Noah Freeman | Senior Recital | Piano
Recital Hall at Concordia University, Nebraska
Sarah Benz, photo 
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Recording possible thanks to Inspirmedia Productions.
Recital Program1ère Gymnopédie - Eric Satie (1866-1925)
This piece is the first of three of Satie’s Gymnopédies. The softly played extended chords in the lower register combined with the soaring melody gives this piece a very reflective and mellow ambiance. Satie experiments with different modes throughout, creating very subtle contrasting musical phrases. Loved my many pianists and musical artists, this piece is a great depiction of Satie’s meditative writing style. It is a well-known composition by all ages - as it is featured in Disney’s “Baby Einstein” series a multitude of times. La Fille aux cheveux de lin - Claude Debussy (1862-1918) This is one of Debussy’s most well-known piano solos and is the eighth piece in the composer’s first book of Préludes, written between late 1909 and early 1910. The title, in French, roughly translates to “The Girl with the Flaxen Hair,” inspired by French writer, Leconte de Lisle’s poem by the same name. The prelude remains highly popular among audiences, partly because of its memorable tune paired with a mellow accompaniment. The mellow mood and expressive melodic lines make this piano solo one my absolute favorites to play. Nocturne in G-flat Major - Ottorino Respighi (1879-1936) This beautiful nocturne is the third selection from Respighi’s “Six Pieces for Piano.” This piece is very artistic and captures a wide scope of the piano’s ability to produce the quietist of phrases to the loudest. The main melodic moment can be heard in the first several measures of the piece and returns near the end. There are many emotions felt throughout this nocturne – moments of angst, simplicity, peace, tension, and resolution. Moments Musicaux II: Andantino - Franz Schubert (1797-1828) The second of Schubert’s “Moments Musicaux” is a contemplative and reflective piano solo that is based upon a main “lilting” theme that occurs throughout. Schubert takes the main A-flat theme stated in the beginning and enters different key areas as the song progresses. This piece reminds me of a clouded, busy mind – one that thinks about an idea, begins to mull over other ideas that compare or contrast to it, and eventually returns to the original subject. You will hear perplexing, unsettling, vigorous, and cheerful moments throughout. Moments Musicaux V Allegro vivace - Franz Schubert (1797-1828) Schubert’s fifth “Moments Musicaux” sharply contrasts Moments Musicaux II in its style. This piece includes staccato filled phrases and sharp, accented passages that Moments Musicaux II did not feature. You’ll hear the exciting and aggressive bite that Schubert portrays within the quick modulatory areas, rapid dynamic changes, and the subtle shift from F minor to F major near the end of the piece. Piano Improvisation on "Gethsemane" - Noah Freeman (b. 1999) As much as I enjoy learning repertoire from many different eras, I also enjoy the art of improvisation and composition. I will be performing an original improvisation based on the Lenten hymn tune, “Gethsemane.” The text reflects on the night that Jesus Christ was to be crucified, as he spent time in the garden praying to the Father in heaven. What you are about to hear is a piano improvisation, something that is being made up on the spot, with the obvious exception of the established hymn tune. Tonight, you are hearing a never-before-heard-or-performed arrangement of this beautiful, sacred hymn. All Creatures of Our God and King - Ted Cornell “All Creatures of our God and King” has been and continues to be one of my most favorite hymns. This virtuosic arrangement by Ted Cornell is fascinating and truly demonstrates the powerful meaning of the text. The text reflects the wonders of God’s creation. It is a hymn of praise, thanksgiving, and rejoicing. This hymn serves as a reminder that God is almighty, holy, and powerful. We serve a God that cares for, provides for, and watches over each of us. The hymn reminds me that there is so much to be thankful for – a beautiful earth, wonderful family, friends, and varieties of blessings. I first heard this arrangement played by my very own piano teacher, Dr. Elizabeth Grimpo, in the spring of 2019. I dedicate this piece to her in thanks for all she has done for me and my musicianship. I am grateful for her servant heart in preparing other Concordia musicians for the church and world. I also dedicate this piece to this beautiful recital hall, music building, and music program at Concordia University, Nebraska. My recital is the very last senior recital that is to be held in this space before it undergoes massive renovations. I am so thankful to God for the opportunity to create music in this space with my friends and talented, caring faculty. O praise Him, O praise Him! Alleluia! What a blessing. Sonata no. 1, mvt. 1: Allegro Marcato - Alberto Ginastera (1916 - 1983) Alberto Ginastera was a very well-known Bolivian composer in the 20th century, and for good reason. Ginastera’s writing style is…shall we say, unique? The use of polychords, split thirds, and abnormal time signatures are just some of the things that make this piece exciting to both musicians and non-musicians alike. Within the first two lines of the piece, Ginastera switches between the time signatures of 3/4, 2/4, 4/4, 8/8, 6/8, 5/8, and 9/8. This piece is oddly satisfying to the listener; just when you think you’ve found a tonic or “home key,” Ginastera throws the audience a curveball. Hang on for the ride as Ginastera demonstrates just what the piano is capable of, and what kind of workout a pianist can get from just one piece. Between the quick chromatic passages, racing arpeggios, hushed pianissimos, bold fortissimos, sharp accents, and beautiful legato moments, you’ll get a taste of everything Alberto Ginastera brings to the table. |