Faculty/Guest Artist Recital Afternoon of Vocal Music

February 24, 2013 – 4:00 p.m. Barness Recital Hall

Kyoung Cho, Soprano

Evan Thomas Jones, Baritone

Edward Rothmel, Piano

Jack Rain, Piano

Kim McCormick, Flute

USF School of Music Tampa, FL

Program

ǂStargazer .................................................................. Joon-Hee Im (b. 1959)

ǂBaby's Breath (Gypsophila) .................................. Gui Sook Lee (b. 1964)

*What a Lovely Sweetheart! ....................................... Han-Ki Kim (b. 1954)

Kyoung Cho, Jack Rain, and Kim McCormick

Liederkreis, Op. 24 ......................................... Robert Schumann (1810-1856)

Evan Thomas Jones and Edward Rothmel

신아리랑 New Arirang ............................................... Dong Jin Kim (1913-2009)

동심초 Heart Bonding Grass .................................... Sung Tae Kim (1910-2012)

보리밭 The Barley Field ........................................... Yong Ha Yoon (1922-1965)

Kyoung Cho and Jack Rain

Last Letter Home ........................................................... Lee Hoiby (b.1926)

Evan Thomas Jones and Edward Rothmel

Là ci darem la mano ..................... Wolfgang Amadeus Mozart from Don Giovanni, K. 527 (1756-1791)

Kyoung Cho, Evan Thomas Jones, and Jack Rain

ǂ North American Premiere * World Premiere

Program Notes

별지기 (Stargazer) A Stargazer who fell asleep counting the stars Picked up a star in his dreamy path. In the midst of dark night, Where even the moon is hiding The lonely star was lost and wandering. Slumber, slumber, dear baby. The Stargazer wrapped the baby In the Milky Way blanket And sang a star-lullaby. Wishing it to sleep till the Sun wakens Slumber, slumber, dear baby. 참 좋은 당신 (What a Lovely Sweetheart!) One spring day, I tasted the joy of Your love casting the sunlight Over the shadow behind me. You gently called me from the darkness To the fireside of love. With the bright light that can Only be made by someone Who crossed over the darkness. You stood before me and smiled Like an innocent wildflower. Ah, just thinking of you I realize. What a lovely sweetheart! 안개꽃 (Baby's Breath) After sacrificing the entire life And burning it, Even after going through it several times, Again that path is a silent never-drying river That flows, no matter how hard one drains it. When I lay my head on my mother's breast Who offers a heart-warming feeling All my life long, All joy and sorrow become a whisper and blossom as a longing Like the misty foggy road of Baby's Breaths. When I walk with her hand in hand, Warm tears arise because of the ardor That fills the depth of my heart. I want to live on the beautiful road filled with blossoming Baby's Breaths forever.

신 아리랑 (New Arirang) Arirang Arirang Ara ri yo. He is crossing the Arirang Hill. Are you waiting for him By the bush covered wall? The geese are flying in line Over the moonlit sky. My beloved, I met last spring When peonies bloomed, Does not return even in fall When the mums wither. The moon has crossed Behind the western valley And I have no way of healing The sorrow in my heart. Maybe I should live within the deep forest In a small hut beside the brook. Arirang Arirang Ara ri yo. He is crossing the Arirang Hill. 동심초 (Heart Binding Grass) Though the flowers wither In the wind yet once again, There is no telling If I'll ever see my beloved one again. Our bond will only be made With the leaves of grass, When our hearts so long to be united as one? 보리밭 (The Barley Field) As I walk through the Barley Field Of my hometown There is a voice calling me that stops me. As I whistle out of loneliness From the old memories, There is a song that I hear. But when I turn around, There is no one and all I see is The empty evening sunset that fills my eye

Liederkreis, Op. 24 (1840) Robert Schumann (1810-1856)

Set of poems from Buch der Lieder (Book of Songs) by Heinrich Heine (1797-1856) Liederkreis Op. 24 is the first song cycle composed by Robert Schumann. It was among the first of many vocal works that Schumann composed in the year 1840, his famous Liederjahr (year of song). Within this one year, Schumann composed some 175 songs, including his other masterworks Liederkreis Op. 39, Frauenliebe und leben, and Dichterliebe. The inspiration for this sudden prolific outburst of song was due in large part to an important event in Schumann’s personal life. It was in 1840 that Robert Schumann was finally able to marry Clara Wieck, after years of courtship, and legal battles with her father. The mood in both Heine’s text and Schumann’s music portrays deep feelings of isolation, betrayal, and unrequited love. These were likely not direct reflections of the composer and poet, both of whom were experiencing great joy in their personal live at the time. Rather than personal strife, the dramatic impetus for the work is more a result of the political and social themes of the day, as well as a striving for the “romantic ideal” that permeated most art. Op. 24 is not a song cycle that tracks out a single course of events, nor the narrative of one character. It is a cycle that is connected through atmosphere and unity of expression. Schumann composed the work with the idea that it could be published in two separate volumes. Volume one contains songs 1-5 and volume two contains songs 6-9. This makes for an interesting arc in which song number 5, “Schöne Wiege meiner Leiden”, acts as a climax in the middle of the cycle; it also stands by itself as one of Schumann’s most performed songs. Morgens steh' ich auf und frage

Morgens steh' ich auf und frage: Kommt feins Liebchen heut? Abends sink' ich hin und klage: Aus blieb sie auch heut. In der Nacht mit meinem Kummer lieg' ich schlaflos, lieg’ ich wach; träumend, wie im halben Schlummer, träumend wandle ich bei Tag. Es treibt mich hin, es treibt mich her

Es treibt mich hin, es treibt mich her! Noch wenige Stunden, dann soll ich sie schauen, sie selber, die schönste der schönen Jungfrauen; - du armes Herz, was pochst du so schwer! Die Stunden sind aber ein faules Volk! Schleppen sich behaglich träge, schleichen gähnend ihre Wege; - tummle dich, du faules Volk! Tobende Eile mich treibend erfaßt! Aber wohl niemals liebten die Horen; - heimlich im grausamen Bunde verschworen, spotten sie tückisch der Liebenden Hast.

Every morning I awake and ask

Every morning I awake and ask: Will my sweetheart come today? Every evening I sink down and lament: She stayed away again today. All night with my grief I lie sleepless, walking; dreaming, as if half asleep, dreaming, I pass the day. I’m driven here, I’m driven there

I’m driven here, I’m driven there! In only a few more hours I will see her, she herself, the fairest of fair young women; - you true heart, how heavily you pound! But the hours are lazy people! They drag themselves comfortably and sluggishly, creeping with yawns along their paths; - rouse yourself, you lazy fool! A charging hurry seizes and drives me! But the Hours have never been in love; sworn secretly to cruel conspiracy, they mock treacherously the lover’s haste.

Ich wandelte unter den Bäumen

Ich wandelte unter den Bäumen mit meinem Gram allein; da kam das alte Träumen und schlich mir ins Herz hinein. Wer hat euch dies Wörtlein gelehret, ihr Vöglein in luftiger Höh'? Schweigt still! wenn mein Herz es höret, dann tut es noch einmal so weh. "Es kam ein Jungfräulein gegangen, die sang es immerfort, da haben wir Vöglein gefangen das hübsche, goldne Wort." Das sollt ihr mir nicht mehr erzählen, Ihr Vöglein wunderschlau; ihr wollt meinem Kummer mir stehlen, ich aber niemandem trau'. Lieb' Liebchen, leg's Händchen aufs...

Lieb' Liebchen, leg's Händchen aufs Herze mein; - ach, hörst du, wie's pochet im Kämmerlein? da hauset ein Zimmermann schlimm und arg, der zimmert mir einen Totensarg. Es hämmert und klopfet bei Tag und bei Nacht; es hat mich schon längst um den Schlaf gebracht. Ach! sputet euch, Meister Zimmermann, damit ich balde schlafen kann. Schöne Wiege meiner Leiden

Schöne Wiege meiner Leiden, schönes Grabmal meiner Ruh', schöne Stadt, wir müssen scheiden, - Lebe wohl! ruf' ich dir zu. Lebe wohl, du heil'ge Schwelle, wo da wandelt Liebchen traut; lebe wohl! du heil'ge Stelle, wo ich sie zuerst geschaut. Hätt' ich dich doch nie gesehen, schöne Herzenskönigin! Nimmer wär' es dann geschehen, daß ich jetzt so elend bin.

I wandered among the trees

I wandered among the trees, alone with my suffering; along came that old dream and crept into my heart. Who taught you this little world, you tiny birds in the airy heights? Be quiet! if my heart hears it, then all my pain will return. “It came from a young woman, who sang it again and again; that is how we tiny birds captured this pretty, golden word.” You should not explain this to me now, you tiny, cunning birds; you wanted to steal my grief from me, but I trust no one. Dear sweetheart, lay your hand on my heart

Dear sweetheart, lay your hand on my heart: - ah, do you hear the hammering inside? inside there lives a carpenter, wicket and evil; he’s building my coffin. He hammers and pounds by day and by night; it has been a long time since I could sleep. Ah, hurry, Mister Carpenter, finish so that I can sleep. Pretty cradle of my sorrows

Pretty cradle of my sorrows, pretty tombstone of my rest, pretty town – we must part, - farewell! I call to you. Farewell, you holy threshold, across wich my darling would tread; farewell! you scared spot where I first saw her. Would that I had never seen you, lovely queen of my heart! Never would it then have happened, that I would now be so wretched.

Nie wollt' ich dein Herze rühren, Liebe hab' ich nie erfleht;

I never wished to touch your heart, I never begged for love;

nur ein stilles Leben führen wollt' ich, wo dein Odem weht. Doch du drängst mich selbst von hinnen, bittre Worte spricht dein Mund; Wahnsinn wühlt in meinen Sinnen, und mein Herz ist krank und wund. Und die Glieder matt und träge schlepp' ich fort am Wanderstab, bis mein müdes Haupt ich lege ferne in ein kühles Grab. Warte, warte wilder Schiffmann

Warte, warte, wilder Schiffsmann, gleich folg' ich zum Hafen dir; von zwei Jungfraun nehm' ich Abschied, von Europa und von ihr. Blutquell, rinn' aus meinen Augen, Blutquell, brich aus meinem Leib, daß ich mit dem heißen Blute meine Schmerzen niederschreib'. Ei, mein Lieb, warum just heute schauderst du, mein Blut zu sehn? Sahst mich bleich und herzeblutend lange Jahre vor dir stehn! Kennst du noch das alte Liedchen von der Schlang' im Paradies, die durch schlimme Apfelgabe unsern Ahn ins Elend stieß. Alles Unheil brachten Äpfel! Eva bracht' damit den Tod, Eris brachte Trojas Flammen, du brachst'st beides, Flamm' und Tod. Berg' und Burgen schaun herunter

Berg' und Burgen schaun herunter in den spiegelhellen Rhein, und mein Schiffchen segelt munter, rings umglänzt von Sonnenschein. Ruhig seh' ich zu dem Spiele goldner Wellen, kraus bewegt; still erwachen die Gefühle, die ich tief im Busen hegt'.

all I wished was to lead a quiet life where your breath could stir me. Yet you yourself pushed me away from you, with bitter words at your lips; Madness filled my senses, and my heart is sick and wounded. And my limbs are heavy and sluggish; I’ll drag myself forward, leaning on my staff, until I can lay my weary head in a cool and distant grave. Wait, wait, wild boatman

Wait, wait, wild boatman, soon I’ll follow you to the harbor; from two maidens I am taking my leave, from Europe and from Her. Stream of blood, run from my eyes, stream of blood, burst from my body, so that with this hot blood I can write down my agonies. Ah, my dear, why just today do you shudder to see my blood? You’ve seen me pale, my heart bleeding, standing before you for many years! Do you know that old song about the serpent in Paradise who, by wickedly giving an apple, threw our ancestors into misery? Apples have caused every ill! Eve brought death through them, Eris caused the flames of Troy; and you brought both, flame and death. Mountains and castles gaze down

Mountains and castles gaze down into the mirror-bright Rhine, and my little boat sails merrily, the sunshine glistening around it. Calmly I watch the play of golden, ruffled waves surging; silently feelings awaken in me that I have kept deep in my heart.

Freundlich grüssend und verheißend lockt hinab des Stromes Pracht; doch ich kenn' ihn, oben gleißend, birgt sein Innres Tod und Nacht. Oben Lust, im Busen Tücken, Strom, du bist der Liebsten Bild! Die kann auch so freundlich nicken, lächelt auch so fromm und mild. Anfangs wollt ich fast verzagen

Anfangs wollt' ich fast verzagen, und ich glaubt', ich trüg' es nie; und ich hab' es doch getragen – aber fragt mich nur nicht, wie? Mit Myrten und Rosen

Mit Myrten und Rosen, lieblich und hold mit duft'gen Zypressen und Flittergold, möcht' ich zieren dieß Buch wie 'nen Totenschrein, Und sargen meine Lieder hinein. O könnt' ich die Liebe sargen hinzu! Auf dem Grabe der Liebe wächst Blümlein der Ruh', da blüht es hervor, da pflückt man es ab, - doch mir blüht's nur, wenn ich selber im Grab. Hier sind nun die Lieder, die einst so wild, wie ein Lavastrom, der dem Ätna entquillt, Hervorgestürtzt aus dem tiefsten Gemüt, und rings viel blitzende Funken versprüht! Nun liegen sie stumm und totengleich, nun starren sie kalt und nebelbleich, doch aufs neu die alte Glut sie belebt, wenn der Liebe Geist einst über sie schwebt. Und es wird mir im Herzen viel Ahnung laut: der Liebe Geist einst über sie taut; einst kommt dies Buch in deine Hand, du süßes Lieb im fernen Land. Dann löst sich des Liedes Zauberbann, die blaßen Buchstaben schaun dich an, sie schauen dir flehend ins schöne Aug', und flüstern mit Wehmut und Liebeshauch.

With friendly greetings and promises, the river’s splendor beckons; but I know it – gleaming above it conceals within itself Death and Night. Above, pleasure; at heart, malice; O river, you are the very image of my beloved! She can nod with just as much friendliness, also smiling so devotedly and gently. At first I almost despaired

At first I almost despaired, and I thought I would never be able to bear it; yet even so, I have borne it – but do not ask me how. With myrtle and roses

With myrtle and roses, lovely and pretty, with fragrant cypresses and gold tinsel, I would decorate this book like a coffin and bury my songs inside it. O if only I could bury my love there as well! On the grave of Love grows the blossom of peace; it blooms and then is plucked, - yet it will bloom for me only when I am myself in the grave. Here now are the songs which, once so wild, like a stream of lava that flowed from Etna, burst from the depths of my heart, and spray glittering sparks everywhere! Now they lie mute and death-like, now they stare coldly, pale as mist, but the old glow will revive them afresh, when the spirit of love someday floats above them. And in my heart the thought grows loud: the spirit of love will someday thaw them; someday this book will arrive in your hands, you, my sweet love in a distang land. Then shall the songs’ magic spell be broken, and the white letters shall gaze at you; they’ll gaze beseechingly into your eyes, and whisper with sadness and a breath of love.

Last Letter Home (2006) Lee Hoiby (b.1926)

Jesse Givens Private First Class, U.S. Army, drowned in the Euphrates River on May 1, 2003, in the service of his country, in his 34th year. He wrote a letter to his wife, Melissa; five year-old son, Dakota, nicknamed “Toad”; and his unborn child Carson, nicknamed “Bean”. He asked Melissa not to open the envelope unless he was killed. “Please, only read it if I don’t come home,” he wrote. “Please put it away and hopefully you will never have to read it.” (Lee Hoiby) “I searched all my life for a dream and I found it with you. I would like to think I made a positive difference in your lives. I will never be able to make up for the bad. I am so sorry. The happiest moments of my life all deal with my little family. I will always have with me the small moments we all shared. The moments when you quit taking life so serious and smiled. The sound of a beautiful boy’s laughter or the simple nudge of a baby unborn. You will never know how complete you have made me. You opened my eyes to a world, I never knew existed. Dakota, you are more son than I could ever ask for. You have a big, beautiful heart. I will always be there in our park when you dream so we can still play. I hope one day you will have a son like mine, a son like mine. I love you Toad. I will always be there with you. I’ll be in the sun, shadows, dreams, and joys of your life. Bean, I never got to see you but I know in my heart you are beautiful. I have never been so blessed as the day I met Melissa Dawn Benfield. You are my angel, soul mate, wife, lover and best friend. I am so sorry. I did not want to have to write this letter. There is so much more I need to say, so much more I need to share. A lifetime’s worth. I married you for a million lifetimes. That’s how long I will be with you. Please find it in your heart to forgive me for leaving you alone. Do me one favor, after you tuck the children in, give them hugs and kisses from me. Go outside and look at the stars, go outside and look at the stars and count them. Don’t forget to smile.” Là ci darem la mano from Don Giovanni

Near Don Giovanni's villa. Don Giovanni is immediately attracted to a peasant girl, Zerlina who is about to marry her fiancés Masetto, and he immediately begins his seductive arts. Don Giovanni Quel casinetto è mio: soli saremo e là, gioiello mio, ci sposeremo. Don Giovanni Là ci darem la mano, Là mi dirai di sì. Vedi, non è lontano; Partiam, ben mio, da qui. Zerlina Vorrei e non vorrei, Mi trema un poco il cor. Felice, è ver, sarei, Ma può burlarmi ancor

Don Giovanni Come to my quiet dwelling, we will be alone. There, my joy. I will marry you. Don Giovanni There we’ll be hand in hand, dear, There you will say, “I do.” Look, it is right at hand, dear; Let’s go from here, me and you. Zerlina I want to, but it’s not pure, My heart is ill at ease. I would be happy, I’m sure, But it may all be a tease

Don Giovanni Vieni, mio bel diletto! Zerlina Mi fa pietà Masetto Don Giovanni Io cangierò tua sorte. Zerlina Presto... non son più forte. Don Giovanni Andiam! Zerlina Andiam! Duetto Andiam, andiam, mio bene. a ristorar le pene D’un innocente amor.

Don Giovanni Come, my dearest delight! Zerlina I feel bad for Masetto Don Giovanni I’ll change your life forever. Zerlina Soon… I am not strong enough. Don Giovanni Let’s go! Zerlina Let’s go! Together Let’s go, my love, let’s go, To heal the pain Of love that’s innocent.

Biographies Kyoung Cho, soprano, is a teacher and singer of international recognition and reputation, one who has developed a strong presence in Asia, Europe, and North America. Music critics have praised her performances as "Sublimely beautiful, transcendent, serene, dazzling, and heavenly". She has performed in solo concerts at many prestigious venues in the United States, Italy, Germany, Austria, the Czech Republic, Luxembourg, France, Israel, China, Canada, and her native Korea, with some of these appearances taking place at Carnegie Hall, the Lincoln Center, and the Kennedy Center. She is also in high demand as a voice teacher and pedagogue. Her students have been accepted to prestigious graduate programs including the Manhattan School of Music, the Eastman School of Music, the Peabody Conservatory, Yale University, and the Mannes College of Music. Prior to her current appointment as Assistant Professor of Voice at USF, Dr. Cho served at the State University of New York at Fredonia and at Luther College in Iowa. She has also taught at several prominent summer music programs, including the Vianden International Music Festival and the Nei Stëmmen Vocal Institute in Luxembourg. She has presented master classes in the United States and abroad, including recent appearances at universities in Alaska, North Carolina, Luxembourg, Korea, and China. As a pioneer in research on Korean Art Songs, she has presented a number of lectures, concerts, and lecture-recitals in the United States and several other countries. Her CD recordings have been published in Italy, Korea, and the United States through the SonArt, KukJe, and Centaur labels, to critical acclaim from all three countries.

Dr. Cho holds degrees from Yonsei University in Korea, the Manhattan School of Music, and the University of Memphis with extended opera study from the Yale University School of Music and the Israeli International Vocal Institute. Baritone Evan Thomas Jones, originally from Buffalo, NY, has sung a wide variety of roles in opera, most notably both Mozart and Rossini's Figaro, Papageno in Die Zauberflöte, Raimbaud in Le Comte Ory and Sam in Trouble in Tahiti. In addition to an active opera career, Mr. Jones has portrayed a number of roles in musical theater and operetta. Highlights include the roles of Voltaire and Pangloss in Candide, Dr. Falke and Frank in Die Fledermaus, Danilo Danilovich in The Merry Widow, and Fredrik Egerman in A Little Night Music. In concert he has been featured as the baritone soloist in Fauré's Requiem, Beethoven's Missa Solemnis, Bach's Magnificat and John Rutter's Mass for the Children. He is particularly in demand as an interpreter of the concert repertoire of Ralph Vaughn Williams, having performed the Five Mystical Songs, Serenade to Music,Dona Nobis Pacem and Fantasia On Christmas Carols. Mr. Jones has sung with the Berkshire Opera Company, Compañía Lírica Nacional de Costa Rica, Mercury Opera, Opera Memphis, Opera Naples, Rochester and Buffalo Philharmonic Orchestras, Finger Lakes Choral Festival and the Augusta Choral Society. The 2012-2013 season will feature return engagements with Opera Memphis as Junius in The Rape of Lucretia, with the Memphis Masterworks Chorale as the baritone soloist in Brahms Requiem, and in recital in Murray, KY, Memphis, TN, and Tampa, FL. In February, Mr. Jones will return to Tallahassee, Florida as the baritone soloist for the world premiere performance of Ernő Dohnányi's Orchesterlieder with the Florida State Symphony, he will also record the work on the Naxos label. Mr. Jones currently serves as Assistant Professor of Voice at the Rudi. E Scheidt School of Music at the University of Memphis. His diverse group of current and former students have won awards at the Metropolitan Opera Nationals Council Auditions, National Association of Teachers of Singing competitions and have appeared on the stages of major opera houses, national equity tours, and Broadway, as well as in television and film. Pianist Edward Rothmel, from Pottstown, PA, began his piano studies at the age of five and gave his solo debut at age twelve. He has performed professionally in numerous solo and chamber music contexts, giving recitals throughout the United States and in China, and has performed in master classes for Ann Schein, Martin Katz, Graham Johnson, Joshua Pifer, Lisa Kaplan, Samuel Ramey, Frederica von Stade, and Ruth Ann Swenson. In April 2012 he gave his first appearance at Carnegie Hall’s Weill Recital Hall in concert with Tenor Albert Lee. A former student of Curtis faculty Kristin Ditlow, Mr. Rothmel holds a Bachelor's Degree in Piano Performance from the Florida State University as a student of Dr. Read Gainsford, and recently completed his Master's Degree in Piano Performance at the Florida State University, studying with Dr. Heidi Louise Williams. He has held graduate assistantships in Opera Coaching with the Florida State Opera under the direction of Douglas Fisher, and in the Florida State Choral Program under the direction of Dr. André Thomas. The First Prize winner of both the 2010 FSU Chopin Piano Competition and the 2010 FSU Young Artist Concerto Competition, he performed Prokofiev’s Piano Concerto No. 3 with the FSU University Philharmonic Orchestra in February 2011 under the baton of Dr. Alexander Jiménez. Mr. Rothmel joined the faculty of Freedom High School in Orlando, Florida in summer 2012, where he currently serves as Associate Director of Choral Activities for their award-winning choral program.

Jack Rain, Staff piano accompanist and Adjunct Instructor of diction at USF, is a well-known Tampa Bay organ recitalist, accompanist, and foreign language diction coach for singers. Rain has worked at USF as staff accompanist since 1973 and has performed with the University Singers, the USF Master Chorale, and the Florida Orchestra and has been featured on six recordings by church, choral, and university groups. Since 1995, Rain has also taught French, German, and Italian diction for singers. Organist at St. Petersburg's First Presbyterian Church since 1969, Rain has given over 100 local organ recitals and three concerts at Ft. Lauderdale's Coral Ridge Presbyterian Church. He was organist for the 1980 Vienna International Ecumenical Seminar. In 1981, he presented a recital on the 1735 tracker organ in Mexico City's Metropolitan Cathedral. Rain performed in the French Vesper service for the 1992 American Guild of Organists national convention in Atlanta. Rain has worked extensively in musical theatre, collaborating as musical director and piano accompanist at St. Petersburg's Shorecrest Preparatory School. He also served as accompanist for the Spanish Little Theatre in Tampa. Rain is a member of the Tampa, Clearwater and St. Petersburg chapters of the American Guild of Organists, the National Cathedral Association, and the Organ Historical Society. He earned his BA in Education from USF, with a Spanish major and French minor and attended summer courses at the universities of Madrid, Vienna, Montreal, and Guatemala. Rain studied piano under Rebekah Orr of Tampa, and organ with First Presbyterian Church's George Boyd and Pierre Grandmaison at Notre-Dame Basilica in Montreal, Canada Kim McCormick, Associate Professor of Flute at USF, performs with Opera Tampa, the Florida Flute Orchestra, and as flutist with the McCormick flute/percussion duo. That ensemble, formed with husband Robert McCormick in 1989, commissions and performs new works for flute/percussion with a repertoire spanning works from the Baroque though the modern period. CDs published by Capstone Records and HoneyRock featuring the McCormick Duo include the highly acclaimed Twilight Remembered, Shadow on Mist, and Premiers Plus One. McCormick has performed internationally in Ecuador, China, South Korea, and France as well as in numerous festivals and conferences including the College Music Society, Percussive Arts Society International Convention, International Society for Music Education, The International Double Reed Society Conference, the Center for Intercultural Music at Cambridge University. She was principal flute of the Charleston Symphony and was also a frequent performer for Spoleto USA with the Savannah Symphony. She has also appeared at eight National Flute Conventions. An advocate of new music, she has commissioned and premiered dozens of new works for the flute. McCormick premiered several works by Howard Buss at the National Flute Conventions as well as premiere works in Korea and China. Dr. McCormick has published articles in Flute Talk Magazine and the Florida Flutist Quarterly, and her students won regional and national competitions including the National Flute Association's Piccolo Young Artist and the Jazz Artist, the Florida Flute Association Young Artist Competition, and the Yamaha International Young Artist Competition. Currently President of the Florida Flute Association, McCormick holds a Doctorate in Musical Arts from the University of North Texas.

Upcoming School of Music Events:

Monday N igh t Ja z z f ea tu r i ng Ron B lake , Saxophone Monday, Feb. 25, 2013 7:30 pm, USF Concert Hall Free Event Jazz recording artist and member of the Saturday Night Live band, Ron Blake joins the USF Jazz faculty and USF Jazz Ensemble I for this installment of the MNJS! Blake, Virgin Islands-born native, is based in New York City. He is a well-rounded musician and has recorded three CDs as a leader; in addition, his discography numbers more than 50 recordings as either a guest or sideman with leading artists.

USF Symphon i c Band : Che r i shed T ransc r i p t i ons Tuesday, Feb. 26, 2013 7:30 pm, USF Concert Hall Advance Tickets: $8 Students/Seniors, $12 Adults Day of Performance: $10 Students/Seniors, $15 Adults "Cherished Transcriptions" features works that were originally composed for other mediums but have since become embraced by wind bands. Selections include pieces originally conceived for orchestra, choirs, and organ that have found new life and new colors in the wind band world. Composers include Kabalevsky, Brahms, von Suppe, and Bach.

USF S tuden t Compose rs ' Conce r t Wednesday, Feb. 27, 2013 7:30 pm, Barness Recital Hall Free Event Students in the USF composition program present an evening of new music premieres. Composing in a wide variety of styles and for a wide variety of instrumentation, undergraduate and graduate composition majors present their cutting-edge work in the intimate space of the Barness Recital Hall.

For additional information and to purchase tickets, visit music.arts.usf.edu

Join The Conversation

Follow us on your favorite social media platform Visit www.arts.usf.edu/socialmusic

USF is an EO/EA institution