Cedarville University Digital Commons

Schmidt, Darby A.

Cedarville University 
DigitalCommons@Cedarville 
Junior and Senior Recitals Concert and Recital Programs 
3-16-2024 
Darby Schmidt, Junior Violin Recital 
Darby A. Schmidt 
Follow this and additional works at: https://digitalcommons.cedarville.edu/junior_and_senior_recitals 
 Part of the Music Performance Commons 
This Program 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 Junior and Senior Recitals by an 
authorized administrator of 
DigitalCommons@Cedarville. For more information, 
please contact digitalcommons@cedarville.edu. 
A. Piazzolla – “Nightclub 1960” from Histoire du tango
Piazzolla was a 20th-century Argentinian composer who loved mixing traditional styles,
such as the tango, with jazz, popular, and classical styles, drawing admiration from a
wide musical audience during his life. Unlike many previous eras of music, his pieces
demand a certain confidence and fearlessness to play the unconventional with feeling
and personality. Piazzolla himself was an avid improviser, and often his recordings do
not sound exactly like the notes on the page, so it is with some degree of freedom that
the performers can explore the musical depths of his works. 
Histoire du tango is a four-movement work tracing the development of the tango from
1900 to the present (1980). As the third movement, the 1960 “Nightclub” is feisty and
energetic, with a natural swing and creativity with accents and rhythmic structure.
Although it is in 4/4 time, it can be more accurately counted in groups of 3+3+2
throughout the different sections. This rhythmic motif gives the piece a dramatic and
unpredictable flare as the piece ranges from its decisive opening to meditative and
sorrowful middle sections and, finally, a rousing and decisive ending. Another fun
feature of this piece to listen for is its percussive elements. As there is no percussion in
this instrumentation, the guitar and the violin both get to fill in as percussion to support
the other player at various places by using unconventional techniques. 
J. Brahms – “Scherzo” from F-A-E Sonata
The F-A-E Sonata is highly unusual in music history in that it has multiple composers! It
was originally a collaborative sonata of four movements, written in 1853 by Schumann
(mvts. II and IV), Brahms (III), and Dietrich, one of Schumann’s students (I), as a surprise
birthday gift for the violinist Joachim. They built the sonata around the notes F, A, and E,
which stood for the German phrase and Joachim’s maxim “Frei aber einsam” (free but
lonely). Although it was written as a collaboration, it is rarely performed that way today.
Schumann reused his two movements in his Sonata No. 3, and Brahms’s movement,
although not published until after his death, has now become a stand-alone piece. 
The piece opens with a sense of urgency, with repeated rhythms on the lowest note of
the violin and pressing syncopation, a motif that will return to the forefront frequently
and remain in the background for the rest of the piece. In typical Romantic style,
however, Brahms moves expertly across many moods throughout the piece, with a
bright and cheerful B section, to a pensive and mysterious passage, a lyrical and calm
trio, and, finally, a grand and majestic finale. 
 
Partita No. 3 in E Major, BWV 1006 . . . . . . . . . . . . . J. S. Bach (1685–1750)
II. Loure
III. Gavotte en rondeau
Violin Sonata No. 17 in C Major, K. 296 . . . . . . W. A. Mozart (1756–1791)
I. Allegro vivace
II. Andante sostenuto
III. Allegro
Assisted by Abigail Lilite, piano
 
Histoire du tango . . . . . . . . . . . . . . . . . . . . . . . . . Astor Piazzolla (1921–1992)
III. Nightclub. 1960
Assisted by Andrew Schmidt, guitar
F-A-E Violin Sonata
III. Scherzo . . . . . . . . . . . . . . . . . . . . . . Johannes Brahms (1833–1897)
Assisted by Abigail Lilite, piano
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. Please turn off all cell phones.
Program Notes
J. S. Bach – Partita 3 “Loure” and “Gavotte en rondeau” from Partita No. 3 
While Bach is more famous for his organ and church compositions, he had a six-year
tenure with Prince Leopold of Anhalt-Cöthen, where he composed large amounts of
secular instrumental music. His set of 6 Sonatas and Partitas for Solo Violin is one of
these works, completed in 1720. Despite their unprecedented beauty and complexity for
the violin, they were not famous at the time! Although there was one copy published in
1802, 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. 
Partita No. 3 is a set of pieces that roughly match a baroque dance suite, with its light
and chipper melodies throughout most of the movements. The “Loure” is unusual for
Bach, being a slow gigue in 6/4 meter. Its slow tempo, many embellishments, and
frequent dotted rhythms give it a more formal and majestic feel than other dances.
Being an organ player, Bach loved to use many voices in his compositions – even when
composing for as monophonic an instrument as the violin. His liberal use of double and
triple stops simulates multiple voices, which can be heard throughout both movements.
The “Gavotte en rondeau” is a faster movement in 2/4 time, which switches between
the statement of the lively theme and four episodes. Each episode gets gradually longer
and more intricate, as they expand on different motifs found in the theme. In contrast to
the stately “Loure”, the “Gavotte” is bright and energetic, with plenty of contrapuntal
texture occurring throughout. 
W. A. Mozart – Violin Sonata in C Major K. 296
A prodigious pianist and talented violinist, it is no wonder that Mozart wrote over fifteen
violin sonatas in his childhood, followed by nearly twenty in adulthood. His violin
sonatas are remarkable in their even treatment between the violin and the piano. Both
instruments are musically intertwined and alternate freely between melody and
accompaniment, making these sonatas truly collaborative. Written in 1778, the sonata
in C Major was one of Mozart’s earliest sonatas written in adulthood and was dedicated
to Josepha Auernhammer, an admired concert pianist. 
The first movement begins with a bold opening statement with friendly banter between
the violin and the piano as they exchange the melody in every other measure. In crisp
and clear classical style, it continues with light, bouncy melodies until the development,
where he experiments with more chromatic sequencing and dynamic build-up until the
recapitulation. The second movement, in ABA form, is a lilting and calm breath between
the movements. There are many strong dynamic contrasts, and, despite repetition of
the basic musical form, the violin and piano switch melodic and accompanying material
to make each section shine in a different way. The third movement is an energetic rondo
with a constant sense of movement. Steadily moving eighth notes throughout the
opening statement set a rousing mood for the movement, as it seamlessly moves
through statements and episodes before finishing off the piece with a triumphant,
march-like coda. 
Partita No. 3 in E Major, BWV 1006 . . . . . . . . . . . . . J. S. Bach (1685–1750)
II. Loure
III. Gavotte en rondeau
Violin Sonata No. 17 in C Major, K. 296 . . . . . . W. A. Mozart (1756–1791)
I. Allegro vivace
II. Andante sostenuto
III. Allegro
Assisted by Abigail Lilite, piano
 
Histoire du tango . . . . . . . . . . . . . . . . . . . . . . . . . Astor Piazzolla (1921–1992)
III. Nightclub. 1960
Assisted by Andrew Schmidt, guitar
F-A-E Violin Sonata
III. Scherzo . . . . . . . . . . . . . . . . . . . . . . Johannes Brahms (1833–1897)
Assisted by Abigail Lilite, piano
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. Please turn off all cell phones.
Program Notes
J. S. Bach – Partita 3 “Loure” and “Gavotte en rondeau” from Partita No. 3 
While Bach is more famous for his organ and church compositions, he had a six-year
tenure with Prince Leopold of Anhalt-Cöthen, where he composed large amounts of
secular instrumental music. His set of 6 Sonatas and Partitas for Solo Violin is one of
these works, completed in 1720. Despite their unprecedented beauty and complexity for
the violin, they were not famous at the time! Although there was one copy published in
1802, 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. 
Partita No. 3 is a set of pieces that roughly match a baroque dance suite, with its light
and chipper melodies throughout most of the movements. The “Loure” is unusual for
Bach, being a slow gigue in 6/4 meter. Its slow tempo, many embellishments, and
frequent dotted rhythms give it a more formal and majestic feel than other dances.
Being an organ player, Bach loved to use many voices in his compositions – even when
composing for as monophonic an instrument as the violin. His liberal use of double and
triple stops simulates multiple voices, which can be heard throughout both movements.
The “Gavotte en rondeau” is a faster movement in 2/4 time, which switches between
the statement of the lively theme and four episodes. Each episode gets gradually longer
and more intricate, as they expand on different motifs found in the theme. In contrast to
the stately “Loure”, the “Gavotte” is bright and energetic, with plenty of contrapuntal
texture occurring throughout. 
W. A. Mozart – Violin Sonata in C Major K. 296
A prodigious pianist and talented violinist, it is no wonder that Mozart wrote over fifteen
violin sonatas in his childhood, followed by nearly twenty in adulthood. His violin
sonatas are remarkable in their even treatment between the violin and the piano. Both
instruments are musically intertwined and alternate freely between melody and
accompaniment, making these sonatas truly collaborative. Written in 1778, the sonata
in C Major was one of Mozart’s earliest sonatas written in adulthood and was dedicated
to Josepha Auernhammer, an admired concert pianist. 
The first movement begins with a bold opening statement with friendly banter between
the violin and the piano as they exchange the melody in every other measure. In crisp
and clear classical style, it continues with light, bouncy melodies until the development,
where he experiments with more chromatic sequencing and dynamic build-up until the
recapitulation. The second movement, in ABA form, is a lilting and calm breath between
the movements. There are many strong dynamic contrasts, and, despite repetition of
the basic musical form, the violin and piano switch melodic and accompanying material
to make each section shine in a different way. The third movement is an energetic rondo
with a constant sense of movement. Steadily moving eighth notes throughout the
opening statement set a rousing mood for the movement, as it seamlessly moves
through statements and episodes before finishing off the piece with a triumphant,
march-like coda. 
A. Piazzolla – “Nightclub 1960” from Histoire du tango
Piazzolla was a 20th-century Argentinian composer who loved mixing traditional styles,
such as the tango, with jazz, popular, and classical styles, drawing admiration from a
wide musical audience during his life. Unlike many previous eras of music, his pieces
demand a certain confidence and fearlessness to play the unconventional with feeling
and personality. Piazzolla himself was an avid improviser, and often his recordings do
not sound exactly like the notes on the page, so it is with some degree of freedom that
the performers can explore the musical depths of his works. 
Histoire du tango is a four-movement work tracing the development of the tango from
1900 to the present (1980). As the third movement, the 1960 “Nightclub” is feisty and
energetic, with a natural swing and creativity with accents and rhythmic structure.
Although it is in 4/4 time, it can be more accurately counted in groups of 3+3+2
throughout the different sections. This rhythmic motif gives the piece a dramatic and
unpredictable flare as the piece ranges from its decisive opening to meditative and
sorrowful middle sections and, finally, a rousing and decisive ending. Another fun
feature of this piece to listen for is its percussive elements. As there is no percussion in
this instrumentation, the guitar and the violin both get to fill in as percussion to support
the other player at various places by using unconventional techniques. 
J. Brahms – “Scherzo” from F-A-E Sonata
The F-A-E Sonata is highly unusual in music history in that it has multiple composers! It
was originally a collaborative sonata of four movements, written in 1853 by Schumann
(mvts. II and IV), Brahms (III), and Dietrich, one of Schumann’s students (I), as a surprise
birthday gift for the violinist Joachim. They built the sonata around the notes F, A, and E,
which stood for the German phrase and Joachim’s maxim “Frei aber einsam” (free but
lonely). Although it was written as a collaboration, it is rarely performed that way today.
Schumann reused his two movements in his Sonata No. 3, and Brahms’s movement,
although not published until after his death, has now become a stand-alone piece. 
The piece opens with a sense of urgency, with repeated rhythms on the lowest note of
the violin and pressing syncopation, a motif that will return to the forefront frequently
and remain in the background for the rest of the piece. In typical Romantic style,
however, Brahms moves expertly across many moods throughout the piece, with a
bright and cheerful B section, to a pensive and mysterious passage, a lyrical and calm
trio, and, finally, a grand and majestic finale. 
 


English

Darby Schmidt, Junior Violin Recital

Hakalmazian, Emily G

Cedarville University 
DigitalCommons@Cedarville 
Junior and Senior Recitals Concert and Recital Programs 
4-5-2024 
Emily Hakalmazian, Soprano, Junio Voice Recital 
Emily G. Hakalmazian 
Follow this and additional works at: https://digitalcommons.cedarville.edu/junior_and_senior_recitals 
 Part of the Music Performance Commons 
This Program 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 Junior and Senior Recitals by an 
authorized administrator of 
DigitalCommons@Cedarville. For more information, 
please contact digitalcommons@cedarville.edu. 
Noche serena
Peaceful night in springtime, 
white dove of the light of dawn
peaceful night in springtime, 
white lily - that is what you are
And since I have arrived here, 
so full of delight
receive this tender kiss that I send to you
Field in winter, withered flower
night without moon, black storm;
flower without aroma, withered;
chopped-down tree - that is what I am.
El majo olvidado
When you remember the days gone by,
Think of me, of me
When with flowers fill your window,
Think of me, think of me.
Ah!
When in the serene nights sings the
nightingale,
Think of me, think of me.
Poor forgotten man!
What hard suffering!
Since the ungrateful left him,
He doesn’t want to live
Ah!
All translations from Oxford International Song
Festival. oxfordsong.org
I
Amarilli, mia bella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Giulio Caccini (1551–1618)
Le violette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alessandro Scarlatti (1660–1725)
Del mio core from ORFEO ED EURIDICE. . . . . . . . Franz Joseph Haydn (1732–1809)
II
Heidenröslein, D. 257, Op. 3, No. 3 . . . . . . . . . . . . . . . . . . . Franz Schubert (1797–1828)
Meine rose, Op. 90, No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . Robert Schumann (1810–1856)
Röslein, röselein! Op. 89, No. 6. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Schumann
III
Noche serena . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mexican Folksong
arr. Edward Kilenyi (1884–1968)
12 doce tonadillas en estilo antiguo. . . . . . . . . . . . . . . Enrique Granados (1867–1916)
4. El majo olvidado
IV
Loveliest of Trees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Duke (1899–1984)
The House of Life. . . . . . . . . . . . . . . . . . . . . . . . . . Ralph Vaughan Williams (1872–1958)
2. Silent Noon
V
Diary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Gates (b. 1940)
Something Beautiful . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephen Flaherty (b. 1960)
Assisted by James Dabney, guitar
Emily is a student of Beth Cram Porter
This recital is presented in partial fulfillment 
of the Bachelor of Arts in music degree.
No flash photography, please.  Please turn off all cell phones.
Translations
Amarilli
Amaryllis, my lovely one,
do you not believe, o my heart's sweet desire,
That you are my love?
Believe it thus:  and if fear assails you,
Doubt not its truth.
Open my breast and see written on my heart:
Amaryllis, Amaryllis, Amaryllis,
Is my beloved.
Le violette
Dewy
Scented
Pretty violets,
You are standing
Shy,
Half hidden
Among the leaves,
And you scold
My desires,
That are too ambitious.
Del mio core
All my longing, my heart’s devotion,
In my husband alone are center’d
To my love fondly my spirit
Sighing, sighing, sends a last farewell!
To my love, sighing, sends a last farewell!
Heidenröslein
A boy saw a wild rose
growing in the heather;
it was so young, and as lovely as the morning. 
He ran swiftly to look more closely,
looked on it with great joy.
Wild rose, wild rose, wild rose red,
wild rose in the heather.
Said the boy: I shall pluck you,
wild rose in the heather!
Said the rose: I shall prick you
so that you will always remember me. 
And I will not suffer it.
Wild rose, wild rose, wild rose red, 
wild rose in the heather.
And the impetuous boy plucked
the wild rose from the heather;
the rose defended herself and pricked him, 
but her cries of pain were to no avail;
she simply had to suffer.
Wild rose, wild rose, wild rose red,
wild rose in the heather.
Meine rose
To spring's fair jewel,
To the rose, my delight,
Already drooping and pale
From the heat of the sun,
I bring a beaker of water
From the deep, dark well.
Rose of my heart!
You droop and pale
From the silent shaft of pain;
I would silently pour out
My soul at your feet,
As I pour water for this flower!
Even though I might not then
See you happily revive.
Röselein, röselein!
Rose, little rose,
Why must you bear thorns?
Thus musing, I once fell asleep
By a shady brook, and in my dreams
I saw, standing in golden sunshine,
A thornless rose.
And I plucked and kissed it;
A thornless rose!
Then I awoke and looked around.
I knew I had seen one; where was it?
All around, near and far in the sunshine
Stood roses, all with thorns!
And the brook laughed at me:
‘Leave your dreaming;
You may be sure
That all roses have thorns.’
I
Amarilli, mia bella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Giulio Caccini (1551–1618)
Le violette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alessandro Scarlatti (1660–1725)
Del mio core from ORFEO ED EURIDICE. . . . . . . . Franz Joseph Haydn (1732–1809)
II
Heidenröslein, D. 257, Op. 3, No. 3 . . . . . . . . . . . . . . . . . . . Franz Schubert (1797–1828)
Meine rose, Op. 90, No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . Robert Schumann (1810–1856)
Röslein, röselein! Op. 89, No. 6. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Schumann
III
Noche serena . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mexican Folksong
arr. Edward Kilenyi (1884–1968)
12 doce tonadillas en estilo antiguo. . . . . . . . . . . . . . . Enrique Granados (1867–1916)
4. El majo olvidado
IV
Loveliest of Trees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Duke (1899–1984)
The House of Life. . . . . . . . . . . . . . . . . . . . . . . . . . Ralph Vaughan Williams (1872–1958)
2. Silent Noon
V
Diary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Gates (b. 1940)
Something Beautiful . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephen Flaherty (b. 1960)
Assisted by James Dabney, guitar
Emily is a student of Beth Cram Porter
This recital is presented in partial fulfillment 
of the Bachelor of Arts in music degree.
No flash photography, please.  Please turn off all cell phones.
Translations
Amarilli
Amaryllis, my lovely one,
do you not believe, o my heart's sweet desire,
That you are my love?
Believe it thus:  and if fear assails you,
Doubt not its truth.
Open my breast and see written on my heart:
Amaryllis, Amaryllis, Amaryllis,
Is my beloved.
Le violette
Dewy
Scented
Pretty violets,
You are standing
Shy,
Half hidden
Among the leaves,
And you scold
My desires,
That are too ambitious.
Del mio core
All my longing, my heart’s devotion,
In my husband alone are center’d
To my love fondly my spirit
Sighing, sighing, sends a last farewell!
To my love, sighing, sends a last farewell!
Heidenröslein
A boy saw a wild rose
growing in the heather;
it was so young, and as lovely as the morning. 
He ran swiftly to look more closely,
looked on it with great joy.
Wild rose, wild rose, wild rose red,
wild rose in the heather.
Said the boy: I shall pluck you,
wild rose in the heather!
Said the rose: I shall prick you
so that you will always remember me. 
And I will not suffer it.
Wild rose, wild rose, wild rose red, 
wild rose in the heather.
And the impetuous boy plucked
the wild rose from the heather;
the rose defended herself and pricked him, 
but her cries of pain were to no avail;
she simply had to suffer.
Wild rose, wild rose, wild rose red,
wild rose in the heather.
Meine rose
To spring's fair jewel,
To the rose, my delight,
Already drooping and pale
From the heat of the sun,
I bring a beaker of water
From the deep, dark well.
Rose of my heart!
You droop and pale
From the silent shaft of pain;
I would silently pour out
My soul at your feet,
As I pour water for this flower!
Even though I might not then
See you happily revive.
Röselein, röselein!
Rose, little rose,
Why must you bear thorns?
Thus musing, I once fell asleep
By a shady brook, and in my dreams
I saw, standing in golden sunshine,
A thornless rose.
And I plucked and kissed it;
A thornless rose!
Then I awoke and looked around.
I knew I had seen one; where was it?
All around, near and far in the sunshine
Stood roses, all with thorns!
And the brook laughed at me:
‘Leave your dreaming;
You may be sure
That all roses have thorns.’
Noche serena
Peaceful night in springtime, 
white dove of the light of dawn
peaceful night in springtime, 
white lily - that is what you are
And since I have arrived here, 
so full of delight
receive this tender kiss that I send to you
Field in winter, withered flower
night without moon, black storm;
flower without aroma, withered;
chopped-down tree - that is what I am.
El majo olvidado
When you remember the days gone by,
Think of me, of me
When with flowers fill your window,
Think of me, think of me.
Ah!
When in the serene nights sings the
nightingale,
Think of me, think of me.
Poor forgotten man!
What hard suffering!
Since the ungrateful left him,
He doesn’t want to live
Ah!
All translations from Oxford International Song
Festival. oxfordsong.org


Emily Hakalmazian, Soprano, Junio Voice Recital

Heady, Benjamin D

Cedarville University 
DigitalCommons@Cedarville 
Junior and Senior Recitals Concert and Recital Programs 
3-27-2024 
Ben Heady, Bass, Junior Voice Recital 
Benjamin D. Heady 
Follow this and additional works at: https://digitalcommons.cedarville.edu/junior_and_senior_recitals 
 Part of the Music Performance Commons 
This Program 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 Junior and Senior Recitals by an 
authorized administrator of 
DigitalCommons@Cedarville. For more information, 
please contact digitalcommons@cedarville.edu. 
Danza, danza, fanciulla gentile 
Dance, dance, young girl 
to my song; 
Dance, dance, gentle young girl 
to my song; 
Twirl lightly and softly to the sound, 
to the sound of the waves of the sea. 
Hear the vague rustle 
of the playful breeze 
that speaks to the heart 
with its languid sound, 
and invites you to dance 
without stopping, without stopping 
that invites you to dance. 
Dance, dance, gentle young girl 
to my song. 
Vecchia zimarra, senti 
Dear old coat, listen, 
I stay here below, 
but you must now 
ascend the mount of piety! 
Receive my thanks. 
You never bent your threadbare 
back to the rich and powerful. 
You have sheltered in your pockets 
like peaceful caves, 
philosophers and poets. 
Now that happy days 
have fled, I bid you farewell, 
my faithful friend, 
farewell, farewell. 
 
Le cose che sei per me 
The things you are to me, 
They are so many, 
I would not count them neither manage it 
Because you are an immensity. 
You are a song which will be sounded again 
On the wind which summer will bring, 
The wonder and the mystery that 
It shows me you in all this that there is. 
I would paint there up in the great blue sky 
All that you are, 
I would paint of you one sign which 
Would show what you are to me. 
You are a song which will be sounded again 
On the wind which summer will bring, 
The wonder and the mystery that 
It shows me you in all this that there is.
Sometimes at night I am afraid, you are 
Fruit of the imagination 
But suddenly then I wake up and you are 
Next to me, 
I see you next to me... 
You are a song which will be sounded again 
On the wind which summer will bring, 
The wonder and the mystery that 
It shows me you in all this that there is. 
Senza fine 
Without an end 
You drag our life 
Without a breathing moment 
To dream 
To be able to remember 
What we have already lived 
Without an end 
You are a never ending moment 
you have no yesterday 
You have no tomorrow 
Now everything is in your hands 
Large hands 
never ending hands 
I don't care about the moon 
I don't care about the start 
You for me are the moon and the stars 
You for me are the sun and the sky 
You for me are everything 
All that i want to have 
Never ending 
Never ending 
I
Jesus Fount of Consolation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J. S. Bach (1685–1750)
II
O Isis und Osiris from THE MAGIC FLUTE. . . . . . . . . . . . . . W. A. Mozart (1756–1791)
Der Tod und das Mädchen, D. 531, Op. 7, No. 3. . . . . . . Franz Schubert (1797–1828)
5 Lieder, Op. 94 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Johannes Brahms (1833–1897)
4. Sapphische Ode
III
Claire de lune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Camille Saint-Saëns (1835–1921)
Danse macabre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Camille Saint-Saëns
IV
Danza, danza, fanciulla gentile . . . . . . . . . . . . . . . . . . Francesco Durante (1684–1755)
Vecchia zimarra, senti from LA BOHÈME . . . . . . . . . . Giacomo Puccini (1858–1924)
Le cose che sei per me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rolf Løvland (b. 1955)
Senza fine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gino Paoli (b. 1934)
V
My Lovely Celia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . George Monro (1630–1731)
When I Fall in Love. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Victor Young (1900–1956)
If Ever I Would Leave You . . . . . . . . . . . . . . . . . . . . . . . . . Frederick Loewe (1901–1988)
Ben 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.  Please turn off all cell phones.
Hello! 
My name is Ben Heady and I am a junior studying business management and music. It has been a
joy to work with Dr. Lilite and many others to prepare this recital for you. These pieces are some of
my favorites selections from the past three years studying at Cedarville and I’m excited to share
them with you tonight! 
After graduation, I plan to get my Master of Divinity degree to pursue full-time pastoral ministry.
God has provided many opportunities to lead me toward the career of ministry and I’m so thankful
for the Cedarville Faculty and Staff’s godly guidance as I work through my undergraduate degrees. 
Thank you so much for taking the time to attend my recital this evening! Enjoy and God bless!
Translations 
O Isis und Osiris
O Isis and Osiris, gift 
The spirit of wisdom to the new pair! 
You who guide the wanderers steps, 
Strengthen them with patience when in danger! 
Strengthen them with patience when in danger! 
Let them see the fruits of their trial; 
But should they head to their grave, 
Then reward the virtue of their bold try, 
Take them into your abode. 
Take them into your abode. 
Der Tod und das Mädchen
Oh, go away and leave me! 
You wild man of bone! 
I'm still so young! Forget me! 
Please go! Just leave me alone! 
Give me your hand, you pure and lovely child, 
I come to help you, not to harm. 
Be of good cheer! I am not wild. 
You'll sleep in peace, enfolded by my arm. 
Sapphische Ode
Roses picked last night from the hedgerow’s
midnight 
Breathed a sweeter fragrance than in the
sunlight; 
Moved, the branches showered, to my
confusion, 
Dew in profusion. 
Plucked from rose-bush lips in the night, these
kisses 
Made me know enchantment, its fragrant
blisses; 
Moved like these, your tears were the wet,
revealing, 
Dew of your feeling 
Clair de lune
Within the grove so dreamy wending, 
I walk at eve the forest lone. 
Appears thy frail image my own, 
Beside me each moment attending. 
Or is it not thy filmy veil, 
Like vapor through the darkness gleaming? 
Or is it not the moonlight beaming? 
Across the pine tree's shadow pale? 
And these tears that ever are burning 
Can they by my own tender tears? 
Or can it be, 
As it appears, 
That thou to me art in tears returning? 
Danse macabre
Zig and zig and zig, the death in rhythm 
Hitting a grave with his heel, 
Death at midnight plays a dance tune, 
Zig and zig and zag, on his violin. 
The winter wind is blowing, and the night is dark, 
out of lime trees comes out moans; 
The white skeletons go through the shadows 
Running and jumping in their large shrouds, 
Zig and zig and zig, everyone wiggles, 
We hear the bones of the dancers, 
A lascivious couple sit on the moss 
As for a taste of old sweets. 
Zig and zig and zag, death continues 
To scrape his sour instrument endlessly. 
A veil has fallen! The dancer is naked! 
His co-dancer clasps her lovingly. 
The lady is, marquise or baroness, it is said. 
And the green gallant a poor cartwright 
Horror! And now she surrenders 
As if the lout was a baron! 
Zig and zig and zig, what a sarabande! 
Circles of the dead are joining hands! 
Zig and zig and zag, we see in the band 
The king frolicking with the ugly! 
But pssst! suddenly we leave the round, 
We push ourselves, we flee, the rooster sang 
Oh! The beautiful night for the poor world! 
And long live death and equality! 
I
Jesus Fount of Consolation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J. S. Bach (1685–1750)
II
O Isis und Osiris from THE MAGIC FLUTE. . . . . . . . . . . . . . W. A. Mozart (1756–1791)
Der Tod und das Mädchen, D. 531, Op. 7, No. 3. . . . . . . Franz Schubert (1797–1828)
5 Lieder, Op. 94 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Johannes Brahms (1833–1897)
4. Sapphische Ode
III
Claire de lune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Camille Saint-Saëns (1835–1921)
Danse macabre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Camille Saint-Saëns
IV
Danza, danza, fanciulla gentile . . . . . . . . . . . . . . . . . . Francesco Durante (1684–1755)
Vecchia zimarra, senti from LA BOHÈME . . . . . . . . . . Giacomo Puccini (1858–1924)
Le cose che sei per me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rolf Løvland (b. 1955)
Senza fine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gino Paoli (b. 1934)
V
My Lovely Celia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . George Monro (1630–1731)
When I Fall in Love. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Victor Young (1900–1956)
If Ever I Would Leave You . . . . . . . . . . . . . . . . . . . . . . . . . Frederick Loewe (1901–1988)
Ben 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.  Please turn off all cell phones.
Hello! 
My name is Ben Heady and I am a junior studying business management and music. It has been a
joy to work with Dr. Lilite and many others to prepare this recital for you. These pieces are some of
my favorites selections from the past three years studying at Cedarville and I’m excited to share
them with you tonight! 
After graduation, I plan to get my Master of Divinity degree to pursue full-time pastoral ministry.
God has provided many opportunities to lead me toward the career of ministry and I’m so thankful
for the Cedarville Faculty and Staff’s godly guidance as I work through my undergraduate degrees. 
Thank you so much for taking the time to attend my recital this evening! Enjoy and God bless!
Translations 
O Isis und Osiris
O Isis and Osiris, gift 
The spirit of wisdom to the new pair! 
You who guide the wanderers steps, 
Strengthen them with patience when in danger! 
Strengthen them with patience when in danger! 
Let them see the fruits of their trial; 
But should they head to their grave, 
Then reward the virtue of their bold try, 
Take them into your abode. 
Take them into your abode. 
Der Tod und das Mädchen
Oh, go away and leave me! 
You wild man of bone! 
I'm still so young! Forget me! 
Please go! Just leave me alone! 
Give me your hand, you pure and lovely child, 
I come to help you, not to harm. 
Be of good cheer! I am not wild. 
You'll sleep in peace, enfolded by my arm. 
Sapphische Ode
Roses picked last night from the hedgerow’s
midnight 
Breathed a sweeter fragrance than in the
sunlight; 
Moved, the branches showered, to my
confusion, 
Dew in profusion. 
Plucked from rose-bush lips in the night, these
kisses 
Made me know enchantment, its fragrant
blisses; 
Moved like these, your tears were the wet,
revealing, 
Dew of your feeling 
Clair de lune
Within the grove so dreamy wending, 
I walk at eve the forest lone. 
Appears thy frail image my own, 
Beside me each moment attending. 
Or is it not thy filmy veil, 
Like vapor through the darkness gleaming? 
Or is it not the moonlight beaming? 
Across the pine tree's shadow pale? 
And these tears that ever are burning 
Can they by my own tender tears? 
Or can it be, 
As it appears, 
That thou to me art in tears returning? 
Danse macabre
Zig and zig and zig, the death in rhythm 
Hitting a grave with his heel, 
Death at midnight plays a dance tune, 
Zig and zig and zag, on his violin. 
The winter wind is blowing, and the night is dark, 
out of lime trees comes out moans; 
The white skeletons go through the shadows 
Running and jumping in their large shrouds, 
Zig and zig and zig, everyone wiggles, 
We hear the bones of the dancers, 
A lascivious couple sit on the moss 
As for a taste of old sweets. 
Zig and zig and zag, death continues 
To scrape his sour instrument endlessly. 
A veil has fallen! The dancer is naked! 
His co-dancer clasps her lovingly. 
The lady is, marquise or baroness, it is said. 
And the green gallant a poor cartwright 
Horror! And now she surrenders 
As if the lout was a baron! 
Zig and zig and zig, what a sarabande! 
Circles of the dead are joining hands! 
Zig and zig and zag, we see in the band 
The king frolicking with the ugly! 
But pssst! suddenly we leave the round, 
We push ourselves, we flee, the rooster sang 
Oh! The beautiful night for the poor world! 
And long live death and equality! 
Danza, danza, fanciulla gentile 
Dance, dance, young girl 
to my song; 
Dance, dance, gentle young girl 
to my song; 
Twirl lightly and softly to the sound, 
to the sound of the waves of the sea. 
Hear the vague rustle 
of the playful breeze 
that speaks to the heart 
with its languid sound, 
and invites you to dance 
without stopping, without stopping 
that invites you to dance. 
Dance, dance, gentle young girl 
to my song. 
Vecchia zimarra, senti 
Dear old coat, listen, 
I stay here below, 
but you must now 
ascend the mount of piety! 
Receive my thanks. 
You never bent your threadbare 
back to the rich and powerful. 
You have sheltered in your pockets 
like peaceful caves, 
philosophers and poets. 
Now that happy days 
have fled, I bid you farewell, 
my faithful friend, 
farewell, farewell. 
 
Le cose che sei per me 
The things you are to me, 
They are so many, 
I would not count them neither manage it 
Because you are an immensity. 
You are a song which will be sounded again 
On the wind which summer will bring, 
The wonder and the mystery that 
It shows me you in all this that there is. 
I would paint there up in the great blue sky 
All that you are, 
I would paint of you one sign which 
Would show what you are to me. 
You are a song which will be sounded again 
On the wind which summer will bring, 
The wonder and the mystery that 
It shows me you in all this that there is.
Sometimes at night I am afraid, you are 
Fruit of the imagination 
But suddenly then I wake up and you are 
Next to me, 
I see you next to me... 
You are a song which will be sounded again 
On the wind which summer will bring, 
The wonder and the mystery that 
It shows me you in all this that there is. 
Senza fine 
Without an end 
You drag our life 
Without a breathing moment 
To dream 
To be able to remember 
What we have already lived 
Without an end 
You are a never ending moment 
you have no yesterday 
You have no tomorrow 
Now everything is in your hands 
Large hands 
never ending hands 
I don't care about the moon 
I don't care about the start 
You for me are the moon and the stars 
You for me are the sun and the sky 
You for me are everything 
All that i want to have 
Never ending 
Never ending 


Ben Heady, Bass, Junior Voice Recital

Scanlon, Paul

Cedarville University 
DigitalCommons@Cedarville 
Junior and Senior Recitals Concert and Recital Programs 
2-24-2024 
Paul Scanlon, Senior Piano Recital 
Paul Scanlon 
Follow this and additional works at: https://digitalcommons.cedarville.edu/junior_and_senior_recitals 
 Part of the Music Performance Commons 
This Program 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 Junior and Senior Recitals by an 
authorized administrator of 
DigitalCommons@Cedarville. For more information, 
please contact digitalcommons@cedarville.edu. 
Chopin: Fantaisie in f minor
This mammoth piece ranks among Chopin’s best compositions. The genre of
fantasies is distinguished by freer organization in comparison to genres like sonatas
or suites and by a broad palette of musical expression. The Fantaisie begins with a
funeral march and a Polish folk song before entering into the first of five repeating
themes. Each theme captures a particular mood: agitation, tenderness, wrath, heroic
triumph, and a joyful parade. In the middle of this grandiose landscape of sound,
Chopin inserts a lush chorale, a soliloquy which seems to make time stop. This is a
glimpse of a peaceful land before the main themes are thrust back into the fore.
After repeating each theme, Chopin concludes the journey with an allusion back to
the choral and a triumphant salute.
The Garden of Eden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . William Bolcom (b. 1938)
I. Old Adam
III. The Serpent’s Kiss
Assisted by Abigail Lilite, piano
Piano Concerto in a minor, Op. 16 . . . . . . . . . . . . . . . Edvard Grieg (1843–1907)
I. Allegro molto moderato
Assisted by Abigail Lilite, piano
Menuet sur le nom d’Haydn, M. 58 . . . . . . . . . . . . . . Maurice Ravel (1875–1937)
Le tombeau de Couperin, M. 68 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maurice Ravel
III. Forlane
IV. Rigaudon
Students:
Sassy Orange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mona Rejino (b. 1959)
Micah Knoerr
Variations on “Mary had a Little Lamb” . . . . . . . . . . . . . . . . . . . . . . . . . . Traditional
arr. Samuel White and Paul Scanlon
Samuel White and Paul Scanlon
Fantasie in f minor, Op. 49 . . . . . . . . . . . . . . . . . . . Frédéric Chopin (1810–1849)
Paul is a student of John Mortensen.
This recital is presented in partial fulfillment of the 
Bachelor of Music in keyboard pedagogy degrees.
No flash photography, please. Please turn off all cell phones.
Program Notes
Bolcom: The Garden of Eden
This ragtime suite depicts Genesis 2-3 in four movements, featuring character
profiles on Adam, Eve, and the serpent. “Old Adam” uses a lazy swing groove to
suggest the image of a country farmer strolling through a grove of trees. Nothing is
hurried and all is at peace as Eden lies sprawled out before our ancestor. Listen for
echoes when a phrase is repeated softly and in a high register. “The Serpent’s Kiss”
is a zany series of vignettes depicting that craftiest of creatures. The mood shifts
rapidly from maniacal to whimsical to foggy to catastrophic. This piece calls to mind
the deceptive character of the father of lies. I first heard “The Serpent’s Kiss” on the
radio in my senior year of high school, and I learned the solo version as my
Covid-19 summer project. Now, I am delighted to join forces with Gail to mark the
end of this senior year.
Grieg: Piano Concerto in a minor
Grieg completed this concerto when he was just 25 and it remained his only
concerto and one of his only large-scale works. The first movement perfectly
captures the impassioned bravado of the Romantic Era with thunderous chords and
long, sweeping phrases. Grieg’s Norwegian heritage can be traced in the melodic
material of the introduction and in the dance rhythms of the first theme. Although
the piece was written for orchestra and piano, Gail is playing a reduction of the
orchestral parts on a second piano for the sake of this recital. I played a jazz
arrangement of this concerto in elementary school, and since then, my first teacher
and I have dreamed that I would one day get to play the original version. In April,
that long journey will be complete when I perform this movement with the
Cedarville Orchestra!
Ravel: Menuet sur le nom d’Haydn and Le Tombeau de Couperin
The Menuet was commissioned to commemorate the 100th anniversary of Haydn’s
death. Ravel used Haydn’s name to form a note sequence: B-A-D-D-G (“H”
corresponds to B in the German notation system, and “Y” and “N” transform to D
and G by rotating through the first seven letters of the alphabet). This piece is
cleverly constructed from manipulating this sequence into different keys, playing it
backwards, and flipping it upside down. Beyond the academic complexity, Ravel’s
rich sonorities and his mastery of nuanced musical colors are on full display.          
Le Tombeau is a musical gravestone commemorating the work of the 18th century
French composer Francois Couperin. Ravel completed Le Tombeau in 1917 amid
torturous horror and grief. Ravel had served on the front lines of World War I and
witnessed the death of many friends as he sought to serve his country. He was
struck by personal tragedy when his mother died and he was forced to leave the
war because he was overwhelmed with grief. Out of this devastation, he wrote
music that recalled dance music from a bygone era. “Forlane” features extremely
dissonant chords which are only made palatable by the gently lilting rhythm. This
piece transports an era of ornate refinement into the disillusionment of the 20th
century. By contrast, Rigaudon is infused with spritely energy. The crisp beginning
and ending sections sandwich a lush, meandering middle section. 
The Garden of Eden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . William Bolcom (b. 1938)
I. Old Adam
III. The Serpent’s Kiss
Assisted by Abigail Lilite, piano
Piano Concerto in a minor, Op. 16 . . . . . . . . . . . . . . . Edvard Grieg (1843–1907)
I. Allegro molto moderato
Assisted by Abigail Lilite, piano
Menuet sur le nom d’Haydn, M. 58 . . . . . . . . . . . . . . Maurice Ravel (1875–1937)
Le tombeau de Couperin, M. 68 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maurice Ravel
III. Forlane
IV. Rigaudon
Students:
Sassy Orange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mona Rejino (b. 1959)
Micah Knoerr
Variations on “Mary had a Little Lamb” . . . . . . . . . . . . . . . . . . . . . . . . . . Traditional
arr. Samuel White and Paul Scanlon
Samuel White and Paul Scanlon
Fantasie in f minor, Op. 49 . . . . . . . . . . . . . . . . . . . Frédéric Chopin (1810–1849)
Paul is a student of John Mortensen.
This recital is presented in partial fulfillment of the 
Bachelor of Music in keyboard pedagogy degrees.
No flash photography, please. Please turn off all cell phones.
Program Notes
Bolcom: The Garden of Eden
This ragtime suite depicts Genesis 2-3 in four movements, featuring character
profiles on Adam, Eve, and the serpent. “Old Adam” uses a lazy swing groove to
suggest the image of a country farmer strolling through a grove of trees. Nothing is
hurried and all is at peace as Eden lies sprawled out before our ancestor. Listen for
echoes when a phrase is repeated softly and in a high register. “The Serpent’s Kiss”
is a zany series of vignettes depicting that craftiest of creatures. The mood shifts
rapidly from maniacal to whimsical to foggy to catastrophic. This piece calls to mind
the deceptive character of the father of lies. I first heard “The Serpent’s Kiss” on the
radio in my senior year of high school, and I learned the solo version as my
Covid-19 summer project. Now, I am delighted to join forces with Gail to mark the
end of this senior year.
Grieg: Piano Concerto in a minor
Grieg completed this concerto when he was just 25 and it remained his only
concerto and one of his only large-scale works. The first movement perfectly
captures the impassioned bravado of the Romantic Era with thunderous chords and
long, sweeping phrases. Grieg’s Norwegian heritage can be traced in the melodic
material of the introduction and in the dance rhythms of the first theme. Although
the piece was written for orchestra and piano, Gail is playing a reduction of the
orchestral parts on a second piano for the sake of this recital. I played a jazz
arrangement of this concerto in elementary school, and since then, my first teacher
and I have dreamed that I would one day get to play the original version. In April,
that long journey will be complete when I perform this movement with the
Cedarville Orchestra!
Ravel: Menuet sur le nom d’Haydn and Le Tombeau de Couperin
The Menuet was commissioned to commemorate the 100th anniversary of Haydn’s
death. Ravel used Haydn’s name to form a note sequence: B-A-D-D-G (“H”
corresponds to B in the German notation system, and “Y” and “N” transform to D
and G by rotating through the first seven letters of the alphabet). This piece is
cleverly constructed from manipulating this sequence into different keys, playing it
backwards, and flipping it upside down. Beyond the academic complexity, Ravel’s
rich sonorities and his mastery of nuanced musical colors are on full display.          
Le Tombeau is a musical gravestone commemorating the work of the 18th century
French composer Francois Couperin. Ravel completed Le Tombeau in 1917 amid
torturous horror and grief. Ravel had served on the front lines of World War I and
witnessed the death of many friends as he sought to serve his country. He was
struck by personal tragedy when his mother died and he was forced to leave the
war because he was overwhelmed with grief. Out of this devastation, he wrote
music that recalled dance music from a bygone era. “Forlane” features extremely
dissonant chords which are only made palatable by the gently lilting rhythm. This
piece transports an era of ornate refinement into the disillusionment of the 20th
century. By contrast, Rigaudon is infused with spritely energy. The crisp beginning
and ending sections sandwich a lush, meandering middle section. 
Chopin: Fantaisie in f minor
This mammoth piece ranks among Chopin’s best compositions. The genre of
fantasies is distinguished by freer organization in comparison to genres like sonatas
or suites and by a broad palette of musical expression. The Fantaisie begins with a
funeral march and a Polish folk song before entering into the first of five repeating
themes. Each theme captures a particular mood: agitation, tenderness, wrath, heroic
triumph, and a joyful parade. In the middle of this grandiose landscape of sound,
Chopin inserts a lush chorale, a soliloquy which seems to make time stop. This is a
glimpse of a peaceful land before the main themes are thrust back into the fore.
After repeating each theme, Chopin concludes the journey with an allusion back to
the choral and a triumphant salute.


Paul Scanlon, Senior Piano Recital

Cedarville University

Cedarville University 
DigitalCommons@Cedarville 
Ensemble Concerts Concert and Recital Programs 
4-16-2024 
The Cedarville University Madrigal Choir Concert 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/ensemble_concerts 
 Part of the Music Performance Commons 
This Program 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 Ensemble Concerts by an authorized 
administrator of DigitalCommons@Cedarville. For 
more information, please contact 
digitalcommons@cedarville.edu. 
The Department of Music and Worship purposes to help develop an
appreciation and understanding of music and art consistent with a biblical world
view. The department seeks to help students gain an understanding of the
responsibility of stewardship, service, and worship that is placed upon those to
whom God has given artistic talents. The department offers Bachelor of Music
degrees in Keyboard Pedagogy, Music Composition, Performance, Music Education
(B.M.E.) - Choral or Instrumental, a Bachelor of Arts degree in Music, and a Bachelor
of Arts degree in Worship. Cedarville University is accredited by the National
Association of Schools of Music.
Performance opportunities open to all Cedarville University students include
Concert Chorale, Women’s Choir, Jubilate, Wind Symphony, Jazz Band, Orchestra,
and Pep Band.
For more information on Cedarville University, contact:
Department of Music and Worship Office of Admissions
Cedarville University 251 N. Main St.
251 N. Main St. Cedarville, OH 45314
Cedarville, OH 45314 1-800-CEDARVILLE
tel: (937) 766-7728   FAX: (937) 766-7661 www.cedarville.edu
www.cedarville.edu/academics/music-and-worship
email: musicandworship@cedarville.edu
Coming Events:
April 19, 2024 - 7:00 pm - Recital Hall - Women’s Choir Concert
April 24, 2024 – 4:30pm, Recital Hall – Jazz Band
April 26, 2024 – 7:00pm, DeVries – Orchestra Concerto Concert
April 29, 2024 – 7:00pm, DeVries – Wind Symphony Concert
O magnum mysterium . . . . . . . . . . . . . . . . . . . Morten Lauridsen (b.1943)
Missa pange lingua. . . . . . . . . . . . . . . . . . Josquin des Prez (c.1450–1521)
Kyrie
Gloria
Officium defunctorum . . . . . . . . . . Tomás Luis de Victoria (1548–1611)
Introitus
Offertorium
Let My Prayer Arise . . . . . . . . . . . . . . . . . . Pavel Chesnokov (1877–1944)
  Michael Dabney, soloist;
Ben Smid, AJ Higgins, tenor; 
Caleb Staten, Austin Jaquith, bass;
 
Parto ò non parto . . . . . . . . . . . . . . . . . . . . . . Luca Marenzio (1553–1599)
Savannah Robinson, soprano; Grace Ann Ellis, mezzo-soprano; 
Catherine Estes, alto; Caleb Staten, tenor; Austin Jaquith, bass
La bella man vi stringo
Così nel mio parlar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Luca Marenzio
Agnus Dei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Samuel Barber (1910–1981)
No flash photography, please.  Please turn off all cell phones.
Madrigal Choir 2023-24
Austin Jaquith, Director
Sopranos
Brooke Bauman
Celeste da Fieno
Grace Anne Ellis
Megan Gorog
Grace Guthrie
Abigail Kenyon
Abi Motter
Altos
Leah Aad
Phillipa Burgess
Yifan Chen
Sophia Dragoo
Ellie Lefkovitz
Maria Lindskog
Grace Pollock
Elise Taylor
Tenors
Christian Dupuy
AJ Higgins
Ben Smid
Christopher Vaught
Basses
Michael Dabney
Trent Mitchell
Henry Raquet
O magnum mysterium . . . . . . . . . . . . . . . . . . . Morten Lauridsen (b.1943)
Missa pange lingua. . . . . . . . . . . . . . . . . . Josquin des Prez (c.1450–1521)
Kyrie
Gloria
Officium defunctorum . . . . . . . . . . Tomás Luis de Victoria (1548–1611)
Introitus
Offertorium
Let My Prayer Arise . . . . . . . . . . . . . . . . . . Pavel Chesnokov (1877–1944)
  Michael Dabney, soloist;
Ben Smid, AJ Higgins, tenor; 
Caleb Staten, Austin Jaquith, bass;
 
Parto ò non parto . . . . . . . . . . . . . . . . . . . . . . Luca Marenzio (1553–1599)
Savannah Robinson, soprano; Grace Ann Ellis, mezzo-soprano; 
Catherine Estes, alto; Caleb Staten, tenor; Austin Jaquith, bass
La bella man vi stringo
Così nel mio parlar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Luca Marenzio
Agnus Dei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Samuel Barber (1910–1981)
No flash photography, please.  Please turn off all cell phones.
Madrigal Choir 2023-24
Austin Jaquith, Director
Sopranos
Brooke Bauman
Celeste da Fieno
Grace Anne Ellis
Megan Gorog
Grace Guthrie
Abigail Kenyon
Abi Motter
Altos
Leah Aad
Phillipa Burgess
Yifan Chen
Sophia Dragoo
Ellie Lefkovitz
Maria Lindskog
Grace Pollock
Elise Taylor
Tenors
Christian Dupuy
AJ Higgins
Ben Smid
Christopher Vaught
Basses
Michael Dabney
Trent Mitchell
Henry Raquet
The Department of Music and Worship purposes to help develop an
appreciation and understanding of music and art consistent with a biblical world
view. The department seeks to help students gain an understanding of the
responsibility of stewardship, service, and worship that is placed upon those to
whom God has given artistic talents. The department offers Bachelor of Music
degrees in Keyboard Pedagogy, Music Composition, Performance, Music Education
(B.M.E.) - Choral or Instrumental, a Bachelor of Arts degree in Music, and a Bachelor
of Arts degree in Worship. Cedarville University is accredited by the National
Association of Schools of Music.
Performance opportunities open to all Cedarville University students include
Concert Chorale, Women’s Choir, Jubilate, Wind Symphony, Jazz Band, Orchestra,
and Pep Band.
For more information on Cedarville University, contact:
Department of Music and Worship Office of Admissions
Cedarville University 251 N. Main St.
251 N. Main St. Cedarville, OH 45314
Cedarville, OH 45314 1-800-CEDARVILLE
tel: (937) 766-7728   FAX: (937) 766-7661 www.cedarville.edu
www.cedarville.edu/academics/music-and-worship
email: musicandworship@cedarville.edu
Coming Events:
April 19, 2024 - 7:00 pm - Recital Hall - Women’s Choir Concert
April 24, 2024 – 4:30pm, Recital Hall – Jazz Band
April 26, 2024 – 7:00pm, DeVries – Orchestra Concerto Concert
April 29, 2024 – 7:00pm, DeVries – Wind Symphony Concert


The Cedarville University Madrigal Choir Concert

Norman, Timothy L.

Saving Lives... in 10 Seconds

Women's Basketball Coaching Staff
NAME TITLE
Addy Miller Head Coach
Kevin Obungu Assistant Coach
Alyssa Strickland Assistant Coach
Stephen Buettell Assistant Coach
Cedarville University Athletics
2023-24 Women's Basketball Roster
Sort By:  Jersey Go
NO NAME POS HT YR HOMETOWN HIGH SCHOOL
0 Brianna Zajicek G 5-11 So. Pittsburgh, PA Norwin
2 Audrey Giesige G 5-9 So. Paulding, OH Paulding
3 Anne Wheeler G 5-6 Sr. Cincinnati, OH Homeschool
4 Lydia Betz G 5-10 Fr. Schnellville, IN Forest Park
5 Taylor Strock G 5-8 Jr. Napoleon, OH Napoleon
10 Leah Butterbaugh G 5-8 Jr. Waynesville, OH Waynesville
12 Nyla Hale G 5-9 Fr. Kansas City, KS Blue Valley North
13 Makenna Fee F 6-1 Gr. Seymour, IN Seymour
14 Macklin Hanley G 5-5 So. Butler, PA Homeschool
21 Regan Hubert G 5-6 Fr. Cincinnati, OH Homeschool
22 KaCee Kyle G 5-9 Jr. Greenwood Village, CO Cherry Creek
23 Lydia Sweeney G 5-8 Sr. Grand Island, NY Grand Island Senior
24 Elyssa Kincaid F 5-9 Fr. Riverview, MI Riverview Community
34 Kat Weakley G 5-10 Jr. Columbus, OH Worthington Christian
44 Evan Neely F 6-0 So. Dayton, OH Vandalia Butler
Copyright © 2024 Cedarville University Athletics


2023-2024 Women\u27s Basketball Roster

Color photograph of women\u27s basketball team.https://digitalcommons.cedarville.edu/womens_basketball_gallery/1084/thumbnail.jp

2023-24 Women's Basketball Schedule
Cedarville University Athletics
Overall
5-22
PCT
.185
Conf
3-17
PCT
.150
Streak
L14
Home
2-10
Away
3-11
Neutral
0-1
All Starting Times Eastern
Date Time At Opponent Location TV Radio Tournament Result
November 2, 2023 (Thursday) 7:00 PM Away Northern Kentucky Highland Heights, KY L, 55-80
November 10, 2023 (Friday) 3:00 PM Away Quincy Quincy, IL GLVC/G-MAC Challenge W, 54-52
November 11, 2023 (Saturday) 6:00 PM Neutral Truman State Quincy, IL GLVC/G-MAC Challenge L, 68-85
November 15, 2023 (Wednesday) 6:00 PM Home Wayne State Cedarville, OH / Callan Athletic Center L, 68-78
November 21, 2023 (Tuesday) 6:00 PM Away Saginaw Valley State University Center, MI L, 36-68
November 30, 2023 (Thursday) 5:30 PM Home Ohio Dominican Cedarville, OH / Callan Athletic Center W, 85-70
December 2, 2023 (Saturday) 1:00 PM Away Thomas More Crestview Hills, KY L, 50-80
December 7, 2023 (Thursday) 7:00 PM Home Ohio Christian Cedarville, OH / Callan Athletic Center L, 75-79
December 13, 2023 (Wednesday) 6:00 PM Home Tiffin Cedarville, OH / Callan Athletic Center L, 55-65
December 16, 2023 (Saturday) 2:00 PM Away Salem Salem, WV W, 77-58
December 30, 2023 (Saturday) 3:00 PM Away Central State Wilberforce, OH L, 79-84
January 4, 2024 (Thursday) 5:30 PM Away Ohio Dominican Columbus, OH W, 61-60
January 6, 2024 (Saturday) 1:00 PM Away Ursuline Pepper Pike, OH L, 70-75
January 11, 2024 (Thursday) 5:30 PM Home Lake Erie Cedarville, OH / Callan Athletic Center W, 69-60
January 18, 2024 (Thursday) 5:30 PM Away Findlay Findlay, OH L, 65-76
January 20, 2024 (Saturday) 1:00 PM Away Ashland Ashland, OH L, 58-88
January 24, 2024 (Wednesday) 5:30 PM Home Malone Cedarville, OH / Callan Athletic Center L, 61-73
January 27, 2024 (Saturday) 2:00 PM Home Hillsdale Cedarville, OH / Callan Athletic Center L, 48-77
February 1, 2024 (Thursday) 6:00 PM Home Thomas More Cedarville, OH / Callan Athletic Center L, 68-87
February 3, 2024 (Saturday) 1:00 PM Away Northwood Midland, MI L, 64-78
February 8, 2024 (Thursday) 6:30 PM Away Trevecca Nashville, TN L, 53-80
February 10, 2024 (Saturday) 1:00 PM Away Kentucky Wesleyan Owensboro, KY L, 45-68
February 15, 2024 (Thursday) 5:30 PM Away Hillsdale Hillsdale, MI L, 62-86
February 17, 2024 (Saturday) 2:00 PM Home Findlay Cedarville, OH / Callan Athletic Center L, 43-81
February 22, 2024 (Thursday) 5:30 PM Home Kentucky Wesleyan Cedarville, OH / Callan Athletic Center L, 55-95
February 24, 2024 (Saturday) 1:00 PM Home Trevecca Cedarville, OH / Callan Athletic Center L, 66-106
February 29, 2024 (Thursday) 5:30 PM Home Ashland Cedarville, OH / Callan Athletic Center L, 58-113
March 2, 2024 (Saturday) 1:00 PM Away Walsh North Canton, OH L, 47-54
Copyright © 2024 Cedarville University Athletics


2023-2024 Women\u27s Basketball Team

Hamman, Seth T.

New Cyber Operations Degree

Color photograph of a dormitoryhttps://digitalcommons.cedarville.edu/dorm_images/1120/thumbnail.jp