Doctoral Recital: 2015-03-29 - Samantha Kantak, soprano
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- Barber: Melodies passagères, Op. 27: 1. Puisque tout passe 0:01:25
- Barber: Melodies passagères, Op. 27: 2. Un cygne 0:02:25
- Barber: Melodies passagères, Op. 27: 3. Tombeau dans un parc 0:01:50
- Barber: Melodies passagères, Op. 27: 4. Le clocher chante 0:01:30
- Barber: Melodies passagères, Op. 27: 5. Depart 0:01:56
- Harbison: Mirabai Songs: 1. It's True, I Went to the Market 0:02:43
- Harbison: Mirabai Songs: 2. All I Was Doing Was Breathing 0:03:09
- Harbison: Mirabai Songs: 3. Why Mira Can't Go Back to Her Old House 0:02:17
- Harbison: Mirabai Songs: 4. Where Did You Go? 0:02:16
- Harbison: Mirabai Songs: 5. The Clouds 0:03:11
- Harbison: Mirabai Songs: 6. Don't Go, Don't Go 0:04:30
- Mahler: Rückert-Lieder: 1. Ich atmet' einen linden Duft 0:01:60
- Mahler: Rückert-Lieder: 2. Blicke mir nicht in die Lieder 0:01:25
- Mahler: Rückert-Lieder: 3. Liebst du um Schönheit 0:02:40
- Mahler: Rückert-Lieder: 4. Um Mitternacht 0:06:17
Note: There are 1 more tracks associated with this sound recording.
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College of Music Program Book 2014-2015: Student Performances, Volume 2 (Book)
Student performances program book from the 2014-2015 school year at the University of North Texas College of Music.
Program: https…
John La Montaine's "Songs of the Rose of Sharon" and "Fragments from the Song of Songs": A Socio-Historical Analysis and Performer's Guide (Thesis or Dissertation)
The purpose of this research is to examine John La Montaine's only two song cycles for soprano and orchestra, Songs of the Rose of Sharon, opus 6 (1947) and Fragments from the Song of Songs, opus 29 (1959). In this investigation-the first ever specific to these works-I examine the works and cultural context in which they were created. I then evaluate the reasonable possibility that La Montaine used his public platform as a composer and performer to subtly celebrate taboo themes of feminism, sexuality, and blackness while shining a light on human injustice. Through close examination of social and historical context, I argue two points. Firstly, Rose of Sharon and Fragments are landmark American works. They are anomalies in classical music history in that a white male heralds texts about a black woman in an unlikely time in American history, thus arguably becoming an unlikely part of the evolution of African-American women in artistic endeavors. Secondly, in the performance guide, I advocate that these works would readily adapt to a staged performance. I discuss how La Montaine's musical settings illustrate the inherent drama of the text, provide a context for interpreting the protagonist in Rose of Sharon and Fragments, and present an interpretation of how these works could be staged. The ultimate goal of this research is to bring these intricately crafted masterpieces to the attention of singers and voice teachers so that they may assume their rightful place in the repertoire.
John La Montaine's "Songs of the Rose of Sharon" and "Fragments from the Song of Songs": A Socio-Historical Analysis and Performer's Guide - ark:/67531/metadc1538657
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Doctoral Recital: 2015-03-29 - Samantha Kantak, soprano, audio recording, March 29, 2015; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc1075264/: accessed June 5, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; crediting UNT Music Library.