Cedarville University Digital Commons

Cedarville University

Cedarville University 
CedarCommons 
Men's Golf Statistics Golf 
Spring 2025 
2024-2025 Men's Golf Career 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 Career Statistics" (2025). Men's Golf Statistics. 728. 
https://digitalcommons.cedarville.edu/mens_golf_statistics/728 
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
Career statistics
• Active players  •  
 Individual Career Statistics (Active Players)
 
Bailey, Daniel
Low Par/- Finish Top
Season Rounds Strokes Round Rounds Events  1  5 10 Average
2022-23 14 1124 76 - 5 - - - 80.29
2023-24 9 705 74 - 4 - - - 78.33
2024-25 25 1998 74 - 9 - - - 79.92
Totals 48 3827 74 - 18 - - - 79.73
Bardwell, Nathan
Low Par/- Finish Top
Season Rounds Strokes Round Rounds Events  1  5 10 Average
2023-24 20 1529 72 2 8 - - 1 76.45
2024-25 28 2181 70 1 10 - - 1 77.89
Totals 48 3710 70 3 18 - - 2 77.29
Davis, Tyler
Low Par/- Finish Top
Season Rounds Strokes Round Rounds Events  1  5 10 Average
2023-24 12 939 74 - 5 - - - 78.25
2024-25 20 1632 75 - 7 - - - 81.60
Totals 32 2571 74 - 12 - - - 80.34
DeHimer, Danny
Low Par/- Finish Top
Season Rounds Strokes Round Rounds Events  1  5 10 Average
2023-24 - - - - - - - - -
2024-25 19 1556 76 - 7 - - - 81.89
Totals 19 1556 76 - 7 - - - 81.89
Hibbard, Aiden
Low Par/- Finish Top
Season Rounds Strokes Round Rounds Events  1  5 10 Average
2024-25 28 2113 69 7 10 - - 3 75.46
Totals 28 2113 69 7 10 - - 3 75.46
Kasler, Ethan
Low Par/- Finish Top
5/13/25, 10:50 AM 2024-25 Cedarville Men's Golf -- Career statistics
https://cedarville_ftp.sidearmsports.com/custompages/stats2425/MGO/teamcar.htm 1/2
Season Rounds Strokes Round Rounds Events  1  5 10 Average
2024-25 9 754 77 - 3 - - - 83.78
Totals 9 754 77 - 3 - - - 83.78
Reed, Ian
Low Par/- Finish Top
Season Rounds Strokes Round Rounds Events  1  5 10 Average
2023-24 12 930 73 - 5 - - - 77.50
2024-25 28 2121 69 5 10 - 1 1 75.75
Totals 40 3051 69 5 15 - 1 1 76.28
5/13/25, 10:50 AM 2024-25 Cedarville Men's Golf -- Career statistics
https://cedarville_ftp.sidearmsports.com/custompages/stats2425/MGO/teamcar.htm 2/2


English

2024-2025 Men\u27s Golf Career Statistics

2024-2025 Men\u27s Tennis Individual Match-by-Match Statistics

Merchant, Mark

Mitchell, Trent

Caraway, Luka

Hammond, Chloe

Esparza, Judah

Cedarville University 
CedarCommons 
Student Recitals Concert and Recital Programs 
2-23-2025 
Freshman Piano Recital 
Mark Merchant 
Cedarville University 
Cedarville University 
Trent Mitchell 
Cedarville University 
Luka Caraway 
Cedarville University 
Chloe Hammond 
Cedarville University 
See next page for additional authors 
Follow this and additional works at: https://digitalcommons.cedarville.edu/student_recitals 
 Part of the Music Performance Commons 
Recommended Citation 
Merchant, Mark; Cedarville University; Mitchell, Trent; Caraway, Luka; Hammond, Chloe; and Esparza, 
Judah, "Freshman Piano Recital" (2025). Student Recitals. 86. 
https://digitalcommons.cedarville.edu/student_recitals/86 
This Article is brought to you for free and open access by 
CedarCommons, a service of the Centennial Library. It 
has been accepted for inclusion in Student Recitals by an 
authorized administrator of CedarCommons. For more 
information, please contact 
digitalcommons@cedarville.edu. 
Authors 
Mark Merchant, Cedarville University, Trent Mitchell, Luka Caraway, Chloe Hammond, and Judah Esparza 
This article is available at CedarCommons: https://digitalcommons.cedarville.edu/student_recitals/86 
Drei Romanzen, Op. 28 . . . . . . . . . . . . . . . . . . . . . . .Robert Schumann (1810–1856)
3. Sehr markiert
    Mark Merchant, piano
Cello Concerto in e minor, Op. 85 . . . . . . . . . . . . . . . . . Edward Elgar (1857–1934)
  I. Adagio-Moderato
    Diana Estes, cello, Trent Mitchell, piano
Prelude in C Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Luka Caraway (b. 2006)
    Luka Caraway, piano
The Minstrel’s Adieu to his Native Land . . . . . . . . . . . .John Thomas (1826–1913)
    Chloe Hammond, harp
Eight Concert Etudes, Op. 40. . . . . . . . . . . . . . . . . . . Nikolai Kapustin (1937–2020)
   3.  Toccatina
    Mark Merchant, piano
Ballade No. 1 in g minor, Op. 23 . . . . . . . . . . . . . . . . Frédéric Chopin (1810–1849)
    Judah Esparza, piano
Mark Merchant is a student of John Mortensen, Diana Estes is a student of  
Shu-Li Cheah, Luka Caraway is a student of Austin Jaquith, 
Chloe Hammond is a student of  Jacqueline Davis, 
and Judah Esparza is a student of  Karen Kim.
  
 The Bolthouse Center for Music                                                                                   No flash photography
Recital Hall Please turn off all cell phones
Drei Romanzen, Op. 28 . . . . . . . . . . . . . . . . . . . . . .Robert Schumann (1810–1856)
3. Sehr markiert
    Mark Merchant, piano
Cello Concerto in e minor, Op. 85 . . . . . . . . . . . . . . . . .Edward Elgar (1857–1934)
  I. Adagio-Moderato
    Diana Estes, cello, Trent Mitchell, piano
Prelude in C Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Luka Caraway (b. 2006)
    Luka Caraway, piano
The Minstrel’s Adieu to his Native Land . . . . . . . . . . .John Thomas (1826–1913)
    Chloe Hammond, harp
Eight Concert Etudes, Op. 40. . . . . . . . . . . . . . . . . . Nikolai Kapustin (1937–2020)
   3.  Toccatina
    Mark Merchant, piano
Ballade No. 1 in g minor, Op. 23 . . . . . . . . . . . . . . . Frédéric Chopin (1810–1849)
    Judah Esparza, piano
Mark Merchant is a student of John Mortensen, Diana Estes is a student of  
Shu-Li Cheah, Luka Caraway is a student of Austin Jaquith, 
Chloe Hammond is a student of  Jacqueline Davis, 
and Judah Esparza is a student of  Karen Kim.
  
 The Bolthouse Center for Music                                                                                   No flash photography
Recital Hall Please turn off all cell phones
Drei Romanzen, Op. 28 . . . . . . . . . . . . . . . . . . . . . . .Robert Schumann (1810–1856)
3. Sehr markiert
    Mark Merchant, piano
Cello Concerto in e minor, Op. 85 . . . . . . . . . . . . . . . . . Edward Elgar (1857–1934)
  I. Adagio-Moderato
    Diana Estes, cello, Trent Mitchell, piano
Prelude in C Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Luka Caraway (b. 2006)
    Luka Caraway, piano
The Minstrel’s Adieu to his Native Land . . . . . . . . . . . .John Thomas (1826–1913)
    Chloe Hammond, harp
Eight Concert Etudes, Op. 40. . . . . . . . . . . . . . . . . . . Nikolai Kapustin (1937–2020)
   3.  Toccatina
    Mark Merchant, piano
Ballade No. 1 in g minor, Op. 23 . . . . . . . . . . . . . . . . Frédéric Chopin (1810–1849)
    Judah Esparza, piano
Mark Merchant is a student of John Mortensen, Diana Estes is a student of  
Shu-Li Cheah, Luka Caraway is a student of Austin Jaquith, 
Chloe Hammond is a student of  Jacqueline Davis, 
and Judah Esparza is a student of  Karen Kim.
  
 The Bolthouse Center for Music                                                                                   No flash photography
Recital Hall Please turn off all cell phones
Drei Romanzen, Op. 28 . . . . . . . . . . . . . . . . . . . . . .Robert Schumann (1810–1856)
3. Sehr markiert
    Mark Merchant, piano
Cello Concerto in e minor, Op. 85 . . . . . . . . . . . . . . . . .Edward Elgar (1857–1934)
  I. Adagio-Moderato
    Diana Estes, cello, Trent Mitchell, piano
Prelude in C Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Luka Caraway (b. 2006)
    Luka Caraway, piano
The Minstrel’s Adieu to his Native Land . . . . . . . . . . .John Thomas (1826–1913)
    Chloe Hammond, harp
Eight Concert Etudes, Op. 40. . . . . . . . . . . . . . . . . . Nikolai Kapustin (1937–2020)
   3.  Toccatina
    Mark Merchant, piano
Ballade No. 1 in g minor, Op. 23 . . . . . . . . . . . . . . . Frédéric Chopin (1810–1849)
    Judah Esparza, piano
Mark Merchant is a student of John Mortensen, Diana Estes is a student of  
Shu-Li Cheah, Luka Caraway is a student of Austin Jaquith, 
Chloe Hammond is a student of  Jacqueline Davis, 
and Judah Esparza is a student of  Karen Kim.
  
 The Bolthouse Center for Music                                                                                   No flash photography
Recital Hall Please turn off all cell phones


Freshman Piano Recital

Renner, Allison

Cedarville University 
CedarCommons 
Junior and Senior Recitals Concert and Recital Programs 
4-12-2025 
Allison Renner, Senior Piano Recital 
Allison Renner 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/junior_and_senior_recitals 
 Part of the Music Performance Commons 
Recommended Citation 
Renner, Allison, "Allison Renner, Senior Piano Recital" (2025). Junior and Senior Recitals. 403. 
https://digitalcommons.cedarville.edu/junior_and_senior_recitals/403 
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. 
Nocturne 
Nocturnes, Op. 37 is a pair of two nocturnes written by Chopin in 1839. I will be
performing the first one, which is in g minor and in ABA form. The minor key and
slow tempo of the A section gives this piece a sense of sorrow and melancholy.
Additionally, the A section is full of a vast array of ornamentation typical of Chopin’s
style. The B section is completely contrary to the A section, as it modulates to E-flat
Major and has simplistic, hymn-like chords without any ornamentation. Right when
the piece seems to find rest away from the deep sorrow of the main theme, the piece
transitions back to the A section; however, it ends on a major chord, providing a
sense of hope at the end of this nocturne. This nocturne was the first two-handed
piece I played after months of resting my right hand, and I remember tearing up
from the joy I felt from playing with both hands. That being said, this nocturne will
always have a dear place in my heart, and I hope you enjoy it as much as I have.
Nocturne 
Similarly to Op. 37, Op. 32 is a set of two nocturnes, and I will be performing the
first one. This nocturne is in B Major and has a very bright sound to it which
reminds me of the world of Jane Austen. While it starts off sweet and gentle, there
are a couple of odd or unexpected characteristics in this composition. The first is
Chopin’s use of fermatas over rests, which gives a sudden silence that occurs
throughout the piece. Another unexpected occurrence in this seemingly
light-hearted nocturne is the tragic and dramatic ending, which took me by surprise
when I first listened to this piece. While I was sad that it did not have a happy
ending, as most Jane Austen novels do, I have really enjoyed working on this piece
and exploring the drama composed by Chopin. 
Romance sans paroles
Gabriel Fauré was a French composer, pianist, teacher, and organist whose works
became a large influence on many 20th century composers. “Romance sans
paroles,” which translates to “Song without words,” is a set of three and was his very
first work, composed around 1863. The third piece, which I will be performing
today, is my favorite piece on the program. I chose this piece as the closing to my
recital because it reminds me of the sweet and special moments I have had at
Cedarville as well as the faithfulness of the Lord as He has allowed me to perform
with not one, but two hands today. 
 
Two Etudes for the Left Hand Alone, Op. 735. . . . . . . . . . . Carl Czerny (1791–1857)
I. Allegro maestoso
Prelude and Nocturne for the Left Hand, Op. 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alexander Scriabin (1872–1915)
I. Prelude
II. Nocturne
Suite bergamasque, L. 75. . . . . . . . . . . . . . . . . . . . . . . . . . Claude Debussy (1862–1918)
III. Clair de lune
Students:
The Little Flower Girl of Paris . . . . . . . . . . . . . . . . . . . . . . William Gillock (1917–1993)
Hannah Jenkins
Let’s Go Fly a Kite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arr. Nancy and Randall Faber
Sadie Kitchen
Reverie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Claude Debussy (1862–1918)
Jon Dyer
  
Twelve Etudes for the Left Hand, Op. 92 . . . . . . . Moritz Moszkowski (1854–1925)
7. Allegretto scherzando
Nocturne in g minor, Op. 37, No. 1. . . . . . . . . . . . . . . . . Frédéric Chopin (1810–1849)
Nocturne in B Major, Op. 32, No. 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Frédéric Chopin
Romance sans paroles, Op. 17, No. 3. . . . . . . . . . . . . . . . . Gabriel Fauré (1845–1924)
Allison is a student of John Mortensen.
This recital is presented in partial fulfillment 
of the Bachelor of Music in keyboard pedagogy degree.
No flash photography.  Please turn off all cell phones.
Program Notes
Two Etudes for the Left Hand Alone 
Carl Czerny, who lived from 1791–1857, was a composer and pianist best known for
his pedagogical works. He was a child prodigy who studied piano under the teaching of
Beethoven for a time, and they remained close friends for the extent of Beethoven’s life.
Known as the “King of Etudes,” Czerny composed and published over 800 works in his
lifetime, including works for the left hand alone. A vast array of left hand alone
repertoire was composed due to right hand injuries; however, this etude was most
likely composed for the purpose of improving left hand technique. While I chose this
piece due to my right hand injury, this piece has grown my left hand technique and its
capabilities. I hope you enjoy the drama and power of this etude that is displayed all
through the use of one hand. 
Prelude and Nocturne for the Left Hand 
Alexander Scriabin lived from 1872–1915 and fell into the late Romantic era of music.
While his music was known for exotic harmonies, his early music had a more romantic
sound. In 1891, Scriabin lost full use of his right hand due to over-practice of a piece by
Liszt. It was because of this disaster that he composed the Prelude and Nocturne for
strictly the left hand alone. Influenced by Chopin, these two pieces show a strong lyrical
sense with a prominent melody. The Prelude is calm and peaceful, turning to a brief
moment of tension which resolves into the peaceful melody once again. While still
lyrical and melodic, the Nocturne was written for a more virtuosic performance style.
This piece has challenged my left hand to do more than I believed was possible, as it
explores nearly the entirety of the keyboard. 
Clair de lune
The famous “Clair de lune” is the third movement of a four-movement work called Suite
Bergamasque by Debussy. The other three movements, the “Prelude,” “Menuet,” and
“Passepied” were all traditional movements found in a Baroque suite. “Clair de Lune,”
which means “moonlight,” is the only movement that does not fit the mold and is the
slowest, most lyrical movement of the suite. While I originally prepared the whole suite
for my intended junior recital, my injury prevented that performance. “Clair de lune”
acted as a recovery piece as I began to practice with my right hand after months of rest.
The second time learning this piece was much sweeter than the first, and I hope that
you will cherish this beautiful masterpiece as much as I have. 
Twelve Etudes for the Left Hand 
Moritz Moszkowski, who lived from 1854–1925, was a German pianist and composer
who was born into a Polish Jewish family. He was a child prodigy who studied piano at
a conservatory starting at age 11. He toured as a pianist until the mid-1880s, when a
neurological condition affected his arm. After this time, he focused on teaching,
composing, and conducting. Similarly to Czerny, Mozskowski’s Twelve Etudes for the
Left Hand were composed in order to increase left hand technique. No. 7 is titled as
Allegretto scherzando, which means “fast and playful,” as the term “scherzo” translates
to “joke.” You can hear through the articulation of this piece that it is humorous and
light-hearted, making it the most unique piece on the program.
 
Two Etudes for the Left Hand Alone, Op. 735. . . . . . . . . . . Carl Czerny (1791–1857)
I. Allegro maestoso
Prelude and Nocturne for the Left Hand, Op. 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alexander Scriabin (1872–1915)
I. Prelude
II. Nocturne
Suite bergamasque, L. 75. . . . . . . . . . . . . . . . . . . . . . . . . . Claude Debussy (1862–1918)
III. Clair de lune
Students:
The Little Flower Girl of Paris . . . . . . . . . . . . . . . . . . . . . . William Gillock (1917–1993)
Hannah Jenkins
Let’s Go Fly a Kite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arr. Nancy and Randall Faber
Sadie Kitchen
Reverie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Claude Debussy (1862–1918)
Jon Dyer
  
Twelve Etudes for the Left Hand, Op. 92 . . . . . . . Moritz Moszkowski (1854–1925)
7. Allegretto scherzando
Nocturne in g minor, Op. 37, No. 1. . . . . . . . . . . . . . . . . Frédéric Chopin (1810–1849)
Nocturne in B Major, Op. 32, No. 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Frédéric Chopin
Romance sans paroles, Op. 17, No. 3. . . . . . . . . . . . . . . . . Gabriel Fauré (1845–1924)
Allison is a student of John Mortensen.
This recital is presented in partial fulfillment 
of the Bachelor of Music in keyboard pedagogy degree.
No flash photography.  Please turn off all cell phones.
Program Notes
Two Etudes for the Left Hand Alone 
Carl Czerny, who lived from 1791–1857, was a composer and pianist best known for
his pedagogical works. He was a child prodigy who studied piano under the teaching of
Beethoven for a time, and they remained close friends for the extent of Beethoven’s life.
Known as the “King of Etudes,” Czerny composed and published over 800 works in his
lifetime, including works for the left hand alone. A vast array of left hand alone
repertoire was composed due to right hand injuries; however, this etude was most
likely composed for the purpose of improving left hand technique. While I chose this
piece due to my right hand injury, this piece has grown my left hand technique and its
capabilities. I hope you enjoy the drama and power of this etude that is displayed all
through the use of one hand. 
Prelude and Nocturne for the Left Hand 
Alexander Scriabin lived from 1872–1915 and fell into the late Romantic era of music.
While his music was known for exotic harmonies, his early music had a more romantic
sound. In 1891, Scriabin lost full use of his right hand due to over-practice of a piece by
Liszt. It was because of this disaster that he composed the Prelude and Nocturne for
strictly the left hand alone. Influenced by Chopin, these two pieces show a strong lyrical
sense with a prominent melody. The Prelude is calm and peaceful, turning to a brief
moment of tension which resolves into the peaceful melody once again. While still
lyrical and melodic, the Nocturne was written for a more virtuosic performance style.
This piece has challenged my left hand to do more than I believed was possible, as it
explores nearly the entirety of the keyboard. 
Clair de lune
The famous “Clair de lune” is the third movement of a four-movement work called Suite
Bergamasque by Debussy. The other three movements, the “Prelude,” “Menuet,” and
“Passepied” were all traditional movements found in a Baroque suite. “Clair de Lune,”
which means “moonlight,” is the only movement that does not fit the mold and is the
slowest, most lyrical movement of the suite. While I originally prepared the whole suite
for my intended junior recital, my injury prevented that performance. “Clair de lune”
acted as a recovery piece as I began to practice with my right hand after months of rest.
The second time learning this piece was much sweeter than the first, and I hope that
you will cherish this beautiful masterpiece as much as I have. 
Twelve Etudes for the Left Hand 
Moritz Moszkowski, who lived from 1854–1925, was a German pianist and composer
who was born into a Polish Jewish family. He was a child prodigy who studied piano at
a conservatory starting at age 11. He toured as a pianist until the mid-1880s, when a
neurological condition affected his arm. After this time, he focused on teaching,
composing, and conducting. Similarly to Czerny, Mozskowski’s Twelve Etudes for the
Left Hand were composed in order to increase left hand technique. No. 7 is titled as
Allegretto scherzando, which means “fast and playful,” as the term “scherzo” translates
to “joke.” You can hear through the articulation of this piece that it is humorous and
light-hearted, making it the most unique piece on the program.
Nocturne 
Nocturnes, Op. 37 is a pair of two nocturnes written by Chopin in 1839. I will be
performing the first one, which is in g minor and in ABA form. The minor key and
slow tempo of the A section gives this piece a sense of sorrow and melancholy.
Additionally, the A section is full of a vast array of ornamentation typical of Chopin’s
style. The B section is completely contrary to the A section, as it modulates to E-flat
Major and has simplistic, hymn-like chords without any ornamentation. Right when
the piece seems to find rest away from the deep sorrow of the main theme, the piece
transitions back to the A section; however, it ends on a major chord, providing a
sense of hope at the end of this nocturne. This nocturne was the first two-handed
piece I played after months of resting my right hand, and I remember tearing up
from the joy I felt from playing with both hands. That being said, this nocturne will
always have a dear place in my heart, and I hope you enjoy it as much as I have.
Nocturne 
Similarly to Op. 37, Op. 32 is a set of two nocturnes, and I will be performing the
first one. This nocturne is in B Major and has a very bright sound to it which
reminds me of the world of Jane Austen. While it starts off sweet and gentle, there
are a couple of odd or unexpected characteristics in this composition. The first is
Chopin’s use of fermatas over rests, which gives a sudden silence that occurs
throughout the piece. Another unexpected occurrence in this seemingly
light-hearted nocturne is the tragic and dramatic ending, which took me by surprise
when I first listened to this piece. While I was sad that it did not have a happy
ending, as most Jane Austen novels do, I have really enjoyed working on this piece
and exploring the drama composed by Chopin. 
Romance sans paroles
Gabriel Fauré was a French composer, pianist, teacher, and organist whose works
became a large influence on many 20th century composers. “Romance sans
paroles,” which translates to “Song without words,” is a set of three and was his very
first work, composed around 1863. The third piece, which I will be performing
today, is my favorite piece on the program. I chose this piece as the closing to my
recital because it reminds me of the sweet and special moments I have had at
Cedarville as well as the faithfulness of the Lord as He has allowed me to perform
with not one, but two hands today. 


Allison Renner, Senior Piano Recital

Dabney, Michael

Cedarville University 
CedarCommons 
Junior and Senior Recitals Concert and Recital Programs 
3-23-2025 
Michael Dabney, Senior Violin Recital 
Michael Dabney 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/junior_and_senior_recitals 
 Part of the Music Performance Commons 
Recommended Citation 
Dabney, Michael, "Michael Dabney, Senior Violin Recital" (2025). Junior and Senior Recitals. 412. 
https://digitalcommons.cedarville.edu/junior_and_senior_recitals/412 
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. 
“'Tis the last rose of Summer, 
Left blooming alone; 
All her lovely companions 
Are faded and gone; 
No flower of her kindred, 
No rose-bud is nigh, 
To reflect back her blushes 
Or give sigh for sigh! 
I'll not leave thee, thou lone one. 
To pine on the stem; 
Since the lovely are sleeping, 
Go, sleep thou with them.
Thus kindly I scatter 
Thy leaves o'er the bed, 
Where thy mates of the garden
Lie scentless and dead. 
So soon may I follow, 
When friendships decay, 
And from Love's shining circle 
The gems drop away! 
When true hearts lie withered, 
And fond ones are flown, 
Oh! who would inhabit 
This bleak world alone?” 
Pampeana No. 1 for Violin and Piano 
Ginastera was a 20th century Argentinian composer with prolific students such as
Astor Piazzolla and Alcides Lanza. This work falls cleanly within his objective
nationalist period, displaying aspects of distinctly Argentinian culture with folk
tunes and rhythms. One of his key ideas about Argentinian culture was Gauchesco, a
sort of native-cowboy style, roaming the lands of Argentina. The piece focuses on
two extremes of tonal density, some parts with cluster chords and some with very
open-sounding stacked fifths, reflecting the grunginess of the caballero and the
open space of nature.
 
Sonata No. 12 in E Major. . . . . . . . . . . . . . . Giovanni Battista Pergolesi (1710–1736)
1. Allegro
2. Adagio
3. Presto
Violin Sonata No. 9, Op. 47 . . . . . . . . . . . . . . . . . Ludwig van Beethoven (1770–1827)
I. Adagio sostenuto - Presto
II. Andante con variazioni
III. Presto
Six Polyphonic Etudes. . . . . . . . . . . . . . . . . . . . . .Heinrich Wilhelm Ernst (1812–1865)
6. The Last Rose of Summer
Pampeana No. 1 for Violin and Piano, Op. 16. . . . . Alberto Ginastera (1916–1983)
Michael 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. 12 in E major 
Pergolesi is a representative composer of the early Baroque era, born in 1710 and
composing mostly vocal or sacred works in his short 26 years of life. During this time,
the sonata, concerto, symphony, and other such staples of composers had not yet been
fully cemented; Perogolesi helped to concrete these developments. Although much
more famous for his Stabat Mater, these short string sonatas are charming in a simple
way. When looking for a Baroque piece to perform, I wanted to retire Bach’s solo violin
sonatas and introduce my audience to the other side of the Baroque era: light, frilly fun.
The first “movement” (not officially separated) plays with a simple rising melody,
flowing in and out of different keys before returning to the home key. The second
“movement” represents Pergoslesi’s more famous works, with a very slow and lyrical
melody. The suspensions and dissonances create the beautiful, heart-tugging sensation
so prominent in his sacred works. The third movement is a rousing dance, just for fun. 
Sonata No. 9, “Kreutzer” 
Not much new can be said about Beethoven; every piece from his pen is recognized as a
masterwork, and this piece is no exception. Sonata No. 9 (written after Sonata No. 8)
was composed in 1803 and premiered with the virtuoso violinist George Bridgetower.
After a very successful premiere, Beethoven dedicated the Sonata to Bridgetower,
calling it “Mulatto Sonata composed for the mulatto Brischdauer, great madman
mulatto composer” (Bridgetower was of Polish and West Indian descent). Later, the
two were drinking together and got in a fight because of a rude comment made by
Bridgetower about a woman that Beethoven fancied. Therefore, as any stable man
would do, Beethoven re-dedicated the sonata to Rodolphe Kreutzer, the most famous
violinist in Europe. Upon receiving the score, Kreutzer declared it impossible to play
and never performed it himself. 
The piece was a distinct turning point in Beethoven’s style, where he started breaking
some rules of the refined, galant style, turning to the dramatic and intense style which
ushered in the Romantic era. This switch can best be seen in the comparison between
the first movement and the other two, especially because the third movement was
resurrected from a previously failed Sonata No. 6. The first movement has three themes
in general: first the slow chordal theme, then the intense and fiery main theme, then a
spirited secondary theme, briefly in a major key. The tempo changes and dynamics are
a stern departure from classical elegance. The second movement is a Theme and
Variations, which speaks for itself. The third movement is a marathon of dotted
rhythms, and it changes the main key to A Major rather than a minor. 
The Last Rose of Summer 
Ernst is a name not commonly famous in music, but every violinist knows it and
trembles. He was one of the top successors to Paganini’s virtuosic movement, and he
made great strides in writing polyphonic music for violin. This piece is the last in a
series of polyphonic études for the Violin, and it is based on an Irish poem by Thomas
Moore, set to an Irish folk tune. As you listen to this incredible exercise that tests the
limits of violin’s capability, read along with the poem:
Continued on back
 
Sonata No. 12 in E Major. . . . . . . . . . . . . . . Giovanni Battista Pergolesi (1710–1736)
1. Allegro
2. Adagio
3. Presto
Violin Sonata No. 9, Op. 47 . . . . . . . . . . . . . . . . . Ludwig van Beethoven (1770–1827)
I. Adagio sostenuto - Presto
II. Andante con variazioni
III. Presto
Six Polyphonic Etudes. . . . . . . . . . . . . . . . . . . . . .Heinrich Wilhelm Ernst (1812–1865)
6. The Last Rose of Summer
Pampeana No. 1 for Violin and Piano, Op. 16. . . . . Alberto Ginastera (1916–1983)
Michael 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. 12 in E major 
Pergolesi is a representative composer of the early Baroque era, born in 1710 and
composing mostly vocal or sacred works in his short 26 years of life. During this time,
the sonata, concerto, symphony, and other such staples of composers had not yet been
fully cemented; Perogolesi helped to concrete these developments. Although much
more famous for his Stabat Mater, these short string sonatas are charming in a simple
way. When looking for a Baroque piece to perform, I wanted to retire Bach’s solo violin
sonatas and introduce my audience to the other side of the Baroque era: light, frilly fun.
The first “movement” (not officially separated) plays with a simple rising melody,
flowing in and out of different keys before returning to the home key. The second
“movement” represents Pergoslesi’s more famous works, with a very slow and lyrical
melody. The suspensions and dissonances create the beautiful, heart-tugging sensation
so prominent in his sacred works. The third movement is a rousing dance, just for fun. 
Sonata No. 9, “Kreutzer” 
Not much new can be said about Beethoven; every piece from his pen is recognized as a
masterwork, and this piece is no exception. Sonata No. 9 (written after Sonata No. 8)
was composed in 1803 and premiered with the virtuoso violinist George Bridgetower.
After a very successful premiere, Beethoven dedicated the Sonata to Bridgetower,
calling it “Mulatto Sonata composed for the mulatto Brischdauer, great madman
mulatto composer” (Bridgetower was of Polish and West Indian descent). Later, the
two were drinking together and got in a fight because of a rude comment made by
Bridgetower about a woman that Beethoven fancied. Therefore, as any stable man
would do, Beethoven re-dedicated the sonata to Rodolphe Kreutzer, the most famous
violinist in Europe. Upon receiving the score, Kreutzer declared it impossible to play
and never performed it himself. 
The piece was a distinct turning point in Beethoven’s style, where he started breaking
some rules of the refined, galant style, turning to the dramatic and intense style which
ushered in the Romantic era. This switch can best be seen in the comparison between
the first movement and the other two, especially because the third movement was
resurrected from a previously failed Sonata No. 6. The first movement has three themes
in general: first the slow chordal theme, then the intense and fiery main theme, then a
spirited secondary theme, briefly in a major key. The tempo changes and dynamics are
a stern departure from classical elegance. The second movement is a Theme and
Variations, which speaks for itself. The third movement is a marathon of dotted
rhythms, and it changes the main key to A Major rather than a minor. 
The Last Rose of Summer 
Ernst is a name not commonly famous in music, but every violinist knows it and
trembles. He was one of the top successors to Paganini’s virtuosic movement, and he
made great strides in writing polyphonic music for violin. This piece is the last in a
series of polyphonic études for the Violin, and it is based on an Irish poem by Thomas
Moore, set to an Irish folk tune. As you listen to this incredible exercise that tests the
limits of violin’s capability, read along with the poem:
Continued on back
“'Tis the last rose of Summer, 
Left blooming alone; 
All her lovely companions 
Are faded and gone; 
No flower of her kindred, 
No rose-bud is nigh, 
To reflect back her blushes 
Or give sigh for sigh! 
I'll not leave thee, thou lone one. 
To pine on the stem; 
Since the lovely are sleeping, 
Go, sleep thou with them.
Thus kindly I scatter 
Thy leaves o'er the bed, 
Where thy mates of the garden
Lie scentless and dead. 
So soon may I follow, 
When friendships decay, 
And from Love's shining circle 
The gems drop away! 
When true hearts lie withered, 
And fond ones are flown, 
Oh! who would inhabit 
This bleak world alone?” 
Pampeana No. 1 for Violin and Piano 
Ginastera was a 20th century Argentinian composer with prolific students such as
Astor Piazzolla and Alcides Lanza. This work falls cleanly within his objective
nationalist period, displaying aspects of distinctly Argentinian culture with folk
tunes and rhythms. One of his key ideas about Argentinian culture was Gauchesco, a
sort of native-cowboy style, roaming the lands of Argentina. The piece focuses on
two extremes of tonal density, some parts with cluster chords and some with very
open-sounding stacked fifths, reflecting the grunginess of the caballero and the
open space of nature.


Michael Dabney, Senior Violin Recital

Atkins, Savannah

Cedarville University 
CedarCommons 
Junior and Senior Recitals Concert and Recital Programs 
4-12-2025 
Savannah Atkins, Senior Recital, Voice 
Savannah Atkins 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/junior_and_senior_recitals 
 Part of the Music Performance Commons 
Recommended Citation 
Atkins, Savannah, "Savannah Atkins, Senior Recital, Voice" (2025). Junior and Senior Recitals. 419. 
https://digitalcommons.cedarville.edu/junior_and_senior_recitals/419 
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. 
Insects, animals,
Beauty to come –
Do not repulse me,
O divine nature,
I am your suppliant.
Ah! begone now,
Anger, remorse!
Translation © Richard Stokes, author of A French
Song Companion (Oxford, 2000)
Air vif (Lively air)
The treasures of the orchard and the festive
garden,
The flowers of the field, of the woods
Burst forth with pleasure
Alas! and above their head the wind swells its
voice.
But you, noble ocean whom the assault of
storms
Cannot ravage,
You will assuredly, with more dignity,
Lose yourself in dreams when you lament.
Translation © Richard Stokes, author of A French
Song Companion (Oxford, 2000)
Adieu, notre petite table (Farewell, Our
Little Table)
Come now, I must do it, for his sake...
My poor Chevalier!
Yes, he's the one I love!
And yet today I'm still hesitating.
No, no!... I'm no longer worthy of him!
I keep hearing this voice that
attracts me against my will:
Manon, Manon, you will be queen...
A queen... by your beauty!
I am nothing but weakness and frailty...
Ah! in spite of myself I feel my tears flowing.
After these dreams have been erased,
will the future have the charms
of these beautiful days that have already
passed?
Farewell, our little table,
which brought us together so often!
Farewell, farewell, our little table,
which for just us two seemed so large!
It's unbelievable, but we take up so little
space...especially when we're embracing.
Farewell, our little table!
We used the same glass,
the two of us, and when each of us drank,
we tried to find the other's lips.
My poor friend, how he loved me!
Farewell, our little table, farewell!
Opera Arias Database.
I
Schweigt stille, plaudert nicht, BWV 211 . . . . . . . . . . . . . . . . . . . .J. S. Bach (1685-1750)
8. Heute noch, lieber Vater
10. Die Katze läßt das Mausen nicht
Assisted by Catherine Estes and Michael Dabney, violin; Davi Buczynski da Silva,
viola; Christopher Staufer, cello; Julianna Staufer, flute; Nathan Duty, tenor; 
James Schenck, bass; Stephen Estep, piano
II
The Mermaid’s Song, Hob. XXVIa:25 . . . . . . . . . . . . . . . . . . .Joseph Haydn (1732-1809)
Fair Robin I Love from TARTUFFE . . . . . . . . . . . . . . . . . . . . . . . Kirke Mechem (b. 1925)
PAUSE
III 
Regnava nel silenzio from LUCIA DI LAMMERMOOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Gaetano Donizetti (1797-1848)
IV
Airs chantés, FP 46 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Francis Poulenc (1899-1963)
1. Air romantique
2. Air champêtre
3. Air grave
4. Air vif
 
V 
Adieu, notre petite table from MANON . . . . . . . . . . . . . . . Jules Massenet (1842-1912)
VI 
Selections from WICKED. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephen Schwartz (b. 1948)
 What Is This Feeling?
 Popular
 For Good
assisted by Caroline Canning, soprano; Mackenzie Pimpo, piano; 
and James Schenck, choreographer.
Savannah is a student of Beth Cram Porter.
This recital is in partial fulfillment of the 
Bachelor of Arts in music degree.
No flash photography please.  Please turn off all cell phones.
Translations 
Heute noch, lieber Vater (Even today, dear
Father)
Even today,
dear father, make it happen!
Ah, a husband!
Indeed, this will suit me well!
If it would only happen soon,
that at last, instead of coffee,
before I even go to bed,
I might gain a sturdy lover!
https://www.bachvereniging.nl/en/bwv/bwv-211
Die Katze läßt das Mausen nicht (Cats do not
give up mousing)
Cats do not give up mousing,
girls remain coffee-sisters.
The mother adores her coffee-habit,
and grandma also drank it,
so who can blame the daughters!
https://www.bachvereniging.nl/en/bwv/bwv-211
Regnava nel silenzio (The night, deep and
dark)
The night, deep and dark,
reigned in the silence...
A pale ray from the gloomy moon
struck the fountain...
When a suppressed groan
was made heard throughout the air;
and there on the fountain's edge
the shadow showed itself to me Ah!
Her lips moved
as if speaking,
and with her lifeless hand
she seemed to call me.
She stood there, motionless,
then she suddenly disappeared.
And the water, earlier so limpid,
reddened with blood.
When carried away in ecstasy
of the most burning ardor,
with words from the heart
he swears me eternal faith.
 
I forget my troubles,
Tears turn into joy.
It seems to me that, beside him,
Heaven opens up for me!
Translation by: Marc Verzatt. Opera Arias Database.
Air romantique (Romantic air)
I walked in the countryside with the stormy
wind,
Beneath the pale morning, beneath the low
clouds,
A sinister crow followed me on my way
And my steps splashed though the water puddles.
The lightning on the horizon unleashed its flame
And the North Wind intensified its wailing;
But the storm was too weak for my soul
Which drowned the thunder with its throbbing.
From the golden spoils of ash and maple
Autumn amassed her brilliant plunder,
And the crow still, with inexorable flight,
Without changing anything, accompanied me to
my fate.
Translation © Richard Stokes, from A French Song
Companion (Oxford, 2000)
Air champêtre (Pastoral air)
Lovely spring, I shall never cease to remember
That on a day, guided by entranced friendship,
I gazed on your face, O goddess,
Half hidden beneath the moss.
Had he but remained, this friend whom I mourn,
O nymph, a devotee of your cult,
To mingle once more with the breeze that
caresses you,
And to respond to your hidden waters!
Translation © Richard Stokes, author of A French Song
Companion (Oxford, 2000)
Air grave (Grave air)
Ah! begone now,
Unhappy thoughts!
O anger! O remorse!
Memories that oppressed
My two temples
With the embrace of the dead.
Paths full of moss,
Vaporous fountains,
Deep grottoes, voices
Of birds and wind,
Fitful lights
Of the wild undergrowth.
Continued on back
I
Schweigt stille, plaudert nicht, BWV 211 . . . . . . . . . . . . . . . . . . . .J. S. Bach (1685-1750)
8. Heute noch, lieber Vater
10. Die Katze läßt das Mausen nicht
Assisted by Catherine Estes and Michael Dabney, violin; Davi Buczynski da Silva,
viola; Christopher Staufer, cello; Julianna Staufer, flute; Nathan Duty, tenor; 
James Schenck, bass; Stephen Estep, piano
II
The Mermaid’s Song, Hob. XXVIa:25 . . . . . . . . . . . . . . . . . . .Joseph Haydn (1732-1809)
Fair Robin I Love from TARTUFFE . . . . . . . . . . . . . . . . . . . . . . . Kirke Mechem (b. 1925)
PAUSE
III 
Regnava nel silenzio from LUCIA DI LAMMERMOOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Gaetano Donizetti (1797-1848)
IV
Airs chantés, FP 46 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Francis Poulenc (1899-1963)
1. Air romantique
2. Air champêtre
3. Air grave
4. Air vif
 
V 
Adieu, notre petite table from MANON . . . . . . . . . . . . . . . Jules Massenet (1842-1912)
VI 
Selections from WICKED. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephen Schwartz (b. 1948)
 What Is This Feeling?
 Popular
 For Good
assisted by Caroline Canning, soprano; Mackenzie Pimpo, piano; 
and James Schenck, choreographer.
Savannah is a student of Beth Cram Porter.
This recital is in partial fulfillment of the 
Bachelor of Arts in music degree.
No flash photography please.  Please turn off all cell phones.
Translations 
Heute noch, lieber Vater (Even today, dear
Father)
Even today,
dear father, make it happen!
Ah, a husband!
Indeed, this will suit me well!
If it would only happen soon,
that at last, instead of coffee,
before I even go to bed,
I might gain a sturdy lover!
https://www.bachvereniging.nl/en/bwv/bwv-211
Die Katze läßt das Mausen nicht (Cats do not
give up mousing)
Cats do not give up mousing,
girls remain coffee-sisters.
The mother adores her coffee-habit,
and grandma also drank it,
so who can blame the daughters!
https://www.bachvereniging.nl/en/bwv/bwv-211
Regnava nel silenzio (The night, deep and
dark)
The night, deep and dark,
reigned in the silence...
A pale ray from the gloomy moon
struck the fountain...
When a suppressed groan
was made heard throughout the air;
and there on the fountain's edge
the shadow showed itself to me Ah!
Her lips moved
as if speaking,
and with her lifeless hand
she seemed to call me.
She stood there, motionless,
then she suddenly disappeared.
And the water, earlier so limpid,
reddened with blood.
When carried away in ecstasy
of the most burning ardor,
with words from the heart
he swears me eternal faith.
 
I forget my troubles,
Tears turn into joy.
It seems to me that, beside him,
Heaven opens up for me!
Translation by: Marc Verzatt. Opera Arias Database.
Air romantique (Romantic air)
I walked in the countryside with the stormy
wind,
Beneath the pale morning, beneath the low
clouds,
A sinister crow followed me on my way
And my steps splashed though the water puddles.
The lightning on the horizon unleashed its flame
And the North Wind intensified its wailing;
But the storm was too weak for my soul
Which drowned the thunder with its throbbing.
From the golden spoils of ash and maple
Autumn amassed her brilliant plunder,
And the crow still, with inexorable flight,
Without changing anything, accompanied me to
my fate.
Translation © Richard Stokes, from A French Song
Companion (Oxford, 2000)
Air champêtre (Pastoral air)
Lovely spring, I shall never cease to remember
That on a day, guided by entranced friendship,
I gazed on your face, O goddess,
Half hidden beneath the moss.
Had he but remained, this friend whom I mourn,
O nymph, a devotee of your cult,
To mingle once more with the breeze that
caresses you,
And to respond to your hidden waters!
Translation © Richard Stokes, author of A French Song
Companion (Oxford, 2000)
Air grave (Grave air)
Ah! begone now,
Unhappy thoughts!
O anger! O remorse!
Memories that oppressed
My two temples
With the embrace of the dead.
Paths full of moss,
Vaporous fountains,
Deep grottoes, voices
Of birds and wind,
Fitful lights
Of the wild undergrowth.
Continued on back
Insects, animals,
Beauty to come –
Do not repulse me,
O divine nature,
I am your suppliant.
Ah! begone now,
Anger, remorse!
Translation © Richard Stokes, author of A French
Song Companion (Oxford, 2000)
Air vif (Lively air)
The treasures of the orchard and the festive
garden,
The flowers of the field, of the woods
Burst forth with pleasure
Alas! and above their head the wind swells its
voice.
But you, noble ocean whom the assault of
storms
Cannot ravage,
You will assuredly, with more dignity,
Lose yourself in dreams when you lament.
Translation © Richard Stokes, author of A French
Song Companion (Oxford, 2000)
Adieu, notre petite table (Farewell, Our
Little Table)
Come now, I must do it, for his sake...
My poor Chevalier!
Yes, he's the one I love!
And yet today I'm still hesitating.
No, no!... I'm no longer worthy of him!
I keep hearing this voice that
attracts me against my will:
Manon, Manon, you will be queen...
A queen... by your beauty!
I am nothing but weakness and frailty...
Ah! in spite of myself I feel my tears flowing.
After these dreams have been erased,
will the future have the charms
of these beautiful days that have already
passed?
Farewell, our little table,
which brought us together so often!
Farewell, farewell, our little table,
which for just us two seemed so large!
It's unbelievable, but we take up so little
space...especially when we're embracing.
Farewell, our little table!
We used the same glass,
the two of us, and when each of us drank,
we tried to find the other's lips.
My poor friend, how he loved me!
Farewell, our little table, farewell!
Opera Arias Database.


Savannah Atkins, Senior Recital, Voice

Burkholder, Hannah

Cedarville University 
CedarCommons 
Junior and Senior Recitals Concert and Recital Programs 
3-14-2025 
Hannah Burkholder, Soprano, Senior Voice Recital 
Hannah Burkholder 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/junior_and_senior_recitals 
 Part of the Music Performance Commons 
Recommended Citation 
Burkholder, Hannah, "Hannah Burkholder, Soprano, Senior Voice Recital" (2025). Junior and Senior 
Recitals. 417. 
https://digitalcommons.cedarville.edu/junior_and_senior_recitals/417 
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. 

I
He’s Always Been Faithful. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sara Groves (b. 1972)
So Great Salvation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gloria Roe (1935-2017)
Quia respexit, from MAGNIFICAT in D Major, BWV 243. . . . . . . . . . . . . . . . . . . . . . . 
Johann Sebastian Bach (1685-1750)
 assisted by Davi Buczynski da Silva, violin
Before I Say Amen . . . . . . .Hannah Burkholder (b. 2002), Aleyna Bass (b. 2004)
Justin Studebaker (b. 2004), and John Chilcote (b. 1977)
II
O Divine Redeemer. . . . .  . . . . . . . . . . . . . . . . . . . . . . . . Charles Gounod (1818-1893)
Not Made for Mountains. . . . . . . . . . . . . . . . . . . . . . . . Hannah Burkholder (b. 2002)
En prière. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gabriel Fauré (1845-1924)
III
There Will Be Stars. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Duke (1899-1984)
Learning to Love You. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hannah Burkholder
IV
Die Allmacht, D. 852. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Franz Schubert (1797-1828)
Don’t Wanna Graduate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hannah Burkholder
Come Thou Fount of Every Blessing. . . . . . . . . . . . . . . . . Traditional American melody
Hannah is a student of Louima 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.
Translations 
Quia respexit
For He has considered the humility of his
handmaiden,
Behold, from this time I will be called blessed
By all generations.
Translation © by Michael P. Rosewall, reprinted
with permission from the LiederNet Archive
En prière
If the voice of a child can reach You,
O my Father,
Listen to the prayer of Jesus, on his knees
before You!
If You have chosen me to teach your laws on
earth,
I will know how to serve You, noble King of
kings,
O Light!
On my lips, Lord, place the salutary truth,
In order that he who doubts should with
humility revere You!
Do not abandon me, give me the necessary
gentleness,
To ease suffering, to relieve sorrow, the misery!
Reveal Yourself to me, Lord, in whom I believe
and hope:
For You I wish to suffer and to die on the cross,
at Calvary!
Translation © by David K. Smythe, reprinted
with permission from the LiederNet Archive
Die Allmacht
Great is Jehovah, the Lord! For heaven and
earth proclaim his might.
You hear it in the roaring storm,
In the loud, surging cry of the forest stream;
You hear it in the rustling of the greenwood;
You see it in the golden, waving corn,
In the glowing lustre of the lovely flowers,
In the sparkling, star-strewn heavens;
It echoes terrifyingly in the rolling thunder,
And flames in the lightning’s swiftly flickering
flight.
But your beating heart will reveal still more
palpably
The power of Jehovah, the eternal God,
If you gaze up in prayer
And hope for grace and mercy.
Translation © by Richard Wigmore
Come Thou Fount of Every Blessing 
Come, thou Fount of every blessing;
Tune my heart to sing Thy grace;
Streams of mercy, never ceasing,
Call for songs of loudest praise.
Teach me some melodious sonnet,
Sung by flaming tongues above;
Praise the mount! I’m fixed upon it,
Mount of God’s redeeming love!
Here I raise my Ebenezer;
Hither by Thy help I come;
And I hope, by thy good pleasure,
Safely to arrive at home.
Jesus sought me when a stranger,
Wandering from the fold of God;
He, to rescue me from danger,
Interposed his precious blood.
O to grace how great a debtor
Daily I’m constrained to be!
Let that grace now, like a fetter,
Bind my wandering heart to Thee.
Prone to wander, Lord, I feel it,
Prone to leave the God I love;
Here’s my heart; O take and seal it;
Seal it for Thy courts above.
https://hymnary.org/text/come_thou_fount_of_e
very_blessing 
I
He’s Always Been Faithful. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sara Groves (b. 1972)
So Great Salvation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gloria Roe (1935-2017)
Quia respexit, from MAGNIFICAT in D Major, BWV 243. . . . . . . . . . . . . . . . . . . . . . . 
Johann Sebastian Bach (1685-1750)
 assisted by Davi Buczynski da Silva, violin
Before I Say Amen . . . . . . .Hannah Burkholder (b. 2002), Aleyna Bass (b. 2004)
Justin Studebaker (b. 2004), and John Chilcote (b. 1977)
II
O Divine Redeemer. . . . .  . . . . . . . . . . . . . . . . . . . . . . . . Charles Gounod (1818-1893)
Not Made for Mountains. . . . . . . . . . . . . . . . . . . . . . . . Hannah Burkholder (b. 2002)
En prière. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gabriel Fauré (1845-1924)
III
There Will Be Stars. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Duke (1899-1984)
Learning to Love You. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hannah Burkholder
IV
Die Allmacht, D. 852. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Franz Schubert (1797-1828)
Don’t Wanna Graduate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hannah Burkholder
Come Thou Fount of Every Blessing. . . . . . . . . . . . . . . . . Traditional American melody
Hannah is a student of Louima 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.
Translations 
Quia respexit
For He has considered the humility of his
handmaiden,
Behold, from this time I will be called blessed
By all generations.
Translation © by Michael P. Rosewall, reprinted
with permission from the LiederNet Archive
En prière
If the voice of a child can reach You,
O my Father,
Listen to the prayer of Jesus, on his knees
before You!
If You have chosen me to teach your laws on
earth,
I will know how to serve You, noble King of
kings,
O Light!
On my lips, Lord, place the salutary truth,
In order that he who doubts should with
humility revere You!
Do not abandon me, give me the necessary
gentleness,
To ease suffering, to relieve sorrow, the misery!
Reveal Yourself to me, Lord, in whom I believe
and hope:
For You I wish to suffer and to die on the cross,
at Calvary!
Translation © by David K. Smythe, reprinted
with permission from the LiederNet Archive
Die Allmacht
Great is Jehovah, the Lord! For heaven and
earth proclaim his might.
You hear it in the roaring storm,
In the loud, surging cry of the forest stream;
You hear it in the rustling of the greenwood;
You see it in the golden, waving corn,
In the glowing lustre of the lovely flowers,
In the sparkling, star-strewn heavens;
It echoes terrifyingly in the rolling thunder,
And flames in the lightning’s swiftly flickering
flight.
But your beating heart will reveal still more
palpably
The power of Jehovah, the eternal God,
If you gaze up in prayer
And hope for grace and mercy.
Translation © by Richard Wigmore
Come Thou Fount of Every Blessing 
Come, thou Fount of every blessing;
Tune my heart to sing Thy grace;
Streams of mercy, never ceasing,
Call for songs of loudest praise.
Teach me some melodious sonnet,
Sung by flaming tongues above;
Praise the mount! I’m fixed upon it,
Mount of God’s redeeming love!
Here I raise my Ebenezer;
Hither by Thy help I come;
And I hope, by thy good pleasure,
Safely to arrive at home.
Jesus sought me when a stranger,
Wandering from the fold of God;
He, to rescue me from danger,
Interposed his precious blood.
O to grace how great a debtor
Daily I’m constrained to be!
Let that grace now, like a fetter,
Bind my wandering heart to Thee.
Prone to wander, Lord, I feel it,
Prone to leave the God I love;
Here’s my heart; O take and seal it;
Seal it for Thy courts above.
https://hymnary.org/text/come_thou_fount_of_e
very_blessing 


Hannah Burkholder, Soprano, Senior Voice Recital

Cedarville University 
CedarCommons 
General Recitals Concert and Recital Programs 
4-15-2025 
General Recital 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/general_recitals 
 Part of the Music Performance Commons 
Recommended Citation 
Cedarville University, "General Recital" (2025). General Recitals. 151. 
https://digitalcommons.cedarville.edu/general_recitals/151 
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 General Recitals by an authorized administrator of 
CedarCommons. For more information, please 
contact digitalcommons@cedarville.edu. 
Reflets dans l’eau, from IMAGES, Book 1, L:110, No. 1 . . . . . . . . . . . . . . . . . . . . . . .   
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Claude Debussy (1862–1918)
   Noah Reaoch, piano
Concertino in E  Major, Op. 26 . . . . . . . . . . Carl Maria von Weber (1786–1826)
Ambur Orowitz, clarinet, and Olexia Merchant, piano
Toglietemi la vita ancor . . . . . . . . . . . . . . . . . . Alessandro Scarlatti (1660–1725)
Jaden Kruse, baritone, and Judah Esparza, piano
Clarinet Concerto No. 3 in B  Major . . . . . . . Carl Philipp Stamitz (1745–1801)
I. Allegro Moderato
Micah Austin, clarinet, and Sarah Funkhouser, piano
Du Ring an meinem Finger . . . . . . . . . . . . . . . . . Robert Schumann (1810–1856) 
Piper Dee, soprano, and Judah Esparza, piano
Cantique à l’épouse, No. 1 from TWO MÉLODIES, Op. 36 . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ernest Chausson (1855–1899)
Elisia Ackerman, soprano, and Madelyn Mowery, piano
Brass Quintet, No. 2, Op. 6. . . . . . . . . . . . . . . . . . . . . . . . . . . . Victor Ewald (1860–1935)
I. Allegro risoluto
 David Botkin and Holly Campbell, trumpet; Levi Atherton, trombone; 
Jayda Archer, horn; Harmonie Helmuth, tuba
String Quartet No. 16 in F Major, Op. 135 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ludwig van Beethoven (1770–1827)
III. Lento assai, cantante e tranquillo
Davi Buczynski da Silva, Michael Dabney, violin; Kenny Bechtel, viola;
Christopher Staufer, cello 
The Bolthouse Center for Music                                                                                  No flash photography
Recital Hall                                                                                                      Please turn off all cell phones
Reflets dans l’eau, from IMAGES, Book 1, L:110, No. 1 . . . . . . . . . . . . . . . . . . .   
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Claude Debussy (1862–1918)
   Noah Reaoch, piano
Concertino in E  Major, Op. 26 . . . . . . Carl Maria von Weber (1786–1826)
Ambur Orowitz, clarinet, and Olexia Merchant, piano
Toglietemi la vita ancor . . . . . . . . . . . . . . . Alessandro Scarlatti (1660–1725)
Jaden Kruse, baritone, and Judah Esparza, piano
Clarinet Concerto No. 3 in B  Major . . . Carl Philipp Stamitz (1745–1801)
I. Allegro Moderato
Micah Austin, clarinet, and Sarah Funkhouser, piano
Du Ring an meinem Finger . . . . . . . . . . . . . . Robert Schumann (1810–1856) 
Piper Dee, soprano, and Judah Esparza, piano
Cantique à l’épouse, No. 1 from TWO MÉLODIES, Op. 36 . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ernest Chausson (1855–1899)
Elisia Ackerman, soprano, and Madelyn Mowery, piano
Brass Quintet, No. 2, Op. 6. . . . . . . . . . . . . . . . . . . . . . . . . Victor Ewald (1860–1935)
I. Allegro risoluto
 David Botkin and Holly Campbell, trumpet; Levi Atherton, trombone; 
Jayda Archer, horn; Harmonie Helmuth, tuba
String Quartet No. 16 in F Major, Op. 135 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ludwig van Beethoven (1770–1827)
III. Lento assai, cantante e tranquillo
Davi Buczynski da Silva, Michael Dabney, violin; Kenny Bechtel, viola;
Christopher Staufer, cello 
The Bolthouse Center for Music                                                                                 No flash photography
Recital Hall                                                                                               Please turn off all cell phones
Reflets dans l’eau, from IMAGES, Book 1, L:110, No. 1 . . . . . . . . . . . . . . . . . . . . . . .   
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Claude Debussy (1862–1918)
   Noah Reaoch, piano
Concertino in E  Major, Op. 26 . . . . . . . . . . Carl Maria von Weber (1786–1826)
Ambur Orowitz, clarinet, and Olexia Merchant, piano
Toglietemi la vita ancor . . . . . . . . . . . . . . . . . . Alessandro Scarlatti (1660–1725)
Jaden Kruse, baritone, and Judah Esparza, piano
Clarinet Concerto No. 3 in B  Major . . . . . . . Carl Philipp Stamitz (1745–1801)
I. Allegro Moderato
Micah Austin, clarinet, and Sarah Funkhouser, piano
Du Ring an meinem Finger . . . . . . . . . . . . . . . . . Robert Schumann (1810–1856) 
Piper Dee, soprano, and Judah Esparza, piano
Cantique à l’épouse, No. 1 from TWO MÉLODIES, Op. 36 . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ernest Chausson (1855–1899)
Elisia Ackerman, soprano, and Madelyn Mowery, piano
Brass Quintet, No. 2, Op. 6. . . . . . . . . . . . . . . . . . . . . . . . . . . . Victor Ewald (1860–1935)
I. Allegro risoluto
 David Botkin and Holly Campbell, trumpet; Levi Atherton, trombone; 
Jayda Archer, horn; Harmonie Helmuth, tuba
String Quartet No. 16 in F Major, Op. 135 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ludwig van Beethoven (1770–1827)
III. Lento assai, cantante e tranquillo
Davi Buczynski da Silva, Michael Dabney, violin; Kenny Bechtel, viola;
Christopher Staufer, cello 
The Bolthouse Center for Music                                                                                  No flash photography
Recital Hall                                                                                                      Please turn off all cell phones
Reflets dans l’eau, from IMAGES, Book 1, L:110, No. 1 . . . . . . . . . . . . . . . . . . .   
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Claude Debussy (1862–1918)
   Noah Reaoch, piano
Concertino in E  Major, Op. 26 . . . . . . Carl Maria von Weber (1786–1826)
Ambur Orowitz, clarinet, and Olexia Merchant, piano
Toglietemi la vita ancor . . . . . . . . . . . . . . . Alessandro Scarlatti (1660–1725)
Jaden Kruse, baritone, and Judah Esparza, piano
Clarinet Concerto No. 3 in B  Major . . . Carl Philipp Stamitz (1745–1801)
I. Allegro Moderato
Micah Austin, clarinet, and Sarah Funkhouser, piano
Du Ring an meinem Finger . . . . . . . . . . . . . . Robert Schumann (1810–1856) 
Piper Dee, soprano, and Judah Esparza, piano
Cantique à l’épouse, No. 1 from TWO MÉLODIES, Op. 36 . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ernest Chausson (1855–1899)
Elisia Ackerman, soprano, and Madelyn Mowery, piano
Brass Quintet, No. 2, Op. 6. . . . . . . . . . . . . . . . . . . . . . . . . Victor Ewald (1860–1935)
I. Allegro risoluto
 David Botkin and Holly Campbell, trumpet; Levi Atherton, trombone; 
Jayda Archer, horn; Harmonie Helmuth, tuba
String Quartet No. 16 in F Major, Op. 135 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ludwig van Beethoven (1770–1827)
III. Lento assai, cantante e tranquillo
Davi Buczynski da Silva, Michael Dabney, violin; Kenny Bechtel, viola;
Christopher Staufer, cello 
The Bolthouse Center for Music                                                                                 No flash photography
Recital Hall                                                                                               Please turn off all cell phones


General Recital

Elias, Carlos

Cedarville University 
CedarCommons 
Faculty Recitals Concert and Recital Programs 
4-4-2025 
Roundelay Piano Trio 
Carlos Elias 
Cedarville University, carloselias@cedarville.edu 
Follow this and additional works at: https://digitalcommons.cedarville.edu/faculty_recitals 
 Part of the Music Performance Commons 
Recommended Citation 
Elias, Carlos, "Roundelay Piano Trio" (2025). Faculty Recitals. 89. 
https://digitalcommons.cedarville.edu/faculty_recitals/89 
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 Faculty Recitals by an authorized administrator of 
CedarCommons. For more information, please 
contact digitalcommons@cedarville.edu. 
She is a winner in numerous competitions around the world including the IBLA
World Competition in Italy in 2008, the 11th Annual Competition in the
Performance of Music from Spain and Latin America, Travel Grant Competition,
Walton Concerto Competition at Indiana University, Indianapolis Matinee
Musicale, etc. In 2011, Yun received an Honorable Mention in the Liszt-Garrison
International Competition Collaborate Artist in Baltimore, MD. She has soloed
with many orchestras such as Grand Junction Symphony Orchestra, Korean
Symphony Orchestra, and Indiana University Orchestra, etc.
In September 2023, she received a grant from the National Science Foundation
as the principal investigator on the topic “Artificial Intelligence Technology for
Future Music Performers”. Her research team is exploring various applications
of AI in music, including Automatic Music Transcription, the Robot Cello, and
MUS2VID. They are also developing two practice-assistance tools: Evaluator
and Companion.
Before joining Purdue, she was a professor of Lower Strings at Colorado Mesa
University. Before 2012, she taught at Indiana Wesleyan University, DePauw
University, and Indiana University String Academy as an instructor. Yun was a
principal cello in Grand Junction Symphony Orchestra, and a member in
Lafayette Symphony Orchestra, and Korean Symphony Orchestra. She received
the Doctor of Music in cello performance in 2012 from Indiana University
Jacobs School of Music at Bloomington, where she studied with the
world-famous cellist Janos Starker. She also has the Performer Diploma from
the same school. She received master’s and bachelor’s degrees in cello
performance from Seoul National University.
Yun performs on a French cello, made by Guersan in 1766.
Coming Events:
April 11, 2025 - 7:00 pm - Recital Hall -Women’s Choir Concert
April 14, 2025 - 7:00 pm - Recital Hall - Concert Chorale Concert
April 15, 2025 - 8:00 pm - Recital Hall - Faculty Recital: Chet Jenkins
April 25, 2025 - 7:00 pm - DeVries Theater - Jazz Band Concert
April 27, 2025 - 3:00 pm - DeVries Theater - Orchestra Concerto Concert
 
April 28, 2025 - 7:00 pm - DeVries Theater - Wind Symphony Concert
Trio in c minor, Op. 1, No. 3. . . . . Ludwig van Beethoven (1770–1827)
    I. Allegro con brio
II.           Andante cantabile con variazioni
III. Minuet. Quasi allegro
    IV. Finale. Prestissimo
Fantasiestüke, Op.73  
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Schumann (1810–1856)
    I. Zart und mit Ausdruck
II. Lebhaft, leicht
III. Rasch und mit Feuer
Piano Trio No. 1 in D Major, Op. 35 . . . . . Joaquin Turina (1882–1949)
 I. Prélude et Fugue
II. Thème et Variations
III. Sonate
About the Artists
Andrea Arese-Elías, born in Cordoba, Argentina, has performed extensively as
a solo and chamber musician in countries which include Argentina, Mexico, El
Salvador, Japan, South Korea, Bulgaria, and the United States.  She has
performed as a soloist with the Cordoba Symphony Orchestra, the Pleven
Symphony Orchestra (Bulgaria), Cincinnati's Philharmonia Orchestra, and the
Grand Junction Symphony.  She has won many awards and scholarships. 
Among them, Bach National Piano Competition (Argentina), Trelew's National
Piano Competition, Buenos Aires' Citibank Chamber Music Scholarship, Cordoba
University Prize, Cordoba Rotary Club Prize, University of Cincinnati Graduate
Scholarship, and Cincinnati's College-Conservatory of Music Concerto
Competition. 
Andrea Arese-Elías made her recital debut at age eleven and her orchestral
debut at fourteen with the Cordoba National Symphony Orchestra of Argentina. 
She earned her Bachelor of Music degree with honors from the National
University of Cordoba and completed her Master and Doctoral degrees in piano
performance from the University of Cincinnati, College-Conservatory of Music. 
She has taught piano at the National University of Cordoba, University of
Cincinnati Preparatory Department, Cincinnati College-Conservatory of Music,
and Colorado Mesa University. She has also been a faculty member and
collaborative pianist of the Conservatory Music in the Mountains in Durango
since 2006 and frequently performs concerts as part of the Elías Duo and the
Las Americas Piano Trio.  She is currently a member of the piano faculty at the
University of Dayton and a collaborative pianist at Cedarville University.
Carlos Elías has performed in solo recitals and in orchestras in the United
States, El Salvador, Argentina, Bulgaria, Japan, and Korea, and was the winner of
the Biola University Concerto Competition in 1988 and 1989, and 2nd place in
the El Salvador Violin Competition in 1985. In 1986, he represented his country
at the World Philharmonic Orchestra under the baton of Lorin Maazel. He has
participated in several music festivals, such as Congress of Strings, Aspen Music
Festival (CO), Sarasota Music Festival (FL), Casals Festival (Puerto Rico), Affinis
Music Festival (Japan), Western Slope Music Festival (CO), Corsi Internazionali
di Musica (Italy), Raphael Trio Chamber Music Workshop (VT), and Music in the
Mountains (CO).
He began his musical studies at the National Center of Arts in San Salvador and
graduated Magna Cum Laude from Biola University in California, with a
Bachelor degree in violin performance. He earned his Master degree from the
University of Cincinnati, College-Conservatory of Music and an Artist Diploma
from Duquesne University in Pittsburgh.  He has been Director of Strings and
Orchestra at Colorado Mesa University. In addition, he was Concertmaster of
the Grand Junction Symphony Orchestra and Artistic Director and Conductor of
the Symphony in the Valley in Glenwood Springs.
Carlos Elías is currently Violin Professor and Conductor of the Symphony
Orchestra at Cedarville University.  He and his wife, pianist Andrea Arese-Elías,
gave their New York debut at Weill Hall in Carnegie Hall in 2002.  Their CD
"Let's Tango" was named "Best of the Best" in the International category on
eMusic in the US and the United Kingdom.
Kristen Yeon-Ji Yun, a clinical associate professor in the Department of Music
in the Patti and Rusty Rueff School of Design, Art, and Performance at Purdue
University, is active as a soloist, chamber musician, musical scholar, and
clinician. Her CD “Summerland” has excellent reviews from New Classics UK,
American Record Guide, and was broadcast nationwide by radio stations such
as WQXR, WCNY, WBAA, and NPR Sonatas and Soundscapes. As a performer
and clinician, Yun has toured many countries including Malaysia, Thailand,
Germany, Mexico, Japan, China, Spain, France, Italy, Taiwan, and South Korea
giving a series of successful concerts and master classes.
Continued on back
No  flash photography, please. Please turn off all cell phones
Trio in c minor, Op. 1, No. 3. . . . . Ludwig van Beethoven (1770–1827)
    I. Allegro con brio
II.           Andante cantabile con variazioni
III. Minuet. Quasi allegro
    IV. Finale. Prestissimo
Fantasiestüke, Op.73  
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Schumann (1810–1856)
    I. Zart und mit Ausdruck
II. Lebhaft, leicht
III. Rasch und mit Feuer
Piano Trio No. 1 in D Major, Op. 35 . . . . . Joaquin Turina (1882–1949)
 I. Prélude et Fugue
II. Thème et Variations
III. Sonate
About the Artists
Andrea Arese-Elías, born in Cordoba, Argentina, has performed extensively as
a solo and chamber musician in countries which include Argentina, Mexico, El
Salvador, Japan, South Korea, Bulgaria, and the United States.  She has
performed as a soloist with the Cordoba Symphony Orchestra, the Pleven
Symphony Orchestra (Bulgaria), Cincinnati's Philharmonia Orchestra, and the
Grand Junction Symphony.  She has won many awards and scholarships. 
Among them, Bach National Piano Competition (Argentina), Trelew's National
Piano Competition, Buenos Aires' Citibank Chamber Music Scholarship, Cordoba
University Prize, Cordoba Rotary Club Prize, University of Cincinnati Graduate
Scholarship, and Cincinnati's College-Conservatory of Music Concerto
Competition. 
Andrea Arese-Elías made her recital debut at age eleven and her orchestral
debut at fourteen with the Cordoba National Symphony Orchestra of Argentina. 
She earned her Bachelor of Music degree with honors from the National
University of Cordoba and completed her Master and Doctoral degrees in piano
performance from the University of Cincinnati, College-Conservatory of Music. 
She has taught piano at the National University of Cordoba, University of
Cincinnati Preparatory Department, Cincinnati College-Conservatory of Music,
and Colorado Mesa University. She has also been a faculty member and
collaborative pianist of the Conservatory Music in the Mountains in Durango
since 2006 and frequently performs concerts as part of the Elías Duo and the
Las Americas Piano Trio.  She is currently a member of the piano faculty at the
University of Dayton and a collaborative pianist at Cedarville University.
Carlos Elías has performed in solo recitals and in orchestras in the United
States, El Salvador, Argentina, Bulgaria, Japan, and Korea, and was the winner of
the Biola University Concerto Competition in 1988 and 1989, and 2nd place in
the El Salvador Violin Competition in 1985. In 1986, he represented his country
at the World Philharmonic Orchestra under the baton of Lorin Maazel. He has
participated in several music festivals, such as Congress of Strings, Aspen Music
Festival (CO), Sarasota Music Festival (FL), Casals Festival (Puerto Rico), Affinis
Music Festival (Japan), Western Slope Music Festival (CO), Corsi Internazionali
di Musica (Italy), Raphael Trio Chamber Music Workshop (VT), and Music in the
Mountains (CO).
He began his musical studies at the National Center of Arts in San Salvador and
graduated Magna Cum Laude from Biola University in California, with a
Bachelor degree in violin performance. He earned his Master degree from the
University of Cincinnati, College-Conservatory of Music and an Artist Diploma
from Duquesne University in Pittsburgh.  He has been Director of Strings and
Orchestra at Colorado Mesa University. In addition, he was Concertmaster of
the Grand Junction Symphony Orchestra and Artistic Director and Conductor of
the Symphony in the Valley in Glenwood Springs.
Carlos Elías is currently Violin Professor and Conductor of the Symphony
Orchestra at Cedarville University.  He and his wife, pianist Andrea Arese-Elías,
gave their New York debut at Weill Hall in Carnegie Hall in 2002.  Their CD
"Let's Tango" was named "Best of the Best" in the International category on
eMusic in the US and the United Kingdom.
Kristen Yeon-Ji Yun, a clinical associate professor in the Department of Music
in the Patti and Rusty Rueff School of Design, Art, and Performance at Purdue
University, is active as a soloist, chamber musician, musical scholar, and
clinician. Her CD “Summerland” has excellent reviews from New Classics UK,
American Record Guide, and was broadcast nationwide by radio stations such
as WQXR, WCNY, WBAA, and NPR Sonatas and Soundscapes. As a performer
and clinician, Yun has toured many countries including Malaysia, Thailand,
Germany, Mexico, Japan, China, Spain, France, Italy, Taiwan, and South Korea
giving a series of successful concerts and master classes.
Continued on back
No  flash photography, please. Please turn off all cell phones
She is a winner in numerous competitions around the world including the IBLA
World Competition in Italy in 2008, the 11th Annual Competition in the
Performance of Music from Spain and Latin America, Travel Grant Competition,
Walton Concerto Competition at Indiana University, Indianapolis Matinee
Musicale, etc. In 2011, Yun received an Honorable Mention in the Liszt-Garrison
International Competition Collaborate Artist in Baltimore, MD. She has soloed
with many orchestras such as Grand Junction Symphony Orchestra, Korean
Symphony Orchestra, and Indiana University Orchestra, etc.
In September 2023, she received a grant from the National Science Foundation
as the principal investigator on the topic “Artificial Intelligence Technology for
Future Music Performers”. Her research team is exploring various applications
of AI in music, including Automatic Music Transcription, the Robot Cello, and
MUS2VID. They are also developing two practice-assistance tools: Evaluator
and Companion.
Before joining Purdue, she was a professor of Lower Strings at Colorado Mesa
University. Before 2012, she taught at Indiana Wesleyan University, DePauw
University, and Indiana University String Academy as an instructor. Yun was a
principal cello in Grand Junction Symphony Orchestra, and a member in
Lafayette Symphony Orchestra, and Korean Symphony Orchestra. She received
the Doctor of Music in cello performance in 2012 from Indiana University
Jacobs School of Music at Bloomington, where she studied with the
world-famous cellist Janos Starker. She also has the Performer Diploma from
the same school. She received master’s and bachelor’s degrees in cello
performance from Seoul National University.
Yun performs on a French cello, made by Guersan in 1766.
Coming Events:
April 11, 2025 - 7:00 pm - Recital Hall -Women’s Choir Concert
April 14, 2025 - 7:00 pm - Recital Hall - Concert Chorale Concert
April 15, 2025 - 8:00 pm - Recital Hall - Faculty Recital: Chet Jenkins
April 25, 2025 - 7:00 pm - DeVries Theater - Jazz Band Concert
April 27, 2025 - 3:00 pm - DeVries Theater - Orchestra Concerto Concert
 
April 28, 2025 - 7:00 pm - DeVries Theater - Wind Symphony Concert


Roundelay Piano Trio

Cedarville University 
CedarCommons 
Ensemble Concerts Concert and Recital Programs 
4-28-2025 
The Cedarville University Wind Symphony 
Cedarville University 
Follow this and additional works at: https://digitalcommons.cedarville.edu/ensemble_concerts 
 Part of the Music Performance Commons 
Recommended Citation 
Cedarville University, "The Cedarville University Wind Symphony" (2025). Ensemble Concerts. 250. 
https://digitalcommons.cedarville.edu/ensemble_concerts/250 
This Program is brought to you for free and open 
access by CedarCommons, a service of the 
Centennial Library. It has been accepted for inclusion 
in Ensemble Concerts by an authorized administrator 
of CedarCommons. For more information, please 
contact digitalcommons@cedarville.edu. 
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
Star Wars Trilogy. . . . . . . . . . . . . . . . . . . . . . . . . . . . John Williams (b. 1932)
arr. Donald Hunsberger (1932–2023)
I. The Imperial March
II. Princess Leia’s Theme
III. Star Wars (Main Theme)
Deciduous . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Viet Cuong (b. 1990)
  
Rising Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Charoensri (b. 2003)
Lincolnshire Posy . . . . . . . . . . . . . . . . . . . . . . . Percy Grainger (1882–1961)
I. Lisbon (Sailor’s Song)
II. Horkstow Grange (The Miser and His Man: A Local
Tragedy)
III. Rufford Park Poachers (Poaching Song)
IV. The Brisk Young Sailor (Returned to Wed His True Love)
V. Lord Melbourne (War Song)
VI. The Lost Lady Found (Dance Song)
 
Cedarville University Wind Symphony 2024-2025
Chet Jenkins, Conductor
Piccolo
Emma Coleman
Flute
Brooke Bauman
Eliana Boerner
Johanna Brunsberg *
Abigail Foster
Blayne Hannon
Taylor Meeuwsen 
Sarah Pierce
Julianna Staufer
Clarinet
Micah Austin
Brooklyn Barker
Thomas Bonifield *
Marshall Burger
Caitlyn Cruikshank
Gabrielle Nuara
Gracie Lindmark
Ambur Orowitz
Abigail Shedlock
Jacob Willi
Bass Clarinet
Jason de Mets
Joshua Pantangan
Oboe
Daniel Hall
Sydney Amrine
Bassoon
Anna Jender *
Josiah Mulligan
Contra bassoon
Rich Carnright +
Alto Saxophone
Jonny Sharrock
Nathan Duty
Anthony Balfour
Tenor Saxophone
Ruston Kinion *
Baritone Saxophone
Austin Minarich
Trumpet
David Botkin *
Holly Campbell
Samuel Church
Eric Clement
Grant Criss
Brendan Colley
Isaac Dillon
Andrew Kasunick
Bradyn Miller
Elijah Payton
Connor Smith
Horn
Jayda Archer
Olivia Bange
Anna Mae Carman
Olivia Davitt
Lucas Harshfield
Jonathan Jarchow
Caleb Staten*
Sean Walter
Trombone
Seth Brown
Matthew Burgess
Caleb Grieve
Nathan Karn
Abigail Nelson *
Eli Nord
Ryan Riepma
William Stone
Euphonium
Gilbert Cole
Trey Cross
Ryan Naill
Tuba
Harmonie Helmuth
Sam Mendel
Hans Marlet +
Brady Schick
Nicolas Sigler
Piano
Emma Keysor
Harp
Olivia Perschbacher
Chloe Hammond
Double Bass
Grant Brown +
Percussion
Isaac Burke *
Roman Klinger
Abigail LaFleur
Trent Mitchell
Audrey Mohr
David Padilla
Alyssa Rayner
Caleb Warburton
* Section Leader
+ Community Member
Star Wars Trilogy. . . . . . . . . . . . . . . . . . . . . . . . . . . . John Williams (b. 1932)
arr. Donald Hunsberger (1932–2023)
I. The Imperial March
II. Princess Leia’s Theme
III. Star Wars (Main Theme)
Deciduous . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Viet Cuong (b. 1990)
  
Rising Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Charoensri (b. 2003)
Lincolnshire Posy . . . . . . . . . . . . . . . . . . . . . . . Percy Grainger (1882–1961)
I. Lisbon (Sailor’s Song)
II. Horkstow Grange (The Miser and His Man: A Local
Tragedy)
III. Rufford Park Poachers (Poaching Song)
IV. The Brisk Young Sailor (Returned to Wed His True Love)
V. Lord Melbourne (War Song)
VI. The Lost Lady Found (Dance Song)
 
Cedarville University Wind Symphony 2024-2025
Chet Jenkins, Conductor
Piccolo
Emma Coleman
Flute
Brooke Bauman
Eliana Boerner
Johanna Brunsberg *
Abigail Foster
Blayne Hannon
Taylor Meeuwsen 
Sarah Pierce
Julianna Staufer
Clarinet
Micah Austin
Brooklyn Barker
Thomas Bonifield *
Marshall Burger
Caitlyn Cruikshank
Gabrielle Nuara
Gracie Lindmark
Ambur Orowitz
Abigail Shedlock
Jacob Willi
Bass Clarinet
Jason de Mets
Joshua Pantangan
Oboe
Daniel Hall
Sydney Amrine
Bassoon
Anna Jender *
Josiah Mulligan
Contra bassoon
Rich Carnright +
Alto Saxophone
Jonny Sharrock
Nathan Duty
Anthony Balfour
Tenor Saxophone
Ruston Kinion *
Baritone Saxophone
Austin Minarich
Trumpet
David Botkin *
Holly Campbell
Samuel Church
Eric Clement
Grant Criss
Brendan Colley
Isaac Dillon
Andrew Kasunick
Bradyn Miller
Elijah Payton
Connor Smith
Horn
Jayda Archer
Olivia Bange
Anna Mae Carman
Olivia Davitt
Lucas Harshfield
Jonathan Jarchow
Caleb Staten*
Sean Walter
Trombone
Seth Brown
Matthew Burgess
Caleb Grieve
Nathan Karn
Abigail Nelson *
Eli Nord
Ryan Riepma
William Stone
Euphonium
Gilbert Cole
Trey Cross
Ryan Naill
Tuba
Harmonie Helmuth
Sam Mendel
Hans Marlet +
Brady Schick
Nicolas Sigler
Piano
Emma Keysor
Harp
Olivia Perschbacher
Chloe Hammond
Double Bass
Grant Brown +
Percussion
Isaac Burke *
Roman Klinger
Abigail LaFleur
Trent Mitchell
Audrey Mohr
David Padilla
Alyssa Rayner
Caleb Warburton
* Section Leader
+ Community Member
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
