-12   Neutral: 5-4
 
 
All games Sorted by Batting Avg
LOB: Team (409), Opp (401)   DPs Turned: Team (38), Opp (22)   IBB: Team (5), Henderson (3), Weikel (2), Opp (7)   Picked Off:
Finkelston (2), Martin (2), Henderson (1), Wilde (1)
 
 
 
All games Sorted by Earned Run Avg
PB: Team (10), Totals (10), DeMoss (5), Wilde (4), Shook (1), Opp (15)   Pickoffs: Team (7), Harris 3, Case 2, Formus 2, Totals , Opp (6)   
SBA/ATT: Totals (180-206), Wilde (39-44), DeMoss (36-39), Shook (15-18), Marland (14-17), Ball (12-15), Geiger (11-12), Duesing (10-12),
Harris (8-9), Wagoner (7-7), Coriell (5-5), Case (4-8), Adkins (3-3), Rupp (3-3), Watson (3-4), Allen (2-2), Colley (2-2), Odom (2-2), Formus
(1-1), Legere (1-1), Weikel (1-1), Wright (1-1)   
# Player AVG GP-GS AB R H 2B 3B HR RBI TB SLG% BB HBP SO GDP OB% SF SH SB-ATT PO A E FLD%
1 Henderson, Eli .355 50-50 166 38 59 11 1 0 24 72 .434 35 16 16 2 .500 3 6 7-8 77 122 17 .921
28 Wilde, Kaden .312 50-50 186 38 58 8 9 1 31 87 .468 21 14 45 2 .417 2 0 11-13 236 50 8 .973
3 Montes de Oca, Chris .311 50-50 183 34 57 5 2 2 25 72 .393 30 5 21 4 .420 1 0 2-3 94 2 4 .960
14 Weikel, Grayson .239 49-47 163 22 39 8 0 4 25 59 .362 19 15 40 5 .371 0 0 1-2 4 0 0 1.000
35 Martin, Cooper .236 50-49 174 23 41 6 4 3 30 64 .368 12 4 68 2 .300 0 3 5-6 61 110 2 .988
9 McKinion, Caleb .230 41-40 139 17 32 12 0 1 20 47 .338 15 5 38 0 .325 1 1 0-0 266 11 8 .972
11 George, Micah .222 44-42 144 24 32 5 2 2 17 47 .326 15 2 46 2 .302 1 3 6-8 88 2 3 .968
6 Finkelston, Riley .182 44-40 121 16 22 3 0 0 12 25 .207 15 4 52 0 .289 2 3 9-11 73 2 5 .938
15 Poindexter, Grant .255 22-13 51 9 13 0 0 0 5 13 .255 8 0 6 0 .356 0 0 0-0 80 5 1 .988
5 Shook, Kaden .232 24-16 56 7 13 2 0 0 6 15 .268 6 0 17 1 .306 0 3 1-2 65 6 2 .973
32 Colley, Brendan .227 32-26 75 16 17 2 0 1 11 22 .293 14 4 37 0 .372 1 0 0-0 12 28 9 .816
22 Leaman, Jackson .214 12-7 28 3 6 0 0 1 2 9 .321 2 1 8 0 .290 0 0 0-0 4 1 0 1.000
24 Hartel, Luke .200 11-5 15 1 3 0 0 0 1 3 .200 2 1 9 2 .333 0 2 0-0 3 12 0 1.000
12 DeMoss, Danny .170 21-15 53 5 9 0 1 0 2 11 .208 3 2 14 1 .241 0 1 0-0 98 12 0 1.000
26 Leslie, Ben .000 4-0 2 2 0 0 0 0 0 0 .000 0 0 0 0 .000 0 0 1-1 0 0 0 .000
13 Adkins, Nathaniel .000 19-0 0 1 0 0 0 0 0 0 .000 0 0 0 0 .000 0 0 0-0 2 2 0 1.000
Totals .258 50-50 1556 256 401 62 19 15 211 546 .351 197 73 417 21 .365 11 22 43-54 1179 430 66 .961
Opponents .261 50-50 1480 287 386 67 11 26 246 553 .374 258 82 324 32 .393 26 35 90-105 1186 419 73 .956
# Player ERA W-L APP GS CG SHO SV IP H R ER BB SO 2B 3B HR B/AVG WP HP BK SFA SHA
38 Allen, Spencer 1.50 0-0 6 0 0 0-0 0 6.0 3 1 1 2 6 1 0 0 .158 2 2 0 0 1
55 Wagoner, Jensen 2.21 5-5 12 11 5 1-0 1 69.1 66 27 17 13 67 9 1 1 .249 5 5 0 4 8
18 Marland, Tate 2.90 4-2 11 9 1 1-1 0 49.2 40 24 16 30 45 4 1 2 .220 1 4 0 3 4
8 Formus, Sam 2.91 0-2 12 0 0 0-0 1 21.2 9 12 7 21 12 2 0 1 .132 1 7 0 1 2
29 Case, Landon 4.18 2-0 21 0 0 0-0 2 23.2 15 17 11 28 17 4 0 1 .203 3 6 1 3 3
48 Duesing, Ford 4.25 5-3 13 11 0 0-0 0 59.1 66 45 28 25 40 8 2 5 .284 3 13 0 6 4
44 Legere, Connor 4.26 1-0 5 2 0 0-0 2 6.1 2 3 3 4 9 0 1 0 .100 0 1 0 0 1
16 Wright, Grayson 4.50 0-0 3 0 0 0-0 0 4.0 6 2 2 2 1 2 0 0 .333 0 0 1 0 0
4 Coriell, Levi 5.40 0-1 5 1 0 0-0 0 5.0 4 4 3 8 3 1 1 1 .200 1 3 0 0 0
14 Weikel, Grayson 5.40 0-0 2 0 0 0-0 0 1.2 2 1 1 1 1 1 0 0 .250 2 0 0 0 0
42 Ball, Coen 5.44 2-6 13 8 0 0-1 1 48.0 36 31 29 37 47 4 1 2 .208 6 7 0 0 4
7 Geiger, Jordan 5.91 0-3 15 4 0 0-0 6 32.0 41 28 21 21 30 8 0 3 .308 3 4 0 1 2
13 Adkins, Nathaniel 7.53 0-2 12 0 0 0-0 0 14.1 18 16 12 13 9 4 0 4 .327 2 3 0 2 3
32 Colley, Brendan 7.71 0-0 3 0 0 0-0 0 2.1 1 3 2 5 1 0 0 0 .125 3 0 0 0 0
31 Harris, Walker 8.69 2-2 18 0 0 0-0 0 19.2 27 19 19 10 13 6 1 2 .375 0 8 0 4 3
10 Odom, Kade 9.00 0-0 2 0 0 0-0 0 2.0 3 2 2 2 0 0 0 1 .375 4 2 0 0 0
30 Watson, Kyle 10.64 0-1 9 1 0 0-0 0 11.0 15 14 13 14 10 4 3 0 .326 5 7 0 0 0
36 Rupp, Tobias 13.00 0-0 11 0 0 0-0 0 9.0 14 15 13 5 6 5 0 3 .368 1 5 0 2 0
21 Fisher, Wyatt 13.50 0-1 4 2 0 0-0 0 4.0 5 6 6 6 3 2 0 0 .313 4 0 0 0 0
33 Hargis, Caden 22.50 0-1 6 1 0 0-0 0 4.0 12 13 10 9 4 2 0 0 .500 1 4 0 0 0
5 Shook, Kaden 99.00 0-0 1 0 0 0-0 0 0.0 1 4 4 2 0 0 0 0 1.000 0 1 0 0 0
Totals 5.02 21-29 184 50 6 3 13 393.0 386 287 219 258 324 67 11 26 .261 47 82 2 26 35
Opponents 4.46 29-21 155 50 3 4 13 395.1 401 256 196 197 417 62 19 15 .258 49 73 7 11 22
2025 Cedarville University Baseball
Overall Statistics (as of May 5, 2025)
 
 
All games Sorted by Fielding Pct
Hitting minimums - 75% of games played, 2 AB/G
# Player C PO A E FLD% DP SBA CSB SBA% PB CI
12 DeMoss, Danny 110 98 12 0 1.000 1 36 3 .923 5 0
24 Hartel, Luke 15 3 12 0 1.000 2 0 0 — 0 0
42 Ball, Coen 11 2 9 0 1.000 0 12 3 .800 0 0
48 Duesing, Ford 11 4 7 0 1.000 1 10 2 .833 0 0
31 Harris, Walker 9 1 8 0 1.000 0 8 1 .889 0 0
18 Marland, Tate 7 2 5 0 1.000 1 14 3 .824 0 0
22 Leaman, Jackson 5 4 1 0 1.000 0 0 0 — 0 0
13 Adkins, Nathaniel 4 2 2 0 1.000 1 3 0 1.000 0 0
14 Weikel, Grayson 4 4 0 0 1.000 0 1 0 1.000 0 0
44 Legere, Connor 3 1 2 0 1.000 0 1 0 1.000 0 0
7 Geiger, Jordan 3 0 3 0 1.000 0 11 1 .917 0 0
30 Watson, Kyle 2 0 2 0 1.000 0 3 1 .750 0 0
16 Wright, Grayson 1 1 0 0 1.000 0 1 0 1.000 0 0
38 Allen, Spencer 1 1 0 0 1.000 0 2 0 1.000 0 0
35 Martin, Cooper 173 61 110 2 .988 21 0 0 — 0 0
15 Poindexter, Grant 86 80 5 1 .988 10 0 0 — 0 0
28 Wilde, Kaden 294 236 50 8 .973 8 39 5 .886 4 0
5 Shook, Kaden 73 65 6 2 .973 0 15 3 .833 1 0
9 McKinion, Caleb 285 266 11 8 .972 24 0 0 — 0 0
11 George, Micah 93 88 2 3 .968 1 0 0 — 0 0
3 Montes de Oca, Chris 100 94 2 4 .960 0 0 0 — 0 0
6 Finkelston, Riley 80 73 2 5 .938 0 0 0 — 0 0
1 Henderson, Eli 216 77 122 17 .921 26 0 0 — 0 0
55 Wagoner, Jensen 22 2 18 2 .909 1 7 0 1.000 0 0
29 Case, Landon 11 1 8 2 .818 0 4 4 .500 0 0
32 Colley, Brendan 49 12 28 9 .816 4 2 0 1.000 0 0
8 Formus, Sam 6 1 3 2 .667 0 1 0 1.000 0 0
36 Rupp, Tobias 1 0 0 1 .000 0 3 0 1.000 0 0
10 Odom, Kade 0 0 0 0 .000 0 2 0 1.000 0 0
21 Fisher, Wyatt 0 0 0 0 .000 0 0 0 — 0 0
26 Leslie, Ben 0 0 0 0 .000 0 0 0 — 0 0
33 Hargis, Caden 0 0 0 0 .000 0 0 0 — 0 0
4 Coriell, Levi 0 0 0 0 .000 0 5 0 1.000 0 0
Totals 1675 1179 430 66 .961 101 180 26 .874 10 0
Opponents 1678 1186 419 73 .956 63 86 21 .804 15 0


2025 Baseball Statistics

Cedarville University 
CedarCommons 
Men's Golf Statistics Golf 
Spring 2025 
2024-2025 Men's Golf Season Statistics 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/mens_golf_statistics 
 Part of the Higher Education Commons, and the Sports Studies Commons 
Recommended Citation 
Cedarville University, "2024-2025 Men's Golf Season Statistics" (2025). Men's Golf Statistics. 730. 
https://digitalcommons.cedarville.edu/mens_golf_statistics/730 
This Statistics 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 Golf Statistics by an authorized administrator 
of CedarCommons. For more information, please 
contact digitalcommons@cedarville.edu. 
2024-25 Cedarville Men's Golf
Season Statistics
Low Tournaments Low Par/- Finish Top Rel. Career
Player Rounds Strokes 54-holes 36-holes Round Rounds Events  1  5 10 To Par Average Rounds Strokes Average
Hibbard, Aiden 28 2113 213 144 69 7 10 - - 3 +4 75.46 28 2113 75.46
Reed, Ian 28 2121 220 158 69 5 10 - 1 1 +4 75.75 40 3051 76.28
Bardwell, Nathan 28 2181 219 151 70 1 10 - - 1 +6 77.89 48 3710 77.29
Bailey, Daniel 25 1998 232 156 74 - 9 - - - +8 79.92 48 3827 79.73
Davis, Tyler 20 1632 232 175 75 - 7 - - - +10 81.60 32 2571 80.34
DeHimer, Danny 19 1556 234 161 76 - 7 - - - +10 81.89 19 1556 81.89
Kasler, Ethan 9 754 239 - 77 - 3 - - - +12 83.78 9 754 83.78
FOUR-PLAYER TEAM 28 8617 885 609 288 13 10 - 1 5 +21 307.75
Tournament Dates Rounds Place Teams Players Par Score
Malone Fall Invitational Sept 9-10, 2024 3 9 12 78 +86 950
Hillsdale Invitational Sept 16-17, 2024 3 8 10 60 +53 917
Tiffin Memorial Oct 7-8, 2024 3 6 10 72 +51 915
Findlay Fall Invite Oct 14-15, 2024 3 16 17 100 +51 915
NCCAA Championship Oct 21-23, 2024 3 4 12 48 +40 904
Emmanuel Memorial Feb 17-18, 2025 2 5 15 88 +33 609
Davis & Elkins Battle at Brunswick March 7-8, 2025 3 3 12 93 +47 911
Trevecca Music City Invitational Mar 31-Apr 1, 2025 3 15 16 92 +45 885
Taylor Kampen-Cosler Invitational April 14, 2025 2 5 11 61 +76 652
G-MAC Championship April 21-22, 2025 3 10 11 55 +107 959
 Team low rounds
 
 1.  293 (+5) -  Findlay Fall Invite, Oct 14-15, 2024 (2nd round)
 2.  288 (+8) -  Trevecca Music City Invitational, Mar 31-Apr 1, 2025 (3rd round)
   296 (+8) -  Tiffin Memorial, Oct 7-8, 2024 (2nd round)
 4.  298 (+10) -  Davis & Elkins Battle at Brunswick, March 7-8, 2025 (2nd round)
 5.  301 (+13) -  Hillsdale Invitational, Sept 16-17, 2024 (1st round)
   301 (+13) -  NCCAA Championship, Oct 21-23, 2024 (1st round)
   301 (+13) -  NCCAA Championship, Oct 21-23, 2024 (2nd round)
   301 (+13) -  Emmanuel Memorial, Feb 17-18, 2025 (2nd round)
 9.  302 (+14) -  NCCAA Championship, Oct 21-23, 2024 (3rd round)
   302 (+14) -  Davis & Elkins Battle at Brunswick, March 7-8, 2025 (3rd round)
 Player low rounds
 
 1.   69 (-3) -  Hibbard, Aiden, Tiffin Memorial, Oct 7-8, 2024 (2nd round)
    69 (-3) -  Reed, Ian, NCCAA Championship, Oct 21-23, 2024 (1st round)
    69 (-3) -  Reed, Ian, Davis & Elkins Battle at Brunswick, March 7-8, 2025 (3rd round)
 4.   70 (-2) -  Reed, Ian, Hillsdale Invitational, Sept 16-17, 2024 (1st round)
    70 (-2) -  Bardwell, Nathan, NCCAA Championship, Oct 21-23, 2024 (1st round)
5/13/25, 10:47 AM 2024-25 Cedarville Men's Golf -- Season Statistics
https://cedarville_ftp.sidearmsports.com/custompages/stats2425/MGO/teamcume.htm 1/2
    70 (-2) -  Hibbard, Aiden, Davis & Elkins Battle at Brunswick, March 7-8, 2025 (2nd round)
 7.   71 (-1) -  Reed, Ian, Malone Fall Invitational, Sept 9-10, 2024 (1st round)
    71 (-1) -  Hibbard, Aiden, NCCAA Championship, Oct 21-23, 2024 (2nd round)
    71 (-1) -  Hibbard, Aiden, NCCAA Championship, Oct 21-23, 2024 (3rd round)
    71 (-1) -  Hibbard, Aiden, Emmanuel Memorial, Feb 17-18, 2025 (1st round)
 11.   70 (E) -  Hibbard, Aiden, Trevecca Music City Invitational, Mar 31-Apr 1, 2025 (3rd round)
    72 (E) -  Reed, Ian, Tiffin Memorial, Oct 7-8, 2024 (1st round)
    72 (E) -  Hibbard, Aiden, Findlay Fall Invite, Oct 14-15, 2024 (2nd round)
 14.   71 (+1) -  Hibbard, Aiden, Trevecca Music City Invitational, Mar 31-Apr 1, 2025 (1st round)
    71 (+1) -  Bardwell, Nathan, Trevecca Music City Invitational, Mar 31-Apr 1, 2025 (3rd round)
    73 (+1) -  Reed, Ian, Hillsdale Invitational, Sept 16-17, 2024 (2nd round)
    73 (+1) -  Bardwell, Nathan, Findlay Fall Invite, Oct 14-15, 2024 (2nd round)
    73 (+1) -  Reed, Ian, Findlay Fall Invite, Oct 14-15, 2024 (2nd round)
    73 (+1) -  Hibbard, Aiden, Findlay Fall Invite, Oct 14-15, 2024 (3rd round)
    73 (+1) -  Bardwell, Nathan, Emmanuel Memorial, Feb 17-18, 2025 (2nd round)
    73 (+1) -  Hibbard, Aiden, Emmanuel Memorial, Feb 17-18, 2025 (2nd round)
 22.   72 (+2) -  Hibbard, Aiden, Trevecca Music City Invitational, Mar 31-Apr 1, 2025 (2nd round)
    72 (+2) -  Reed, Ian, Trevecca Music City Invitational, Mar 31-Apr 1, 2025 (2nd round)
    72 (+2) -  Reed, Ian, Trevecca Music City Invitational, Mar 31-Apr 1, 2025 (3rd round)
    74 (+2) -  Bardwell, Nathan, Malone Fall Invitational, Sept 9-10, 2024 (1st round)
    74 (+2) -  Reed, Ian, Tiffin Memorial, Oct 7-8, 2024 (2nd round)
    74 (+2) -  Reed, Ian, Findlay Fall Invite, Oct 14-15, 2024 (1st round)
    74 (+2) -  Bailey, Daniel, NCCAA Championship, Oct 21-23, 2024 (3rd round)
 29.   73 (+3) -  Bardwell, Nathan, Trevecca Music City Invitational, Mar 31-Apr 1, 2025 (1st round)
    75 (+3) -  Hibbard, Aiden, Hillsdale Invitational, Sept 16-17, 2024 (1st round)
    75 (+3) -  Hibbard, Aiden, Hillsdale Invitational, Sept 16-17, 2024 (3rd round)
    75 (+3) -  Hibbard, Aiden, Tiffin Memorial, Oct 7-8, 2024 (1st round)
    75 (+3) -  Hibbard, Aiden, Tiffin Memorial, Oct 7-8, 2024 (3rd round)
    75 (+3) -  Bailey, Daniel, Findlay Fall Invite, Oct 14-15, 2024 (2nd round)
    75 (+3) -  Reed, Ian, NCCAA Championship, Oct 21-23, 2024 (2nd round)
    75 (+3) -  Hibbard, Aiden, Davis & Elkins Battle at Brunswick, March 7-8, 2025 (1st round)
    75 (+3) -  Reed, Ian, Davis & Elkins Battle at Brunswick, March 7-8, 2025 (2nd round)
 38.   76 (+4) -  Bailey, Daniel, Hillsdale Invitational, Sept 16-17, 2024 (1st round)
    76 (+4) -  Hibbard, Aiden, Hillsdale Invitational, Sept 16-17, 2024 (2nd round)
    76 (+4) -  Bardwell, Nathan, Tiffin Memorial, Oct 7-8, 2024 (2nd round)
    76 (+4) -  Bailey, Daniel, Findlay Fall Invite, Oct 14-15, 2024 (3rd round)
    76 (+4) -  Bardwell, Nathan, NCCAA Championship, Oct 21-23, 2024 (2nd round)
    76 (+4) -  Bardwell, Nathan, NCCAA Championship, Oct 21-23, 2024 (3rd round)
    76 (+4) -  Reed, Ian, Davis & Elkins Battle at Brunswick, March 7-8, 2025 (1st round)
    76 (+4) -  Davis, Tyler, Davis & Elkins Battle at Brunswick, March 7-8, 2025 (2nd round)
    76 (+4) -  DeHimer, Danny, Davis & Elkins Battle at Brunswick, March 7-8, 2025 (2nd round)
    76 (+4) -  Hibbard, Aiden, Davis & Elkins Battle at Brunswick, March 7-8, 2025 (3rd round)
 48.  +5 -  14 times
5/13/25, 10:47 AM 2024-25 Cedarville Men's Golf -- Season Statistics
https://cedarville_ftp.sidearmsports.com/custompages/stats2425/MGO/teamcume.htm 2/2


2024-2025 Men\u27s Golf Season Statistics

Cedarville University 
CedarCommons 
Men's Tennis Schedules Men's Tennis 
Spring 2025 
2024-2025 Men's Tennis Schedule 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/mens_tennis_schedules 
 Part of the Higher Education Commons, and the Sports Studies Commons 
Recommended Citation 
Cedarville University, "2024-2025 Men's Tennis Schedule" (2025). Men's Tennis Schedules. 52. 
https://digitalcommons.cedarville.edu/mens_tennis_schedules/52 
This Schedule 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 Tennis Schedules by an authorized 
administrator of CedarCommons. For more 
information, please contact 
digitalcommons@cedarville.edu. 
2024-25 Men's Tennis Schedule
Cedarville University Athletics
Overall
12-15
PCT
.444
Conf
3-5
PCT
.375
Streak
L6
Home
5-4
Away
3-7
Neutral
4-4
All Starting Times Eastern
Date Time At Opponent Location TV Radio Tournament Result
August 31, 2024
(Saturday)
12:00
PM
Away Grace Winona Lake, IN L, 0-7
September 12, 2024
(Thursday)
4:30
PM
Away Wittenberg Springfield, OH W, 7-0
September 20, 2024
(Friday)
1:00
PM
Away West Virginia
State
Institute, WV L, 3-4
September 21, 2024
(Saturday)
12:00
PM
Away Charleston Charleston, WV L, 2-5
September 25, 2024
(Wednesday)
4:00
PM
Home Indiana East Cedarville, OH / Johnson-
Murdoch Tennis Complex
W, 7-0
September 28, 2024
(Saturday)
8:30
AM
Neutral ITA Midwest
Regional
Grand Rapids, MI
October 5, 2024
(Saturday)
2:00
PM
Home Midway Cedarville, OH / Johnson-
Murdoch Tennis Complex
W, 6-1
October 8, 2024
(Tuesday)
4:00
PM
Home Indiana Tech Cedarville, OH / Johnson-
Murdoch Tennis Complex
L, 3-4
February 1, 2025
(Saturday)
1:00
PM
Neutral Illinois
Wesleyan
Crawfordsville, IN W, 7-0
February 1, 2025
(Saturday)
5:00
PM
Neutral Wabash Crawfordsville, IN W, 4-3
February 14, 2025
(Friday)
11:00
AM
Away Dayton Dayton, OH / South Regency
Tennis & Fitness Center
L, 0-7
February 15, 2025
(Saturday)
4:00
PM
Home Indiana
Wesleyan
Dayton, OH / Five Seasons
Family Sports Club
L, 3-4
March 3, 2025
(Monday)
9:30
AM
Neutral Loyola MD Melbourne, FL / Fee Avenue
Tennis Complex
L, 1-6
March 4, 2025
(Tuesday)
12:30
PM
Neutral Rose-Hulman Orlando, FL / Lake Cane
Tennis Center
W, 5-2
March 5, 2025
(Wednesday)
8:00
AM
Neutral Trine Orlando, FL / USTA National
Campus
W, 5-2
March 6, 2025
(Thursday)
6:00
PM
Neutral Allegheny Orlando, FL / USTA National
Campus
L, 2-5
March 7, 2025
(Friday)
11:00
AM
Neutral Ave Maria Orlando, FL / USTA National
Campus
L, 3-4
5/13/25, 10:34 AM 2024-25 Men's Tennis Schedule - Cedarville University Athletics
https://yellowjackets.cedarville.edu/sports/mens-tennis/schedule?print=true 1/2
Date Time At Opponent Location TV Radio Tournament Result
March 19, 2025
(Wednesday)
4:00
PM
Home Otterbein Cedarville, OH / Johnson-
Murdoch Tennis Complex
W, 7-0
March 22, 2025
(Saturday)
2:00
PM
Home Ashland Cedarville, OH / Johnson-
Murdoch Tennis Complex
W, 4-1
March 28, 2025
(Friday)
6:00
PM
Away Thomas More Crestview Hills, KY W, 5-0
March 29, 2025
(Saturday)
1:00
PM
Home Kentucky
Wesleyan
Cedarville, OH / Johnson-
Murdoch Tennis Complex
W, 6-1
April 2, 2025
(Wednesday)
1:30
PM
Away Ohio Northern Ada, OH W, 7-0
April 4, 2025 (Friday) 6:00
PM
Away Walsh North Canton, OH L, 1-4
April 11, 2025
(Friday)
1:00
PM
Home Tiffin Dayton, OH / Five Seasons
Family Sports Club
L, 0-7
April 12, 2025
(Saturday)
2:00
PM
Home Findlay Cedarville, OH / Johnson-
Murdoch Tennis Complex
L, 2-5
April 18, 2025
(Friday)
4:00
PM
Away Hillsdale Hillsdale, MI L, 1-6
April 19, 2025
(Saturday)
2:00
PM
Away Northwood Midland, MI L, 0-7
April 24, 2025
(Thursday)
2:00
PM
Neutral Findlay Owensboro, KY Great Midwest Athletic
Conference Tournament
L, 0-4
Copyright © 2025 Cedarville University Athletics
5/13/25, 10:34 AM 2024-25 Men's Tennis Schedule - Cedarville University Athletics
https://yellowjackets.cedarville.edu/sports/mens-tennis/schedule?print=true 2/2


2024-2025 Men\u27s Tennis Schedule

Schmidt, Darby

Cedarville University 
CedarCommons 
Junior and Senior Recitals Concert and Recital Programs 
3-15-2025 
Darby Schmidt, Senior Violin Recital 
Darby Schmidt 
Follow this and additional works at: https://digitalcommons.cedarville.edu/junior_and_senior_recitals 
 Part of the Music Performance Commons 
Recommended Citation 
Schmidt, Darby, "Darby Schmidt, Senior Violin Recital" (2025). Junior and Senior Recitals. 400. 
https://digitalcommons.cedarville.edu/junior_and_senior_recitals/400 
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. 
Lalo, like other musicians of his time, became interested in international,
exotic genres of music. Inspired by his Spanish lineage, he wrote Symphonie
espagnole for the Spanish violinist Pablo de Sarasate in 1874 to appeal to
the international interests of the French audience. Although called a
symphony due to its five-movement structure, the piece functions as a violin
concerto with its dramatic emphasis on the soloist.
The first movement follows a traditional Sonata-Allegro form. As it opens, it
quickly pits the orchestra (piano) against the soloist, with partial
presentations of the first theme being traded back and forth before being
presented in full in unison. The first theme features dramatic leaps in the
melody to capture the listener and evoke its distinctive Spanish flair. As is
typical for the Romantic style in this movement, the violin frequently
alternates between the lowest, most sonorous range on the instrument and
the highest, most brilliant notes. The second theme of the movement stands
in stark contrast to the opening with its slow, almost yearning melody in a
major key. As the two themes are developed throughout the movement,
Lalo rhythmically unites them by juxtaposing duple and quarter-note triplet
rhythms, which can be heard throughout the piece.
Alt-Wiener Tanzweisen
The pieces represented here are a set of three compositions for violin and
piano, “Liebesfreud” (Love’s Joy), “Liebesleid” (Love’s Sorrow), and “Schön
Rosmarin” (Fair Rosmarin). Kreisler was himself a wonderful Austrian
violinist and solo performer as well as a composer. He is probably best
known, however, for his fraudulently composing works in the style of
famous composers and deliberately publishing them as long-lost works of
those composers. This set of three tunes, grouped as the Alt-Wiener
Tanzweisen (Old Viennese Dances) is among these fraudulent works,
originally attributed to Joseph Lanner in 1905. Kreisler’s works offer a
unique blend of the Romantic and 20th-century musical styles, as he wrote
with the influences of contemporary 20th-century composers in the style of
Romantic ones. 
“Liebesfreud” was written in the style of a Viennese waltz and reflects the
cheerful, lively atmosphere of pre-world-wars Vienna. It is written in
ternary form, with two vibrant A sections around a more lyrical center.
“Liebesleid” is a smooth and nostalgic-sounding piece, in the key of A,
alternating between minor and major with a steady ¾ meter throughout. It
is marked as being the tempo of the Ländler, a German folk dance, and
shares the typical rhythmic structure of quarter, quarter, dotted-eighth,
sixteenth, though expressed differently throughout the movement. 
“Schön Rosmarin” is a lighthearted, graceful dance that perfectly balances
lyrical with playful in its highly chromatic melodies and frequent rubato.
 
Violin Sonata No.1 in g minor, BMV 1001 . . . . . . . . . . . . . . . . . J. S. Bach (1685–1750)
I. Adagio
IV. Presto
Sonata in D Major for Violin and Piano, D.384, Op. 137, No.1. . . . . . . . . . . . . . . . . . . . . .
Franz Schubert (1797–1828)
I. Allegro molto
II. Andante
III. Allegro vivace
Symphonie espagnole in d minor, Op. 21 . . . . . . . . . . . . . Édouard Lalo (1823–1892)
I. Allegro non troppo
Alt-Wiener Tanzweisen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Fritz Kreisler (1875–1962)
I. Liebesfreud
II. Liebesleid
III. Schön Rosmarin
Darby is a student of Carlos Elias
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
Sonata No. 1 in g minor
This piece is the first of Bach’s six Sonatas and Partitas for Solo Violin, which he
wrote in 1720 during his six-year tenure with Prince Leopold of Anhalt-Cöthen.
Despite their unprecedented beauty and complexity for the violin, they were
not widely accepted during his lifetime. The original manuscript was not
discovered until 1814, when it was found in a pile of papers meant to be used
as wrappings at a butter shop. His works have since been revived, however,
and are now considered an essential part of the violin repertoire. In the Adagio,
Bach’s experience in organ compositions shines through, as he masterfully
creates a multi-voiced texture for an instrument as monophonic as the violin.
Occurring as the first movement of the sonata, the Adagio was likely inspired
by the improvisatory preludes of the time, which allowed for extreme liberties
in performance. Although Bach fully notated his ornamentation, the movement
has a free, improvisatory feel over the underlying melody and harmonic phrase
structure. Standing in stark contrast to the Adagio, the final Presto is
characterized by its nearly continuous flow of 16th notes in a fast 4/4 time
signature. It is much lighter than the Adagio both in mood and texture, as
double stops occur only in the last two beats of each section. The movement is
lively, as Bach implies frequent interchanges between duple and triple
subdivisions in the phrasing and energetic multi-voice dialogues, making a
dynamic end to the sonata.
Sonata in D Major
Schubert’s violin sonata was composed in 1816 and is his earliest surviving
complete chamber work with piano. He likely composed the piece to play with
his older brother, Ferdinand, and the work bounds with youthful energy. As it
is early in Schubert’s overall output, it reflects a Mozartian classical style in its
strict adherence to form and the balanced interplay between the two
instruments. The Allegro molto opens with a spontaneously lyrical unison
melody, drawing the listener’s ear to the main theme, which recurs throughout
the movement. The rest of the movement is characterized by alternating
passages between the piano and the violin as they play with the main themes.
The Andante is in a unique ternary form; where the A sections are very classical
in style, while the middle B section gives strong hints of romanticism. The
piano takes the melodic lead in the piece until the B section, where the violin
sings out a melody almost reminiscent of a vocal Lied. When the A section
returns, the violin part serves as melodic ornamentation to the main melody
repeated in the piano. The Allegro vivace is in a lively Rondo form, almost
resembling a Scherzo in its energetic, bouncy melodies.
Symphonie espagnole
Despite being named the “Spanish Symphony,” Symphonie espagnole was
written by a composer who was born, raised, and musically trained in France.
Continued on back
 
Violin Sonata No.1 in g minor, BMV 1001 . . . . . . . . . . . . . . . . . J. S. Bach (1685–1750)
I. Adagio
IV. Presto
Sonata in D Major for Violin and Piano, D.384, Op. 137, No.1. . . . . . . . . . . . . . . . . . . . . .
Franz Schubert (1797–1828)
I. Allegro molto
II. Andante
III. Allegro vivace
Symphonie espagnole in d minor, Op. 21 . . . . . . . . . . . . . Édouard Lalo (1823–1892)
I. Allegro non troppo
Alt-Wiener Tanzweisen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Fritz Kreisler (1875–1962)
I. Liebesfreud
II. Liebesleid
III. Schön Rosmarin
Darby is a student of Carlos Elias
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
Sonata No. 1 in g minor
This piece is the first of Bach’s six Sonatas and Partitas for Solo Violin, which he
wrote in 1720 during his six-year tenure with Prince Leopold of Anhalt-Cöthen.
Despite their unprecedented beauty and complexity for the violin, they were
not widely accepted during his lifetime. The original manuscript was not
discovered until 1814, when it was found in a pile of papers meant to be used
as wrappings at a butter shop. His works have since been revived, however,
and are now considered an essential part of the violin repertoire. In the Adagio,
Bach’s experience in organ compositions shines through, as he masterfully
creates a multi-voiced texture for an instrument as monophonic as the violin.
Occurring as the first movement of the sonata, the Adagio was likely inspired
by the improvisatory preludes of the time, which allowed for extreme liberties
in performance. Although Bach fully notated his ornamentation, the movement
has a free, improvisatory feel over the underlying melody and harmonic phrase
structure. Standing in stark contrast to the Adagio, the final Presto is
characterized by its nearly continuous flow of 16th notes in a fast 4/4 time
signature. It is much lighter than the Adagio both in mood and texture, as
double stops occur only in the last two beats of each section. The movement is
lively, as Bach implies frequent interchanges between duple and triple
subdivisions in the phrasing and energetic multi-voice dialogues, making a
dynamic end to the sonata.
Sonata in D Major
Schubert’s violin sonata was composed in 1816 and is his earliest surviving
complete chamber work with piano. He likely composed the piece to play with
his older brother, Ferdinand, and the work bounds with youthful energy. As it
is early in Schubert’s overall output, it reflects a Mozartian classical style in its
strict adherence to form and the balanced interplay between the two
instruments. The Allegro molto opens with a spontaneously lyrical unison
melody, drawing the listener’s ear to the main theme, which recurs throughout
the movement. The rest of the movement is characterized by alternating
passages between the piano and the violin as they play with the main themes.
The Andante is in a unique ternary form; where the A sections are very classical
in style, while the middle B section gives strong hints of romanticism. The
piano takes the melodic lead in the piece until the B section, where the violin
sings out a melody almost reminiscent of a vocal Lied. When the A section
returns, the violin part serves as melodic ornamentation to the main melody
repeated in the piano. The Allegro vivace is in a lively Rondo form, almost
resembling a Scherzo in its energetic, bouncy melodies.
Symphonie espagnole
Despite being named the “Spanish Symphony,” Symphonie espagnole was
written by a composer who was born, raised, and musically trained in France.
Continued on back
Lalo, like other musicians of his time, became interested in international,
exotic genres of music. Inspired by his Spanish lineage, he wrote Symphonie
espagnole for the Spanish violinist Pablo de Sarasate in 1874 to appeal to
the international interests of the French audience. Although called a
symphony due to its five-movement structure, the piece functions as a violin
concerto with its dramatic emphasis on the soloist.
The first movement follows a traditional Sonata-Allegro form. As it opens, it
quickly pits the orchestra (piano) against the soloist, with partial
presentations of the first theme being traded back and forth before being
presented in full in unison. The first theme features dramatic leaps in the
melody to capture the listener and evoke its distinctive Spanish flair. As is
typical for the Romantic style in this movement, the violin frequently
alternates between the lowest, most sonorous range on the instrument and
the highest, most brilliant notes. The second theme of the movement stands
in stark contrast to the opening with its slow, almost yearning melody in a
major key. As the two themes are developed throughout the movement,
Lalo rhythmically unites them by juxtaposing duple and quarter-note triplet
rhythms, which can be heard throughout the piece.
Alt-Wiener Tanzweisen
The pieces represented here are a set of three compositions for violin and
piano, “Liebesfreud” (Love’s Joy), “Liebesleid” (Love’s Sorrow), and “Schön
Rosmarin” (Fair Rosmarin). Kreisler was himself a wonderful Austrian
violinist and solo performer as well as a composer. He is probably best
known, however, for his fraudulently composing works in the style of
famous composers and deliberately publishing them as long-lost works of
those composers. This set of three tunes, grouped as the Alt-Wiener
Tanzweisen (Old Viennese Dances) is among these fraudulent works,
originally attributed to Joseph Lanner in 1905. Kreisler’s works offer a
unique blend of the Romantic and 20th-century musical styles, as he wrote
with the influences of contemporary 20th-century composers in the style of
Romantic ones. 
“Liebesfreud” was written in the style of a Viennese waltz and reflects the
cheerful, lively atmosphere of pre-world-wars Vienna. It is written in
ternary form, with two vibrant A sections around a more lyrical center.
“Liebesleid” is a smooth and nostalgic-sounding piece, in the key of A,
alternating between minor and major with a steady ¾ meter throughout. It
is marked as being the tempo of the Ländler, a German folk dance, and
shares the typical rhythmic structure of quarter, quarter, dotted-eighth,
sixteenth, though expressed differently throughout the movement. 
“Schön Rosmarin” is a lighthearted, graceful dance that perfectly balances
lyrical with playful in its highly chromatic melodies and frequent rubato.


Darby Schmidt, Senior Violin Recital

Sauder, Xinxian (Anna He)

Cedarville University 
CedarCommons 
Junior and Senior Recitals Concert and Recital Programs 
1-26-2025 
Xinxian Anna He Sauder, Senior Clarinet Recital 
Xinxian (Anna He) Sauder 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/junior_and_senior_recitals 
 Part of the Music Performance Commons 
Recommended Citation 
Sauder, Xinxian (Anna He), "Xinxian Anna He Sauder, Senior Clarinet Recital" (2025). Junior and Senior 
Recitals. 401. 
https://digitalcommons.cedarville.edu/junior_and_senior_recitals/401 
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. 
 
Solo de concours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . André Messager (1853–1929) 
4 Fantasiestücke for Clarinet and Piano, Op. 43
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Niels Gade (1817–1890)
1. Andantino con moto
4. Allegro molto vivace
Hommage à Manuel de Falla . . . . . . . . . . . . . . . . . . . . . Béla Kovács (1937–2021)
Clarinet Concerto No. 1 in c minor, Op. 26. . . . . . . . . Louis Spohr (1784–1859)
ed. Stanley Drucker (1929–2002)
I. Adagio-Allegro
II. Adagio
III. Rondo. Vivace
Xinxian is a student of Bruce Curlette.
This recital is presented in partial fulfillment 
of the Bachelor of Music Education degree.
No flash photography, please.  Please turn off all cell phones.
Program Notes
Solo de concours 
Composed in 1899 as a competition piece for the Paris Conservatoire, Solo de concours
exemplifies the French style of clarinet writing. Messager, a prominent conductor and
composer of operettas, crafted this piece to showcase technical brilliance and lyrical
expressiveness. The work alternates between virtuosic passages and soaring melodic
lines, highlighting the clarinet's agility and tonal beauty. For students, it demonstrates
key elements of French articulation and phrasing, making it a staple in clarinet pedagogy.
4 Fantasiestücke for Clarinet and Piano, Op. 43
Niels Gade, a Danish composer influenced by Mendelssohn and Schumann, created his
Fantasiestücke in 1864. These character pieces blend Romantic lyricism with
lighthearted charm. The Andantino con moto features a singing melody over a flowing
accompaniment, showcasing the clarinet's vocal qualities, while the Allegro molto vivace
is a lively, playful finale that requires precise articulation and rhythmic accuracy. These
pieces are often studied for their emphasis on dynamic contrast and stylistic nuance.
Hommage à Manuel de Falla  
Hungarian clarinetist and composer Béla Kovács wrote Hommage à Manuel de Falla as
part of a series paying tribute to influential composers. This unaccompanied piece draws
on Spanish folk elements and the rhythmic vitality of de Falla's music. It demands a wide
range of expressive techniques, including rapid articulations, dynamic shifts, and
intricate phrasing. For clarinetists, this work serves as both a technical challenge and an
opportunity to explore diverse musical styles, making it a valuable addition to recital
programs and teaching repertoire.
Clarinet Concerto No. 1 in c minor, Op. 26 
Louis Spohr's Clarinet Concerto No. 1 is one of the cornerstones of the Romantic clarinet
repertoire. Written in 1808 for virtuoso Johann Simon Hermstedt, this concerto
combines dramatic intensity with lyrical beauty. The first movement, Adagio-Allegro,
opens with a stately introduction leading to a fiery and dramatic Allegro. The second
movement, Adagio, showcases the clarinet’s expressive capabilities through a poignant
and flowing melody. The final Rondo is spirited and technically demanding, requiring
dexterity and precision. This concerto is a critical piece in the education of clarinetists,
offering insights into Romantic phrasing, technical facility, and expressive depth.
Solo de concours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . André Messager (1853–1929) 
4 Fantasiestücke for Clarinet and Piano, Op. 43
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Niels Gade (1817–1890)
1. Andantino con moto
4. Allegro molto vivace
Hommage à Manuel de Falla . . . . . . . . . . . . . . . . . . . . . Béla Kovács (1937–2021)
Clarinet Concerto No. 1 in c minor, Op. 26. . . . . . . . . Louis Spohr (1784–1859)
ed. Stanley Drucker (1929–2002)
I. Adagio-Allegro
II. Adagio
III. Rondo. Vivace
Xinxian is a student of Bruce Curlette.
This recital is presented in partial fulfillment 
of the Bachelor of Music Education degree.
No flash photography, please.  Please turn off all cell phones.
Program Notes
Solo de concours 
Composed in 1899 as a competition piece for the Paris Conservatoire, Solo de concours
exemplifies the French style of clarinet writing. Messager, a prominent conductor and
composer of operettas, crafted this piece to showcase technical brilliance and lyrical
expressiveness. The work alternates between virtuosic passages and soaring melodic
lines, highlighting the clarinet's agility and tonal beauty. For students, it demonstrates
key elements of French articulation and phrasing, making it a staple in clarinet pedagogy.
4 Fantasiestücke for Clarinet and Piano, Op. 43
Niels Gade, a Danish composer influenced by Mendelssohn and Schumann, created his
Fantasiestücke in 1864. These character pieces blend Romantic lyricism with
lighthearted charm. The Andantino con moto features a singing melody over a flowing
accompaniment, showcasing the clarinet's vocal qualities, while the Allegro molto vivace
is a lively, playful finale that requires precise articulation and rhythmic accuracy. These
pieces are often studied for their emphasis on dynamic contrast and stylistic nuance.
Hommage à Manuel de Falla  
Hungarian clarinetist and composer Béla Kovács wrote Hommage à Manuel de Falla as
part of a series paying tribute to influential composers. This unaccompanied piece draws
on Spanish folk elements and the rhythmic vitality of de Falla's music. It demands a wide
range of expressive techniques, including rapid articulations, dynamic shifts, and
intricate phrasing. For clarinetists, this work serves as both a technical challenge and an
opportunity to explore diverse musical styles, making it a valuable addition to recital
programs and teaching repertoire.
Clarinet Concerto No. 1 in c minor, Op. 26 
Louis Spohr's Clarinet Concerto No. 1 is one of the cornerstones of the Romantic clarinet
repertoire. Written in 1808 for virtuoso Johann Simon Hermstedt, this concerto
combines dramatic intensity with lyrical beauty. The first movement, Adagio-Allegro,
opens with a stately introduction leading to a fiery and dramatic Allegro. The second
movement, Adagio, showcases the clarinet’s expressive capabilities through a poignant
and flowing melody. The final Rondo is spirited and technically demanding, requiring
dexterity and precision. This concerto is a critical piece in the education of clarinetists,
offering insights into Romantic phrasing, technical facility, and expressive depth.


Xinxian Anna He Sauder, Senior Clarinet Recital

Foerch, Carter

Cedarville University 
CedarCommons 
Junior and Senior Recitals Concert and Recital Programs 
4-10-2025 
Carter Foerch, Tenor, Junior Voice Recital 
Carter Foerch 
Cedarville University 
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Foerch, Carter, "Carter Foerch, Tenor, Junior Voice Recital" (2025). Junior and Senior Recitals. 411. 
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Your Song
This song is intended to act as a dramatic contrast to what came before. “Your Song” was written by
Sir Elton John with lyrics by Bernie Taupin in 1967. The piece is a very simple and earnest love song,
admitting that the singer may not be rich, but what he does have is a song that is meant for his love. I
chose this song both because it has been a favorite of mine for as long as I can remember, but also
because it shows a large contrast in style, language, and time period to the previous G. F. Handel
piece. My musical love is not contained within just one era, and I hope that a song like this expresses
that well.
You Are Beautiful
From the musical Flower Drum Song, "You Are Beautiful" is a beautiful representation of the golden
age of American musical theatre. The richness of Rodgers’s composition combined with Oscar
Hammerstein II's heartfelt lyrics create a deep tenderness. Richard Rodgers, especially in his
collaborations with Hammerstein, was a driving force in shaping American musical theatre, and this
song reflects his ability to blend Western and Eastern culture. I chose this song because it tells a
story that I am very touched by. I hope you all enjoy it as much as I do.
Love, I Hear
This gorgeous, flowing, and humorous song is one of the favorites that I have ever sung. It comes
from the musical A Funny Thing Happened on the Way to the Forum by the incredible Stephen
Sondheim. The perspective of confessing love for somebody nervously feels so relatable to many: to 
know that you may be rejected but feel that your feelings are too important not to express. This song
is melodically gorgeous with beautiful piano accompaniment that enhances the nervousness of
confessing love, the feeling of falling in love, and getting carried away in expressing this love. This
song will stick with me for a very long time, and I wanted to be able to share it all with you and enjoy
its earnestness together.
Miss Otis Regrets
This comedic jazz song is a great example of the biting wit of Cole Porter. Porter is known for his
early Hollywood musicals, many of which contain songs that are characteristically wry, sarcastic, or
filled with innuendo. This song is told from the perspective of a butler of the Otis house, who is
informing a guest that Miss Otis, who they are here to see, has asked him to tell them that she is
unavailable for lunch. In the beginning it sounds as though it is simply that; she made a silly decision
that has left her indisposed for lunch. However, the plot thickens and becomes a very sarcastically
dramatic monologue of her actions and consequences. I sang an arrangement of this song in my
freshman year of highschool under my voice instructor at the time and have loved it ever since. Its
sense of humor is very similar to mine, and I hope you all find it as funny as I do.
They Can’t Take That Away From Me
George Gershwin’s “They Can’t Take That Away from Me,” with lyrics by Ira Gershwin, is a timeless
jazz song full of elegance and nostalgia. Originally introduced by Fred Astaire in the 1937 film Shall
We Dance, the song’s gentle swing and melody talk about the endurance of love even in distance. In
Mark Haye’s arrangement, the song maintains its original magic and incorporates lush harmonies,
expressivity, and dynamic contrasts that respect the original while providing some new qualities to
the sound. The song has great interplay between the vocals and the piano accompaniment which
requires sensitivity and good phrasing, making it a sophisticated interpretation of a Gershwin
standard.
I
Come Thou Fount of Every Blessing . . . . . . . . . . . . . . . . Traditional American Melody
arr. Mark Hayes (b. 1953)
 
II
Frondi tenere – Ombra mai fú from SERSE, HWV 40 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . George Frideric Handel (1685–1759)
Daybreak Will Come from THE TENDER LAND . . . .  Aaron Copland (1900–1990)
III
Your Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elton John (b. 1947)
IV
You Are Beautiful from FLOWER DRUM SONG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  Richard Rodgers (1902–1979)
Love, I Hear from A FUNNY THING HAPPENED ON THE WAY TO THE FORUM
 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephen Sondheim (1930–2021)
V
Miss Otis Regrets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cole Porter (1891–1964)
They Can’t Take That Away from Me . . . . . . . . . . . . .George Gershwin (1898–1937)
arr. Mark Hayes
Carter is a student of Lou Lilite.
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
Hello! Welcome to my recital! My name is Carter, I am a junior at CU pursuing a BA in Music. I love music
history and the study of postmodern music especially. I have had the blessing over these last two years
of working under my voice professor, Dr. Lou Lilite - who has also blessed me as my accompanist in this
recital - to whom I would like to give a great amount of praise for what you will hear tonight. All but two
pieces of this repertoire were selected by him and taught to me by him. He has changed how I sing, how
I think, and how I relate to others, and I am deeply grateful beyond words to him for that. You will 
hear tonight a broad array of different styles of music, mostly in English, which will exemplify the width
and breadth of my interests in styles and my passion for performance.
I would like to dedicate this recital to Betty Scott. She was like a grandma to me, I learned so much about
love and life from her, and even though she died when I was only four years old, I still think of her all the
time. When she passed away, she asked me to sing “Jesus Loves Me” at her funeral. It was the first time I
remember feeling as though I had some amount of power in using my voice to make others feel at peace
and to show Betty how much she meant to me. Please stay afterward to sing “Jesus Loves Me” with me in
honor of her. I hope you all enjoy this program, and I hope it makes you smile!
Soli Deo Gloria,
Carter Foerch
Come Thou Fount of Every Blessing
“Come Thou Fount of Every Blessing” is a beloved hymn with text by Robert Robinson, set to the tune
Nettleton, traditionally attributed to John Wyeth. Mark Hayes’s arrangement brings new life to this
classic as he changes the rhythm to turn it into a more rippling, dynamic folk song in style. He blends a
fast-paced, stylistic piano accompaniment with the famous melody, switching between the typical
rhythm of the piece and his revised rhythm. This setting enhances the already vibrant classic hymn and
creates a new auditory experience that perhaps will draw a listener in to revisit a hymn that they
thought they already knew well. 
Frondi tenere - Ombra mai fú
Translation:
Tender and beautiful fronds
Of my beloved plane tree,
May fate smile upon you.
May thunder, lightning, and storms
Never bother your dear peace
Nor may you be profaned by the fierce southern wind
There was never a shade
Of any plant
Dearest and lovelier
Or more sweet
Translation by Ben Kazez
https://www.vmii.org/hwv-40-serse/2-ombra-mai-fu
From the gorgeous and not extremely well known opera, Serse, this recitative and aria by Handel is the
opening aria. The opera Serse was first performed in 1738. This piece catches up with King Xerxes as he
has been in banishment for a period leading up to when this story takes place. This piece is Xerxes
reentering nature as himself once more and realizing that there is a beauty to the world that he did not
even fully appreciate before. The beauty of the fronds of the trees mesmerize him, he is enraptured. This
piece requires vocal control and agility, as well as stage presence during the gorgeous piano
accompaniment. I sang this piece in the 2023 Opera Intermezzo concert, and it has never left my mind as
one of the most simplistically gorgeous arias I have ever heard. I hope that you feel the same.
Daybreak Will Come
"Daybreak Will Come" is a poignant aria from Aaron Copland’s opera The Tender Land, a beautiful
modern opera that explores hope, humanity, and resiliency. This song is sung by Martin, a young
travelling worker in love with Laurie, the daughter of the family he is working for. The aria reflects his
longing for a brighter future and the bittersweet realization of fleeting time. Copland’s signature open
harmonies and folk-like lyricism create an atmosphere of yearning that underscores the tension
between love and the pull of the unknown. This is an aria from my repertoire this semester that has not
left my mind for months. It is beautiful and unique in a very 20th-century American folk and tonal way.
I
Come Thou Fount of Every Blessing . . . . . . . . . . . . . . . . Traditional American Melody
arr. Mark Hayes (b. 1953)
 
II
Frondi tenere – Ombra mai fú from SERSE, HWV 40 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . George Frideric Handel (1685–1759)
Daybreak Will Come from THE TENDER LAND . . . .  Aaron Copland (1900–1990)
III
Your Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elton John (b. 1947)
IV
You Are Beautiful from FLOWER DRUM SONG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  Richard Rodgers (1902–1979)
Love, I Hear from A FUNNY THING HAPPENED ON THE WAY TO THE FORUM
 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephen Sondheim (1930–2021)
V
Miss Otis Regrets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cole Porter (1891–1964)
They Can’t Take That Away from Me . . . . . . . . . . . . .George Gershwin (1898–1937)
arr. Mark Hayes
Carter is a student of Lou Lilite.
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
Hello! Welcome to my recital! My name is Carter, I am a junior at CU pursuing a BA in Music. I love music
history and the study of postmodern music especially. I have had the blessing over these last two years
of working under my voice professor, Dr. Lou Lilite - who has also blessed me as my accompanist in this
recital - to whom I would like to give a great amount of praise for what you will hear tonight. All but two
pieces of this repertoire were selected by him and taught to me by him. He has changed how I sing, how
I think, and how I relate to others, and I am deeply grateful beyond words to him for that. You will 
hear tonight a broad array of different styles of music, mostly in English, which will exemplify the width
and breadth of my interests in styles and my passion for performance.
I would like to dedicate this recital to Betty Scott. She was like a grandma to me, I learned so much about
love and life from her, and even though she died when I was only four years old, I still think of her all the
time. When she passed away, she asked me to sing “Jesus Loves Me” at her funeral. It was the first time I
remember feeling as though I had some amount of power in using my voice to make others feel at peace
and to show Betty how much she meant to me. Please stay afterward to sing “Jesus Loves Me” with me in
honor of her. I hope you all enjoy this program, and I hope it makes you smile!
Soli Deo Gloria,
Carter Foerch
Come Thou Fount of Every Blessing
“Come Thou Fount of Every Blessing” is a beloved hymn with text by Robert Robinson, set to the tune
Nettleton, traditionally attributed to John Wyeth. Mark Hayes’s arrangement brings new life to this
classic as he changes the rhythm to turn it into a more rippling, dynamic folk song in style. He blends a
fast-paced, stylistic piano accompaniment with the famous melody, switching between the typical
rhythm of the piece and his revised rhythm. This setting enhances the already vibrant classic hymn and
creates a new auditory experience that perhaps will draw a listener in to revisit a hymn that they
thought they already knew well. 
Frondi tenere - Ombra mai fú
Translation:
Tender and beautiful fronds
Of my beloved plane tree,
May fate smile upon you.
May thunder, lightning, and storms
Never bother your dear peace
Nor may you be profaned by the fierce southern wind
There was never a shade
Of any plant
Dearest and lovelier
Or more sweet
Translation by Ben Kazez
https://www.vmii.org/hwv-40-serse/2-ombra-mai-fu
From the gorgeous and not extremely well known opera, Serse, this recitative and aria by Handel is the
opening aria. The opera Serse was first performed in 1738. This piece catches up with King Xerxes as he
has been in banishment for a period leading up to when this story takes place. This piece is Xerxes
reentering nature as himself once more and realizing that there is a beauty to the world that he did not
even fully appreciate before. The beauty of the fronds of the trees mesmerize him, he is enraptured. This
piece requires vocal control and agility, as well as stage presence during the gorgeous piano
accompaniment. I sang this piece in the 2023 Opera Intermezzo concert, and it has never left my mind as
one of the most simplistically gorgeous arias I have ever heard. I hope that you feel the same.
Daybreak Will Come
"Daybreak Will Come" is a poignant aria from Aaron Copland’s opera The Tender Land, a beautiful
modern opera that explores hope, humanity, and resiliency. This song is sung by Martin, a young
travelling worker in love with Laurie, the daughter of the family he is working for. The aria reflects his
longing for a brighter future and the bittersweet realization of fleeting time. Copland’s signature open
harmonies and folk-like lyricism create an atmosphere of yearning that underscores the tension
between love and the pull of the unknown. This is an aria from my repertoire this semester that has not
left my mind for months. It is beautiful and unique in a very 20th-century American folk and tonal way.
Your Song
This song is intended to act as a dramatic contrast to what came before. “Your Song” was written by
Sir Elton John with lyrics by Bernie Taupin in 1967. The piece is a very simple and earnest love song,
admitting that the singer may not be rich, but what he does have is a song that is meant for his love. I
chose this song both because it has been a favorite of mine for as long as I can remember, but also
because it shows a large contrast in style, language, and time period to the previous G. F. Handel
piece. My musical love is not contained within just one era, and I hope that a song like this expresses
that well.
You Are Beautiful
From the musical Flower Drum Song, "You Are Beautiful" is a beautiful representation of the golden
age of American musical theatre. The richness of Rodgers’s composition combined with Oscar
Hammerstein II's heartfelt lyrics create a deep tenderness. Richard Rodgers, especially in his
collaborations with Hammerstein, was a driving force in shaping American musical theatre, and this
song reflects his ability to blend Western and Eastern culture. I chose this song because it tells a
story that I am very touched by. I hope you all enjoy it as much as I do.
Love, I Hear
This gorgeous, flowing, and humorous song is one of the favorites that I have ever sung. It comes
from the musical A Funny Thing Happened on the Way to the Forum by the incredible Stephen
Sondheim. The perspective of confessing love for somebody nervously feels so relatable to many: to 
know that you may be rejected but feel that your feelings are too important not to express. This song
is melodically gorgeous with beautiful piano accompaniment that enhances the nervousness of
confessing love, the feeling of falling in love, and getting carried away in expressing this love. This
song will stick with me for a very long time, and I wanted to be able to share it all with you and enjoy
its earnestness together.
Miss Otis Regrets
This comedic jazz song is a great example of the biting wit of Cole Porter. Porter is known for his
early Hollywood musicals, many of which contain songs that are characteristically wry, sarcastic, or
filled with innuendo. This song is told from the perspective of a butler of the Otis house, who is
informing a guest that Miss Otis, who they are here to see, has asked him to tell them that she is
unavailable for lunch. In the beginning it sounds as though it is simply that; she made a silly decision
that has left her indisposed for lunch. However, the plot thickens and becomes a very sarcastically
dramatic monologue of her actions and consequences. I sang an arrangement of this song in my
freshman year of highschool under my voice instructor at the time and have loved it ever since. Its
sense of humor is very similar to mine, and I hope you all find it as funny as I do.
They Can’t Take That Away From Me
George Gershwin’s “They Can’t Take That Away from Me,” with lyrics by Ira Gershwin, is a timeless
jazz song full of elegance and nostalgia. Originally introduced by Fred Astaire in the 1937 film Shall
We Dance, the song’s gentle swing and melody talk about the endurance of love even in distance. In
Mark Haye’s arrangement, the song maintains its original magic and incorporates lush harmonies,
expressivity, and dynamic contrasts that respect the original while providing some new qualities to
the sound. The song has great interplay between the vocals and the piano accompaniment which
requires sensitivity and good phrasing, making it a sophisticated interpretation of a Gershwin
standard.
