Gospels, Spirituals, and More!

Girl with a dove.

Photo Eddie van W.

Gospels, Spirituals, and More!
with Dr. J. Donald Dumpson and Friends

Wednesday, April 19th
12:00pm – 12:50pm
Paley Library Lecture Hall
Light refreshments served. Boyer recital credit given.

Gospel Songs led by singers from the Arch Street Presbyterian Church
Valerie Gay, soprano
Markus Beam, baritone
Dr. Clipper Erickson, piano
Dr. Rollo Dilworth, composer, pianist
Dr. Jay Fluellen, composer, pianist

We are pleased to present one of Philadelphia’s foremost leaders in music, Dr. J. Donald Dumpson, to perform this moving and fun repertoire. Tap your feet, sing along, or just relax and enjoy!

Spirituals and Gospel music are unique African American contributions to the musical culture of the United States. Their origins lie in the syncretizing of African traditions with the Christian culture of Europe. Songs of African American slaves combine the hymns of America, England, and elements of African singing, such as call-and-response between single singers and a group to create a poignant and uplifting repertoire. After the Civil War, groups such as Fisk University’s Jubilee Singers toured America and Europe with performances by a professional choir of arranged spirituals, and efforts to codify and arrange this expressive genre of music began.  Composers such as  the English Creole composer Samuel Coleridge-Taylor (1875-1912) and Canadian-born African American composer R. Nathaniel Dett (1882-1943) incorporated material from Spirituals as the basis for their works. Gospel music initially began for religious worship in the late 19th and early 20th century. Unlike the primarily vocal Spirituals, gospel music incorporated instrumental elements from the start, including everything from the banjo to the piano to the organ. Significant overlap with the ascent of jazz is notable, and the two influenced each other. Gospel music incorporates the virtuosity and complexity of jazz and will often showcase the solo singer.  Today, Gospel’s reach and appeal extend far beyond its original use as music intended solely for church, into concert halls, communities, and films.

photo of Dr. Dumpson

Dr. J. Donald Dumpson

Dr. J. Donald Dumpson was minister of music and arts at Bright Hope Baptist Church from 1985- 2010 and founding conductor and artistic director of the Westminster Choir College Jubilee Singers from 1994- 2011. In November 2015, Dr. Dumpson provided choral preparation for the Philadelphia Orchestra’s world premier of Hannibal Lokumbe’s One Land, One River, One People conducted by Maestro Yannick Nézet-Séguin. He also curated regional singers for the World Meeting of Families Festival of Families Celebration performance featuring Aretha Franklin, Andrea Bocelli, Juanes, the Philadelphia Orchestra, and the Philadelphia Heritage Chorale. The chorale also appeared with jazz bassist Christian McBride at the Merriam Theatre in The Movement Revisited featuring Sonya Sanchez as Rosa Parks and Rev. Dr. Alyn Waller as Dr. Martin Luther King, Jr.

Dr. Dumpson has served as the co-producer of An Evening of Stars, formally known as the Lou Rawls Parade of Stars, benefiting the United Negro College Fund, Inc. For one of the syndicated broadcasts, which honored Quincy Jones, he secured the talents of Bill Cosby, Oprah Winfrey, Stevie Wonder, Whoopi Goldberg, Kenneth “Babyface” Edmonds, Denyce Graves, Nancy Wilson, Macy Gray, Joss Stone, Yolanda Adams, Monique, Tyler Perry, Kirk Franklin, and many more. For that telecast, Dr. Dumpson accompanied opera diva, Denyce Graves. He made his Carnegie debut in March of 2001 when the Westminster Choir College Jubilee Singers performed Porgy and Bess under the baton of the legendary maestro Skitch Henderson. As musical director of the New Jersey Symphony Orchestra Chorus, he prepared the chorus for Hannibal Lokumbe’s God, Mississippi, and a Man Called Evers. The New York Times cited the composer’s statement, “this was the best chorus I have ever heard.” He recently prepared a chorus of regional singers the world premier of A Shepherd Among Us also composed by Hannibal Lokumbe and in 2009 was chorus master for the New Jersey State Opera’s production of Porgy and Bess.

photo of Rollo Dilworth

Dr. Rollo Dilworth

Rollo Dilworth is Professor of Choral Music Education and Chair of Music Education and Therapy at Temple University’s Boyer College of Music in Philadelphia, PA.  In addition to teaching undergraduate and graduate courses in choral music education, Dilworth conducts the “Singing Owls” Campus/Community Chorus. His choral publications can be found in the catalogs of Hal Leonard, Colla Voce, and Santa Barbara Music Publishing. Dilworth frequently serves as a guest conductor and/or clinician for festival and all-state choirs throughout the United States and abroad.  He currently serves as Immediate Past Chair of the Board for Chorus America.

Rochelle Ellis received her DMA Voice degree from Rutgers University. She has performed with orchestras throughout the USA, Europe and Asia. Dr. Ellis is on the voice faculty at Westminster Choir College and Princeton University; she conducts the high school Chorale with the Trenton Children’s Chorus; and she serves as the Teaching Artist for opera workshops with The Princeton Festival.

Clipper Erickson

Dr. Clipper Erickson

Clipper Erickson made his debut as a soloist with the Young Musicians Foundation Orchestra at age nineteen in Los Angeles. After studies at The Juilliard School, Yale University, and Indiana University with the renowned British pianist John Ogdon, his interpretations began earning prizes at international competitions including the Busoni, William Kapell, and the American Pianists Association. He has performed as a soloist with orchestra and as a recitalist in venues such as the Kennedy Center in Washington, D.C., and Weill Recital Hall at Carnegie Hall.  His powerful performances of the great classical repertoire have been described as “colorful,” “powerful” and “exciting.”  In January 2016, Gramophone UK honored Clipper’s disc of the complete piano music of African descent composer Nathaniel Dett, as an editor’s choice, writing: “this historically and musically important release not only fills a crucial catalogue gap but sets reference standards.”  American Record Guide agreed: “Erickson is simply a fabulous pianist, the perfect guide to Dett.”  Clipper teaches at Westminster Conservatory in Princeton and Temple University.

Photo of Dr. Fluellen playing the piano.

Dr. Jay Fluellen

Jay Fluellen, D. M. A. is a Philadelphia born musician, highly sought after as composer pianist, choir director and educator. His doctorate in music composition is from Temple University and his PA certification in K-12 music is from Eastern University. Dr. Fluellen is currently a teacher with the School District of Philadelphia at Northeast High School. He has been commissioned by various performers and institutions, including; Orchestra 2001, Philadelphia Jazz Project, Opera Company of Philadelphia, Network for New Music, Relâche, Singing City, Bucks County Choral Society, The Settlement School of Music, Since January 1997, he has been an organist /choir director at the historic African Episcopal Church of St. Thomas, Fr. Martini Shaw, rector.

Photo of Valerie Gay

Valerie Gay

Valerie V. Gay is an active performer as a solo recitalist and multi-genre vocalist, and is a member of the EVER Ensemble. Val especially enjoys presenting recitals which feature lesser known composers, especially women and composers of color. Some of her recent performing highlights include singing in concert with renowned soprano Kathleen Battle, and being featured in the preview and world premiere of Hannibal Lokumbe’s Can You Hear God Crying and A Shepherd Among Us, respectively. As a student of Dr. Christine Anderson, Val received a MM and Professional Studies Certificate in Vocal Performance from Temple University.

Find out more!

Darden, Bob. Nothing but Love in God’s Water: Black Sacred music from the Civil War to the Civil Rights Movement.  University Park, PA: Penn State Press, 2014.  Web access.

Dixon, Robert M. W., John Godrich, et al.  Blues & Gospel Records, 1890-1943. New York : Oxford University Press, 1997. 4th ed. Paley Stacks.  ML156.4.B6 D59 1997

Graham, Sandra Jean . “Spiritual.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 31 Mar. 2017.

Hillsman, Joan R. Gospel Music : an African American Art Form. Washington, D.C. : Middle Atlantic Regional Press, c1990. Paley Stacks. ML3187.H54 1990

Horne, Aaron. Keyboard Music of Black Composers : a bibliography.  Westport, Conn. ; London : Greenwood Press, 1992.  Paley Stacks.  ML128.B45H68 1992

Marovich, Robert M. A City Called Heaven [electronic resource] : Chicago and the Birth of Gospel Music. Urbana : University of Illinois Press, [2015]  Web Access.  ML3187

Moore, Allan, ed. The Cambridge  Companion to Blues and Gospel Music. New York : Cambridge University Press, 2002.
Web Access and Paley Stacks. ML3521 .C36 2002

Robinson-Martin, Trineice. So You Want to Sing Gospel : a Guide for Performers. Lanham : Rowman & Littlefield, [2017]  Paley Stacks.  MT820 .R72 2017


Beyond the Notes is Temple University Libraries and the Center for the Performing and Cinematic Arts Concert and Performance Series.

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The Beggar’s Opera

Beyond the Notes : Temple Library’s Noontime Concert Series

Wednesday, March 8th


Paley Library Lecture Hall

Boyer recital credit given. Light refreshments served.

On Wednesday, March 15, Paley Library’s Beyond the Notes concert series will present a preview of The Beggar’s Opera. This work (1728) is the comic masterpiece of John Gay (1685-1732), an English poet and playwright with a flair for the farcical, and Johann Christoph Pepusch (1667-1752), a German-born composer who arranged familiar tunes of the day for the songs.

Hogarth painting

Painting by William Hogarth. Photo by Jean Louis Mazleres

The Beggar’s Opera functions as a satire on multiple levels. Musically and dramatically speaking, it pokes fun at the stilted conventions of Italian opera seria. This genre, which was in vogue in English theaters of the time, had in George Frideric Handel (1685-1759) a great exponent and a dominating musical influence. Despite England’s own native musical traditions, the German-born Handel’s continental style almost overwhelmed his adopted country. Opera seria, as a rule, was based on classical mythology or grand historical subjects. For this work, Gay created a tale set in his own time, populated by figures such as the womanizing highwayman Macheath and other social outcasts. As a ballad opera, a theatrical style based on brief songs interspersed with spoken dialogue, this work sidesteps both conventional recitative – speech-like singing accompanied only by harpsichord, meant to move dramatic action forward – and the virtuosic arias designed around creating opportunities for singers to display their technical skill that comprise so much of opera seria. In its place were tunes known to the public – hymns, street ballads, even tunes by famous composers.

Politically, the work takes aim at the career of Robert Walpole (1676-1745), considered the first Prime Minister of Great Britain. More than a little personal envy may be at play here. At the time, the South Sea Company had a reputation as a smart investment.  But the bubble burst and Gay lost everything, whereas Walpole made a massive profit by selling shares he owned.  An ensuing investigation into the company lead to his becoming First Lord of the Treasury in 1721, beginning his rise to power. In any case, the work made a notable impression on the public and the literati, with none missing the fact that it makes people in financial trades the target of its invective.

The Beggar’s Opera made its mark, and in the twentieth century numerous musicians and people of the theater tried their hands at reworking it. The most famous of these is surely The Threepenny Opera (1928) by playwright Bertolt Brecht (1898-1956) and composer Kurt Weill (1900-1950), featuring the famous song “Mack the Knife.” Others who have made their own adaptations include composer Benjamin Britten (1913-1976) in 1948, conductor Richard Bonynge (b. 1930) and composer Douglas Gamley (1924-1998) in 1981, and playwright Stephen Jeffreys (b. 1950) as recently as 2008. There is surely something in the work that speaks to so many people across time and throughout the world that is still fascinates after hundreds of years. We at the library hope you will enjoy this performance with us!

Beyond the Notes is supported by the Boyer College, Temple University Libraries, and the Presidential Humanities and Arts Research fund.


Read more!

The Beggar’s Opera available online through the Library!

The beggar’s opera to which is prefixed the musick to each song / John Gay. [Hamburg, Germany] : Tredition, [2012?]  Paley Stacks ML50.7 .B43 2012

Works of John Gay at Project Gutenberg

Poems of John Gay, edited by John Underhill. London, New York, George Routledge & Sons, E.P. Dutton & Co., [n.d.]  Paley Stacks PR3473.A1 U5

Bevis, Richard W. English drama : restoration and the eighteenth century, 1660-1789. London ; New York : Longman, 1988.  Paley Stacks PR691.B48 1988

Ed. Catie Gill: Theatre and culture in early modern England, 1650-1737 : from Leviathan to Licensing Act. Farnham, England ; Burlington, VT : Ashgate, 2010.  Paley Stacks  PR698.S46 T47 2010

Gollapudi, Aparna. Moral reform in comedy and culture, 1696-1747 [electronic resource]. Farnham, Surrey ; Burlington, VT : Ashgate, 2011.  Web Access  PR708.C6 G65 2011eb


Robert Pegg is a PhD candidate in Music Composition. He is a student of Dr. Maurice Wright.


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Piano Music from Around the World

Iceland, Norway, Belgrade

Piano Music from Around the World

Charles Abramovic and his Studio

Wednesday, February 15th

12:00pm – 12:45pm

Paley Library Lecture Hall

Light refreshments served. Boyer recital credit given.

On Wednesday, February 15, Paley Library’s Beyond the Notes concert series will present Piano Music from Around the World featuring professor and chair of the keyboard department Dr. Charles Abramovic and his students. This concert will present works by composers who may be little known from around the world, including some places that may not immediately spring to mind. In this post, we will introduce you to some of the composers whose works will be featured.

Vasilije Mokranjac

Vasilije Mokranjac

Serbian pianist and teacher Vasilije Mokranjac (1923 – 1984) was the son of two cellists but entered the Belgrade Music Academy as a pianist. After graduating in 1948, his experiences lead him to turn toward composition and teaching rather than performing. His work brought him to prominence as a professor, earning him numerous awards in his home country. His output includes virtuosic piano works, music for film and theatre, and orchestral works exploring modernist tendencies such as Arnold Schoenberg’s dodecaphony (twelve-tone music) and Igor Stravinsky’s neoclassicism.

Emmanuel Durlet

Emmanuel Durlet

Emmanuel Durlet (1893 – 1977) graduated from the Royal Flemish Conservatory in his native Belgium at sixteen years old. In 1912 he traveled to Vienna to study with Leopold Godowsky, a prominent pianist and composer, but was interrupted by World War I. In 1918, he launched a career as a performer and two years later joined the faculty of his alma mater. In 1933, he added his own music to his repertoire. He ultimately composed numerous works for piano (including pedagogical works for the young) and other instrumental ensembles. He gives his name to the International Emmanuel Durlet Prize for Piano, a competition founded in 1978, which has been awarded to performers born in Belgium, Germany, Austria, Russia, Israel, Armenia, and Brazil, among other countries.

Miriam Hyde

Miriam Hyde

Miriam Hyde (1913 – 2005) studied first with her mother, a pianist and teacher, before attending the Elder Conservatory of Music in her native Adelaide, Australia. Here, she won a scholarship to study at the Royal College of Music in London and began making a name in England – she endured a nervous break while composing her first Piano Concerto, which she premiered in 1934 with the London Philharmonic. In her native Australia, contrarily, a publisher had suggested she change her name to “Hydekovsky” to sound more exotic! Her works as composer, teacher, and even poet yielded pedagogical materials, piano music, art songs, works for orchestra, hundreds of poems, and an autobiography, Complete Accord. She reported that she drew inspiration for her music from everything from nature, poetry, painting, and all of the miscellaneous incidents of life.

Alexandre Rey Colaco

Alexandre Rey Colaco

Portuguese pianist and composer Alexandre Rey Colaco (1854 – 1928) was born in Morocco, the son of French father and Spanish-Portuguese mother. He studied first at the Madrid Royal Conservatory and later at Paris and the Berlin Hochschule für Musik; the latter institution hired him as a piano instructor. In 1887, he settled in Lisbon and became a piano teacher at its Conservatory of Music, where one of his students was the future King Manuel II of Portugal. His works frequently exhibit characteristics of the dance music of both Spain and Portugal and he left behind his memoirs in a book entitled simply De Música.

Viktor Kosenko

Viktor Kosenko

The family of Viktor Kosenko (1896 – 1938) moved from Saint Petersburg to Warsaw shortly after his birth. This city allowed the young boy to hear great performers of the day, supplemented by his mother’s piano playing, singing, and composing. In 1914, World War I caused his family to return to Saint Petersburg, where he was admitted to that city’s conservatory the following year. Through the 1920’s, he gave around a hundred concerts throughout the Ukraine, leading to a prominent position as a teacher, performer, and composer. His music explored Ukrainian characteristics such as modal melodies and he paid special attention to writing music for children.

Augusto Espino

Augusto Espino

Augusto Espino is a graduate of and professor at the University of the Philippines College of Music. He has been involved not only in the piano world as solo performer and orchestral soloist but also in choral and band music.

Arni Egilsson

Arni Egilsson

Árni Egilsson (b. 1939) is an Icelandic composer and bassist who is at home in classical, jazz, and even popular music. Studies in Reykjavík, Hamburg, and the United States lead to studio work with artists such as Tom Waits and Earth, Wind and Fire. In the classical world, he has collaborated with conductors John Barbirolli and André Previn and was for a time a professor of bass at California State University, Northridge.

Ernesto Lecuona

Ernesto Lecuona

Ernesto Lecuona (1895 – 1963), born in Guanabacoa in Havana, Cuba, first learned piano as a child from his sister Ernestina, herself a composer. After studying at Cuba’s Peyrellade Conservatory he toured through Spain and France in the 1920’s. Much of his work was written in the United States, and includes music for film, orchestral concert music, and songs. It is for the latter on which his fame largely rests; he was inducted into the Songwriters Hall of Fame in 1997.

This concert, featuring composers from as far apart as Iceland and Australia, Ukraine and Cuba, has something to meet almost any audience member’s taste. We hope you will be able to experience this music with us!

Beyond the Notes is graciously supported by the Boyer College, Temple University Libraries, and the Arts and Humanities Research Center of Temple University.

Find out more!


*Allan Marett, et al. Australia.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 2 Feb. 2017.

Richards, Fiona, ed. The Soundscapes of Australia: music, place, and spirituality.  Burlington, VT: Ashgate, 2007.


*”Belgium.The Harvard Dictionary of Music, edited by Don Michael Randel, Harvard University Press, 2003. Credo Reference, http://search.credoreference.com/content/entry/harvdictmusic/belgium/0. Accessed 02 Feb 2017.

*”Durlet, Emmanuel.Grove Music Online. Oxford Music Online. Oxford University Press. Web. 2 Feb. 2017. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/46159>.


*Aurelio de la Vega. Lecuona, Ernesto.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 3 Feb. 2017.

*Gerard Béhague and Robin Moore. Cuba.Grove Music Online. Oxford Music Online. Oxford University Press. Web. 3 Feb. 2017.

Jacobson, Gloria. The Life and Music of Ernesto Lecuona.  Thesis (Ph.D.), University of Florida, 1982.


Pandora Hopkins and Thorkell Sigurbjörnsson. Iceland.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 3 Feb. 2017.

*”Iceland.Fodor’s Iceland, Fodor’s Travel, 2013. General OneFile.


*Salwa El-Shawan Castelo-Branco and Manuel Carlos De Brito. Portugal.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 3 Feb. 2017.

Silva, João.  Entertaining Lisbon: music, theater, and modern life in the late 19th century. New York: Oxford U Press, 2016.


*José Maceda, et al. Philippines.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 2 Feb. 2017. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/48467>.


*Serbian and Greek Art Music. Katy Romanu, ed. Bristol: Intellect, 2009.

*“Serbia and Montenegro.” The Harvard Dictionary of Music, edited by Don Michael Randel, Harvard University Press, 2003. Credo Reference.


Helbig, Adriana.  Culture and Customs of Ukraine. Westport, Conn. : Greenwood Press, 2009.

*Virko Baley and Sofia Hrytsa. Ukraine.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 3 Feb. 2017.


Anne Harlow is research librarian for music, dance, and theater at Temple University Libraries.

Robert Pegg is a doctoral candidate in the music composition program at the Boyer College. His advisor is Dr. Maurice Wright.

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Ring in the New Year!


photo Scott Adams

Ring in the New Year!

Wednesday, January 25th
12:00pm – 12:45pm
Paley Library Lecture Hall

Begin the New Year with a festive musical celebration!
On Wednesday, January 25, Paley Library’s Beyond the Notes concert series will be proud to present professors of piano Clipper Erickson, Charles Abramovic and Joyce Lindorff, joined by Risë Kagan-Erickson on bells, and flutist Martha Alford in performance of music for bells and piano music inspired by the sounds of bells. This concert features music by composers whose names may be unfamiliar, even among those who are otherwise familiar with classical music, including some contemporary composers; accordingly, introductions to a series of multi-talented individuals are in order.

Featured Composers

Nathaniel Dett (1882-1943), or Robert Nathaniel Dett, was born in Ontario but by activity can rightly be called an African American composer. He was the first graduate of African heritage to receive a degree from Oberlin College, where he studied both piano and composition; he continued his studies at the Eastman School of Music. Possessing a literary side in addition to a musical one, he wrote in favor of the use of African American folk music as a basis for serious artistic composition. His legacy primarily rests in his music for the piano and in the field of choral music.

Cyril Scott (1879-1970) was born in England but first studied in Frankfurt, Germany. It was here he not only honed his musical skills but also absorbed the whole artistic culture of the time; he met the poet Stefan George (1868-1933), whose writings stirred in him a poetic impulse of his own. In addition to music and poetry, Scott also left behind paintings. The work we will hear, Carillon, is an evocation on the piano of that instrument. The carillon is a large collection of bells, typically in a church or specifically made for independent use, connected to a keyboard-like mechanism to be played by the closed fists.

Organist and composer Michael Helman currently serves as Director of Music at Faith Presbyterian Church in Cape Coral, FL. In addition to his performances on his instrument, he is a composer for organ choir, and handbells. He is a graduate of Lebanon Valley College and West Chester University.

Kevin McChesney is a graduate of University of Colorado at Boulder. He has significant experience as a church music director and in the world of handbells, as editor for the Jeffers Handbell Supply and RingingWord catalog and directing handbell ensembles.

Arnold Sherman is a resident of Tyler, TX. He founded and directs the East Texas Handbell Ensemble and has led workshops and festivals in both the handbell and choral fields. He has numerous works for handbells, choir, piano, and instrumental ensembles.

Rounding off the concert is a series of more familiar names. Franz Liszt (1811-1886), perhaps the most celebrated pianist of the nineteenth century, composed Les cloches de Genève (The Bells of Geneva) as part of the first, “Swiss” year of his Years of Pilgrimage, explicitly designating it a nocturne, a piece meant to evoke the night. Maurice Ravel (1875 – 1937) composed the suite Miroirs in honor of some of the members of a group of musicians and artists known as Les Apaches, each individual piece dedicated to one member. The final piece, “La Vallée des Cloches,” (“The Valley of the Bells”) uses the entire range of the piano to imitate the effect of countless bells sounding. “The Great Gate of Kiev,” the final piece from Modest Mussorgsky’s (1839 – 1881) Pictures at an Exhibition, depicts a design for a gate modeled after old Slavic helmets (Ravel’s celebrated orchestration of the whole set of pieces calls for bells in its conclusion).

Our Performers!

Charles AbramowicCharles Abramovic has won acclaim for his international performances as a soloist, chamber musician and collaborator with leading instrumentalists and singers, including Sarah Chang, Robert McDuffie, Viktoria Mullova, Kim Kashkashian, Mimi Stillman and Jeffrey Khaner. He has appeared as soloist with numerous orchestras, including the Pittsburgh Symphony, Baltimore Symphony, Colorado Philharmonic, Florida Philharmonic and Nebraska Chamber Orchestra, and at major festivals in Berlin, Salzburg, Bermuda, Dubrovnik, Aspen and Vancouver. His recordings include piano music of Delius for DTR, chamber music on EMI and Avie, and contemporary works on Albany, CRI, Bridge and Naxos. Dr. Abramovic is a member of the Dolce Suono Ensemble and performs often with Network for New Music and Orchestra 2001. Since 1988 he has taught at the Boyer College, where he is now Professor of Keyboard Studies. Dr. Abramovic is a graduate of Curtis and Peabody, and received his doctorate from Temple. His teachers included Natalie Phillips, Eleanor Sokoloff, Leon Fleisher and Harvey Wedeen.

Martha AlfordMartha Alford holds a Bachelor of Music Education degree from Houghton College and a Master of Flute Performance from the U. of Idaho. An adjunct faculty member at Eastern U., Martha taught music history, Basic Experiences in Music and flute at Lancaster Bible College, directed the concert bands at Delaware County Christian School, and the orchestra at The Baldwin School. She taught general and instrumental music at Westminster Academy of Coral Ridge Presbyterian Church (Fort Lauderdale). and in the South Colonie School District  (Albany). Martha played principal flute with the Washington Idaho Symphony, the Gold Coast Opera,  Florida Symphonic Pops, Florida Wind Symphony and the New York State Band Director’s Association Intercollegiate Band. After winning a collegiate orchestral competition, she soloed with the Spokane Symphony. She studied with Gary Schocker, David Cramer, Kimberly Reighley, Christine Nield, John Oberbrunner, Richard Hahn and Joanna Bassett, and has performed in masterclass with Bonita Boyd and James Galway. Ms. Alford is the founder and conductor of Philadelphia Bronze, an advanced auditioned community handbell ensemble. She travels the country as handbell clinician and especially enjoys mentoring new directors.

Clipper Erickson

Clipper Erickson made his debut as a soloist with the Young Musicians Foundation Orchestra at age nineteen in Los Angeles. After studies at Juilliard, Yale and Indiana University with the renowned British pianist John Ogdon, his interpretations began earning prizes at international competitions including the Busoni, William Kapell, and the American Pianists Association. He has performed as a soloist with orchestra and as a recitalist in venues such as the Kennedy Center in Washington, D.C., and Weill Recital Hall at Carnegie Hall.  His powerful performances of the great classical repertoire have been described as “colorful,” “powerful” and “exciting.” In January 2016, Gramophone UK honored Clipper’s disc of the complete piano music of African descent composer Nathaniel Dett, as an editor’s choice, writing: “this historically and musically important release not only fills a crucial catalogue gap but sets reference standards.”  American Record Guide agreed: “Erickson is simply a fabulous pianist, the perfect guide to Dett.” He teaches at Westminster Conservatory in Princeton and Temple University.

rise-clipper-bell-photoRisë Kagan-Erickson first learned of bell-ringing from her mother, a member of the Cornell University Chimes. She received a BA in Music Therapy from Montclair State University in New Jersey and first rang handbells at the church at which she sang in the late ’70’s. In the mid ’90’s she was a singer, handbell soloist and handbell choir director in Germany. In 2006 she settled in Bucks County, PA and is involved various church ministries and is a founding member of Philadelphia’s Main Line Ringers.  Several sets of bells will be used in this concert. Primarily these will be a ten-year-old set of Schulmerich Bells, manufactured since 1935 in Bucks County. A set by Dutch manufacturer Pettit & Fritsen operating only from 1950-1990 will briefly appear. Finally, we will also hear Belleplates from the UK.

Joyce LindorffJoyce Lindorff is Professor of Keyboard Studies at the Boyer College, where she has taught for 19 years. She has concertized in the US, Europe, Russia, Japan and China, receiving solo recitalist awards from the National Endowment for the Arts and the Pro Musicis Foundation.  The NY Times wrote of a solo recital, “brilliant music, brilliantly played.” Ensemble performances include Hesperus, Tempesta di Mare, Newberry Consort and Waverly Consort.  In New York she performed as keyboardist with  the NY Philharmonic and Orchestra of St. Luke’s. Dr. Lindorff earned degrees at Sarah Lawrence (BA), U. of Southern California (MM), and Juilliard (DMA). She began her teaching career at Cornell, later holding Fulbright Professorships in Taiwan and China, where she is honorary professor at the Shanghai and China Conservatories. She has recorded for Titanic, Centaur, CRI, Serenus, Digitech, BCM&D, and Paladino. Her teachers included Albert Fuller and Igor Kipnis (harpsichord); and Brooks Smith, Edith Oppens, Aube Tzerko and Johana Harris (piano).


Special thank you to Joyce Lindorff for arranging this concert!

Beyond the Notes is supported by the Boyer College, Temple University Libraries, and the Presidential Humanities and Arts Research fund.

Robert Pegg is a doctoral candidate in the music composition program at the Boyer College. His advisor is Dr. Maurice Wright.

Anne Harlow is research librarian for music, dance and theater at Temple University, and curator of the Beyond the Notes concert series.

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Johann Sebastian Bach’s Coffee Cantata

Johann Sebastian Bach’s  Coffee Cantata

Anais Naharro-Murphy, soprano
Matthew Lulofs, baritone
Brandon McShaffrey, director

Wednesday, December 14th
12:00pm – 12:45pm
Paley Library Lecture Hall

Come for the fun! Come for the coffee!  (…and pastries!)

Boyer recital credit given.


On Wednesday, December 14, 2016, Paley Library’s Beyond the Notes concert series is happy to present Johann Sebastian Bach’s (1685-1750) Schweigt stille, plaudert nicht, BWV 211, better known as the Coffee Cantata, in a performance featuring Anais Naharro-Murphy and faculty and graduate students of the Boyer College of Music and Dance.

The term “cantata” came about to describe a “sung” piece of music, in contrast to a “played” (instrumental) piece which came to be called a sonata. It is most associated with multi-movement works for vocal and instrumental ensembles and soloists used for church services, and no more famous examples of the genre exist than those of Bach. Throughout his career, Bach composed over two hundred cantatas, overwhelmingly for church use but also numerous secular cantatas. Many of these were in honor of particular members of the nobility; the Coffee Cantata has somewhat humbler origins. The Leipzig coffeehouse of Gottfried Zimmermann frequently hosted one of many amateur, middle-class musical associations in German-speaking Europe known as a Collegium Musicum. Their concerts were so popular that Zimmermann needed to charge neither for the use of his property nor for attendance, coffee purchases being sufficient to recoup his expenses.

The plot of the Coffee Cantata centers on an overbearing father reproaching his daughter for what he perceives as a coffee addiction. His threats – he won’t let her leave the house, he won’t buy her fashionable new clothing or pretty ribbons for her hat – amount to nothing; she would accept them all for her three glasses of coffee a day. Only when she is threatened with difficulty finding a husband does she relent – on condition that her husband will be contractually obligated to let her have her fill of the drink. Nor was this imagined father alone in his concern; no less a figure than Frederick the Great felt the need to offer his opinion on the popular new beverage: “It is disgusting to notice the increase in the quantity of coffee used by my subjects, and the like amount of money that goes out of the country in consequence. My people must drink beer” (Mark Pendergast, Uncommon Grounds, 2010, p. 11).

Beyond the Notes is supported by the Boyer College, Temple University Libraries, and the Presidential Humanities and Arts Research fund.



Spanish-American soprano Anaïs Naharro-Murphy enjoys performing a diverse repertoire ranging from the Renaissance to contemporary works in opera, song, and ensemble pieces. Performances in 2016-2017 include Naked in the Garden at the Philadelphia Fringe Festival, Vocalissimus with Temple University’s New Music Ensemble, and Schumann’s Dichterliebe with pianist Timur Mustakimov.  As an avid recitalist and concert soloist, Anaïs has recently premiered and pioneered many contemporary compositions. Opera roles include: Lucio Cinna with Temple Opera, Despina with Concert Opera of Philadelphia, 1st Lady/Papagena with Annex Theatre, La Fée and Mercure with Bel Cantanti, Adina and Suor Genovieffa with La Musica Lirica, Emmie with Hexacollective, Countess Ceprano/Page with Baltimore Lyric Opera, and Gretel with Little Patuxtent Opera Institute. More information at www.anaisnaharromurphy.com.


Baritone Matthew Lulofs has been praised for his “aptly lush and unctuous tone” by Steven Winn of San Francisco Classical Voice. In the 2015–2016 season, he performed Nardo in Mozart’s La Finta Giardiniera with Temple University Opera and Belcore in L’elisir d’amore with Opera Libera. This fall, Matthew looks forward to singing with the Philadelphia Opera Chorus in Puccini’s Turandot. Matthew earned his B.M. from the San Francisco Conservatory of Music in 2014, and recently completed his M.M. at Temple University’s Boyer College of Music and Dance where he studied under Dr. Marcus C. DeLoach.

Photo of director Brandon McShaffreyBrandon McShaffrey assistant professor at Temple University, is a Philadelphia freelance Director/Choreographer. He serves as the Producing Director at Mauckingbird Theatre Company. Locally, he has also worked at Drexel University, Villanova University and The Boyer College of Music as well as Hedgerow Theater, Act II Playhouse, and BCKSEET Productions. He holds a BFA in Musical Theater Performance from Roosevelt University’s Chicago Conservatory of Performing Arts, and an MFA in Directing from Temple University.


Benjamin Katz has performed as a harpsichordist since 2001, playing early and contemporary music. He studied harpsichord with Arthur Haas in NYC, with Lisa Crawford and Webb Wiggins at Oberlin Conservatory, and with Peter Sykes at Longy School of Music of Bard College. He has performed with A Far Cry chamber orchestra, Musical Offering baroque ensemble, and the Harvard Baroque Orchestra. He has commissioned new works for harpsichord from composer Steven Long, with pieces premiered at ISSUE Project Room (NYC) in 2005 and 2009. Katz was a recipient of the Frank Huntington Beebe Fund award in 2013-14. He spent the year in London as an Early Career Research Associate at the Institute of Musical Research, University of London, studying partimento manuscripts in the British Library. Recent projects include a solo harpsichord recital at Fenton House (London, UK) and a French baroque concert at the Queens College Baroque Opera Workshop (NYC) in collaboration with soprano Julianne Baird, violinists Dongmyung Ahn and Kaitlyn Goddard, lutenist Deborah Fox, harpist Christa Patton, viola da gambist Lisa Terry, and commedia dell’arte practitioner Antonio Fava. He has been based in Philadelphia since 2015.

Chelsea Meynig, flutist.

Chelsea Meynig, flutist, recently graduated from Temple University with her Masters Degree where she studied with Mr. David Cramer, associate principal flute with the Philadelphia Orchestra. At Temple she played principal flute in the Temple Symphony Orchestra, and was section leader with the Temple University Wind Symphony, in addition to playing with the New School Woodwind Quintet. In 2014 Chelsea graduated from Shenandoah Conservatory in flute performance where she studied with Mr. Jonathan Snowden, one of Britan’s première flute players, as well as Dr. Frances Lapp Averitt. Chelsea was principal flute with the Shenandoah Conservatory Symphony Orchestra from 2012-2014. She has played principal flute abroad on tour and in Carnegie hall with various orchestras. Chelsea teaches at several institutions around Philadelphia, including the Nelly Berman School of Music, and Tune Up Philly.  Chelsea, as both a performer and a teacher– believes that Hans Christian Anderson had it right in saying,  “When words fail music speaks.” 

l7abtrp84j6d_6toscyac-rzdyib0nto2qqxfqcidojwlealx4t_7ygbqqktlcypayqgtpvtu_ewrsfeaa_co6gl03-egifrph-2w1280-h627Eleanor Heisey, violingraduated from the Blair School of Music, Vanderbilt University with a BM in performance and is pursuing a master’s in music education at Temple University.  She has taught privately, as a faculty assistant with Elizabeth Faidley of the Manhattan School of Music, and as leader of the strings program at the Sistema Nacional de Educación Musical in Liberia, Costa Rica. In 2015, she taught strings and assisted in the preparation and planning for SiNEM’s National Children’s Orchestra. Eleanor is fluent in Spanish and enjoys Mexican folkloric dance.


Rosa Ortega Iannelli, violist, started her musical studies on the violin when she was 5 yeas old with her mother Rosalyn Iannelli, assistant principal cellist of the Puerto Rico Symphony Orchestra. At age 8 she decided to switch to the viola to complete the family chamber music group, and has been dedicated to the instrument even since. She studied in the Preparatory Program of the Conservatory of Music of Puerto Rico for 8 years before moving to Philadelphia in 2014 to continue her music studies. She is currently in her third year at Temple University, majoring in Viola Performance. She has attended various music festivals, both in Puerto Rico and the continental US, and was a membr of the National Youth Orchestra of the United States of America for its 2014 residency and tour.

ce6tgal4k1bkyetxdo8nqfdw8c8yysjpmrbybcgudvokomzvyedjd6q9emlcatyowu7o8to7bmrwm3qutvic9rj9ix9hqcs8sakaw1280-h627 A native of Baltimore, Maryland, cellist Elliot Mallard enjoys an activecareer as a chamber musician, soloist, and diverse recording artist. A graduate of the Juilliard School, he trained under David Soyer, Timothy Eddy, and Darrett Adkins as a Bidù Sayão scholar. Concert appearances include performances as soloist with the UMBC orchestra, Peabody Sinfonietta, The National Music Festival Orchestra, and Ensemble Du Monde. In addition to his classical activities, he is in demand as a recording artist and performer of popular music, touring with world renowned artists such as Emmy-Award winning violinist, Damian Escobar and his quartet. Currently, Elliot Mallard resides in Philadelphia, Pennsylvania where he is pursuing his graduate studies under Jeffrey Solow at the Boyer College of Music, Temple University.


Beyond the Notes is graciously supported by the Boyer College, Temple University Libraries, and the Arts and Humanities Research Center of Temple University.

Read & hear more!


Bach, Johann Sebastian. Secular cantatas [electronic resource] : BWV 210-211 / composed by Johann Sebastian Bach ; conducted by Helmuth Rilling ; Bach-Collegium Stuttgart. [S.l.] : Hänssler, 1998.

Bach, Johann Sebastian.  Kaffee-Kantate. Vocal score. Kantate Nr. 211 : Schweigt stille, plaudert nicht : (Kaffeekantate) : BWV 211 / Bach ; [Klavierauszug von Siegfried Petrenz]. Wiesbaden : Breitkopf & Härtel, c2005. Paley Stacks, M1529.B22 K3 2005

Bach Cantatas Website. 2000-2016. Accessed Sept. 14, 2016.

Gardiner, John Eliot. Bach : music in the castle of heaven / by John Eliot Gardiner. New York : Alfred A. Knopf, 2013. Paley Stacks, ML410.B1 G34 2013

Whitaker, W. G. The cantatas of Johann Sebastian Bach, sacred and secular. London, New York, Oxford University Press, 1959. Paley Stacks, ML410.B13W5


Pendergrast, Mark. Uncommon grounds : the history of coffee and how it transformed our world / Mark Pendergrast. New York, NY : Basic Books, c1999. Paley Stacks, HD9199.A2 P464x 1999

The thinking space [electronic resource] : the café as a cultural institution in Paris, Italy and Vienna / edited by Leona Rittner, W. Scott Haine, Jeffrey H, Jackson. Farnham, Surrey ; Burlington, VT : Ashgate Publishing Company, 2013.

Weinberg, Bennett Alan. The world of caffeine : the science and culture of the world’s most popular drug / Bennett Alan Weinberg, Bonnie K. Bealer. New York : Routledge, 2001. Paley Stacks, QP801.C24 W45 2001


Robert Pegg is a doctoral candidate in the music composition program at the Boyer College. His advisor is Dr. Maurice Wright.

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Classical Guitar at Paley Library!

Classical Guitar Students of Allen Krantz
Wednesday, November 9th
12:00pm – 12:50pm
Paley Library Lecture Hall
Bring your lunch. Bring your friends. 
Light refreshments served. Boyer recital credit given.
Relax. Refresh. Renew. Enjoy.

At noon on Wednesday, November 9, Paley Library’s Beyond the Notes concert series is proud to present Prof. Allen Krantz and his students.

While the guitar’s role in Western art music is relatively new, similar instruments which may be called its ancestors have had great significance throughout history. The Greek seven-stringed lyre, a harp-like instrument, has been elevated to a universal symbol of music; the lute, thought to be of ancient near Eastern origin, enjoyed popularity as late as the time of Johann Sebastian Bach (1685-1750) and resurfaced with the twentieth century’s newfound interest in music from the Renaissance and earlier periods. Distinct instruments called similar names to “guitar” existed since the 13th century in Spain. Antonio Stradivari (1644-1737), the legendary maker of bowed string instruments, also applied his craft to the guitar, with five of his guitars surviving to the modern day, only one of which is playable.

Johann Sebastian Bach

Portrait of Bach by E.G. Haussman


Portrait of Antonio Vivaldi.









Two composers of the Baroque period are prominent in this concert’s program: Johann Sebastian Bach (1685-1750) and Antonio Vivaldi (1678-1741). While Bach never wrote for the guitar, he did write for the lute, producing two suites (collections of relatively brief pieces, primarily dance styles) among other pieces for the instrument; in this respect, he can be considered the last great lute composer. In addition to this, we will be treated to guitar renditions of excerpts from his celebrated suites for unaccompanied cello. Vivaldi is certainly most well-known for his Four Seasons, a cycle of four concertos for solo violin and string ensemble, but his output includes operas and sacred music in addition to music for virtually every string and wind instrument of the day, including lute and mandolin.

Ferdinando Carulli

Portrait of Ferdinando Carulli by Julien Léopold Boilly.

The name of Ferdinando Carulli (1770-1841) may be a new one, even for those versed in classical music, if they are not familiar with the guitar. Born in the Kingdom of Naples, he switched from cello to guitar at the rather late age of twenty, and out of necessity was an autodidact on the instrument. He earned enough fame to concertize throughout the continent; in the early 19th century he settled in Paris – for most of the century, the best place for a musician to make their name – and established himself as a teacher. Among his many works for the instrument, his Méthode complète pour guitare ou lyre, op. 27, of 1810 stands as a pedagogical monument for classical guitar.

krantz_a_002_230x230Allen Krantz is a composer, solo guitarist, and chamber musician. He performs extensively throughout the United States and appeared at Carnegie Hall, Saratoga Performing Arts Center and the Phillips Collection in Washington, with diverse programs often featuring original compositions. Recent premieres included “Three Pieces for Chamber Orchestra”; “Passacaglia” for trombone, guitar and piano, premiered by Joseph Alessi of the New York Philharmonic; and “American Document” commissioned by the Martha Graham Dance Company and premiered at the Joyce Theater in NY. Other recent pieces are “Sacred Places” for solo guitar; “A Musical Walk”, a children’s piece commissioned by the Philadelphia Orchestra; a symphony entitled “In the Air”, and “Under One Roof”, a trio for trumpet violin and piano in celebration of the 125th anniversary of the Philadelphia Museum of Art. “An American Town” for string orchestra, commissioned by the Village Bach Festival in Michigan was also presented at the Moscow Autumn festival and in Australia. Krantz’s arrangement of Copland’s Appalachian Spring sketches were presented at the Library of Congress with the Martha Graham Company. 
Allen Krantz is composer in residence for the Philadelphia based chamber ensemble, 1807 & Friends. Allen Krantz has received support from the American Composers Forum, Meet the Composer, Chamber Music America, the Pennsylvania Council on the Arts, and the Philadelphia Cultural Alliance among others.

Beyond the Notes is supported by the Boyer College, Temple University Libraries, and the Presidential Humanities and Arts Research fund.

Read more!

Website of Prof. Allen Krantz

Bach, Johann Sebastian. Lute music. Milano : Edizioni Suvini Zerboni, c1980. Paley Stacks, M140.B118C5x 1980

Carulli, Ferdinando.  Metodo completo per lo studio della chitarra : volume unico / Ferdinando Carulli ; [ed.] Lenzi Mozzani.  Ancona, Italy : Bèrben, [1983], c1965. Paley Stacks, MT582.C385 M4 1965

Page, Christopher.  The guitar in Tudor England : a social and musical history. Cambridge, United Kingdom : Cambridge University Press, 2015. Paley Stacks, ML1015.G9 P34 2015

Spring, Matthew. The lute in Britain: a history of the instrument and its music. Oxford; New York: Oxford University Press, 2001. Paley Stacks,  ML1010 .S77 2001

Wade, Graham. The guitarist’s guide to Bach. Gortnacloona, Bantry, Co. Cork : Wise Owl Music, 1985. Paley Stacks, ML410.B13 W28 1985.

Walker, Luise, ed.: Old masters of the 17th century: guitar – Bach et al. New York : Heinrichshofen Edition : sole selling agents, C.F. Peters Corp., 1981. Bib Services, Segal Gift Box 17.

Robert Pegg is a doctoral candidate in the music composition program at the Boyer College. His advisor is Dr. Maurice Wright.

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A Concert 420 Years in the Making!

Beyond the Notes : Temple Library’s Noontime Concert Series


A Concert 420 Years in the Making

Thomas Weelkes

Thomas Weelkes, 1575-1623.

 Madrigals of Thomas Weelkes and Salamone Rossi
Edward Latham, Mitos Andaya Hart,
Temple Ten
and the
Graduate Choral Literature Singers!
Wednesday, October 12th
12:00 – 1:00pm
Paley Library Lecture Hall

In A Concert 420 Years in the Making, Edward Latham, professor of music theory, Mitos Andaya Hart, professor of choral activities, the Temple Ten, an elite group of Boyer College singers, and the Graduate Choral Literature Singers collaborate in a historic performance of English madrigals by Thomas Weelkes and corresponding Italian madrigals by Salamone Rossi, based on research by Temple physician Eric Altschuler.  Conjectures of Weelkes’ familiarity with the madrigals of Salamone Rossi have been made a number of times based on Weelkes’ using the same texts and the musical similarity of these settings. Althschuler solidified this link statistically; therefore we now know for sure that Weelkes 1597 book of madrigals nos. 13 through 18, correspond to madrigals of Salamone Rossi set in 1589, no.s 7, 6, 2, 11, 15, and 19 both texts and musically, and that Weelkes had to have been familiar with the Rossi set.  On Wednesday, October 12th, at noon in Temple University’s Paley Library, A Concert 420 Years in the Making will bring together these corresponding madrigals in a performance for the first time. To add to the historic importance of this event, none of the Weelkes’ madrigals on this program have previously been recorded.

picture of 17th century English musicians

Mid 17th Century English tapestry. Museum of Fine Arts, Houston.


Madrigals, beautifully expressive secular vocal pieces originated in Italy and increased in popularity through the 16th and 17th centuries. Composed for 3 or more voices, each voice had its own unique florid melody that when sung all together combine to create beautiful music. (Music with several melodies  occurring at the same time is called polyphony.) The expressive and complex melodies found in madrigals necessitate a considerable amount of skill and artistry to compose and to perform. The popular Italian madrigal spread north, and flourished particularly in England after the 1588 publication of Musica Transalpina, a collection of Italian madrigals translated into English. So popular was the madrigal, and so many madrigals were composed by English composers that an “English Madrigal School” developed with its own unique musical characteristics. At the end of the 16th century, the English Madrigal School reached its height with Thomas Morley, John Wilbye, and Thomas Weelkes considered to be the best English madrigalists.

Thomas Weelkes

Thomas Weelkes (1570-1623), arguably the finest English madrigalist, wrote sacred  and instrumental music in addition to madrigals.  His served as organist at Winchester College and as organist and informator choristarum at the Chichester Cathedral.  He presumably suffered from alcoholism and records indicate that he was noted for neglecting his duties and behaving in a disruptive unseemly manner during worship services.  In spite of all this, Weelkes was a prolific composer.  In his first publication (1587) of  Cantus prim[us]. Madrigals to 3.4.5. & 6. voyces, numbers 13 through 18, all for 5 voices, correspond to canzonettes published in 1589 by Italian composer Salamone Rossi.

title page of Rossi's 1589 set of madrigals.

Rossi Primo Libro delle Canzonette, Venice, 1589.


Salamone Rossi   

Salamone Rossi (1570? – 1630),  a contemporary and colleague of Claudio Monteverdi, served as violist at the court of Vincenzo Gonzaga in Mantua. Duke Vincenzo thought so highly of Rossi that a royal decree was issued absolving Rossi from having to wear the yellow patch required of all Jews in Mantua at that time.   Rossi is most known for writing Jewish liturgical music, particularly the Hashirim asher lish’lomo (‘The Songs of Solomon’), a collection of 33 polyphonic settings of Hebrew psalms, hymns and songs.  In addition, Rossi was an important composer of instrumental music, and morphed the instrumental canzona into what we now call the trio sonata. He was known for using vocal compositional techniques for instrumental music. Rossi’s first publication, Primo libro delle canzonette a tre voci (Venice, 1589), directly influenced Thomas Weelkes’ 5 voice madrigals of 1597.

Weelkes 1597 Madrigals on the left, correspond to Rossi 1589 Primo libro delle canzonette on the right. (Cohen, 110)

Weelkes 1597 Madrigals on the left, correspond to Rossi 1589 Primo libro delle canzonette on the right. (Cohen, 110)


photo of Dr. Hart

Dr. Mitos Andaya Hart

Internationally renowned Dr. Mitos Andaya Hart, Associate Professor of Choral Music and Choral Activities, has performed in South Africa, Kenya, Australia, the Netherlands, Sweden, the United Kingdom, Italy, Portugal, Spain, and throughout the United States. At Temple University, Dr. Hart currently teaches undergraduate conducting, graduate choral literature, assists with graduate conducting, and directs the Temple University Singers.
Andaya Hart has Renaissance and other editions published with Alliance Music Publications, and jazz compositions and arrangements with UNC Jazz Press and Hal Leonard.  She is active in the American Choral Directors Association and International Federation of Choral Music, and currently serves as President-Elect of the National Collegiate Choral Organization (NCCO).

photo of Ted Latham

Dr. Edward Latham

Dr. Edward Latham was the recipient of Temple University’s 2008 Lindback Award and the 2007 Teaching Academy Award for excellence in teaching. His research focuses on the interdisciplinary analysis of texted or danced musical works and his publications (in Music Theory Online, Indiana Theory Review, Theory and Practice, Gamut, Dance Chronicle, and Ex Tempore) include articles and chapters on the music of Bach, Debussy, Gershwin, Korngold, and Schoenberg, an article on the analysis of multimedia works, and reviews of the work of Ethan Haimo, Stephanie Jordan, Philip Rupprecht and Arnold Whittall. His recent regional, national and international conference papers have also addressed the intersection of musical and dramatic or choreographic structure in works by Bach, Mozart, and Weill. His book on twentieth-century American opera, Tonality as Drama, was published in 2008 by the University of North Texas Press.

photo of Dr. Altschuler

Eric Altschuler, MD

Dr. Eric Altschuler is an Associate Professor of Physical Medicine and Rehabilitation at the Lewis Katz School of Medicine at Temple University. In addition to his extensive publications in the field of medicine, Dr. Altschuler also writes about Johann Sebastian Bach and the English composer Thomas Weelkes.  Dr. Altschuler’s articles on Weelkes include:

Altschuler, Eric Lewin, and Jansen William. “Shakespeariana in a Thomas Weelkes Dedication from 1600.The Musical Times146.1892 (2005): 83-91.

Altschuler, Eric Lewin, and Jansen William. “Thomas Weelkes and Salamone Rossi: Some Interconnections.The Musical Times145.1888 (2004): 87-94.

Altschuler, Eric Lewin, and Jansen William. “Thomas Weelkes’s Text Authors: Men of Letters.The Musical Times 143.1879 (2002): 17-24. Web.


Find out more!

Scores of Weelkes’ 1597 Madrigals

Weelkes, Thomas, 1575 (ca.)-1623.  Cantus prim[us]. Madrigals to 3.4.5. & 6. voyces. Made & newly published by Thomas Weelkes. At London : Printed by Thomas Este, 1597.

Your Beauty It Allureth.
If thy deceitful looks.
Those sweet delightful lilies.
Lady your spotless feature.
Make haste ye lovers.
What haste, fair lady.

Thomas Weelkes

Brown, David. Thomas Weelkes: a biographical and critical study. New York: F.A. Praeger, 1969. Paley Stacks ML410.W36B8

Brown, David. “Weelkes, Thomas (bap. 1576?, d.1623).” David Brown. Oxford Dictionary of National Biography. Online ed. Ed. David Cannadine. Oxford: OUP, 2004.

Weelkes, Thomas (C. 1575, Elsted?, Sussex – 30 Nov. 1623, London).” The Harvard Biographical Dictionary of Music, edited by Don Michael Randel, Harvard University Press, 2003. Credo Reference.

Salamone Rossi

Iain Fenlon. Rossi, Salamone.Grove Music Online. Oxford Music Online. Oxford University Press.Web.

Newman, Joel and Fritz Rikko. A Thematic Index to the Works of Salamon Rossi. Hackensack, NJ: J. Boonin, 1972. Paley Stacks ML134.R685N5 Library Use Only

Harrán, Don. Salamone Rossi: Jewish Musician in Late Renaissance Mantua. Oxford, 1999. Paley Stacks ML410.R78 H37 1999

The Madrigals

Cohen, Judith. Thomas Weelkes’s Borrowings from Salamone Rossi’, Music and Letters, lxvi (1985), 110–17.

Einstein, Alfred.  Salamone Rossi as Composer of Madrigals’, Hebrew Union College Annual, xxiii/2 (1950–51),383–96.

Fellowes, Edmund H.  The English Madrigal Composers. Oxford, 1948. Paley Stacks ML2631.F46 1948.

Fellowes, Edmund H.  English Madrigal Verse, 1588–1632. Oxford, 1968. Paley Stacks PR1195.M2F4 1968.

Kerman, Joseph. The Elizabethan Madrigal. New York: American Musicological Soc, 1962. Paley Stacks ML2631K47

Roche, Jerome.  The Madrigal. Oxford, 1990. Paley Stacks ML2600.R63 1990.

Many thanks to Temple University Libraries, Boyer College, and the Presidential Humanities and Arts Program for their support of Beyond the Notes.

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Butterfly Lovers

Photo by Xianyi Shen.

Photo by Xianyi Shen.

Beyond the Notes : Temple Library’s Noontime Concert Series


The Butterfly Lovers’ Concerto

Performed by violinist Millie Bai and pianist Joy Bai.

Wednesday, September 28th, 12:00pm – 1:00pm

Paley Library Lecture Hall (Ground Floor)
Light refreshments served. Boyer recital credit given.

Beyond the Notes, Temple Library’s noontime concert series, is thrilled to open the season with a performance of the beautiful Butterfly Lovers’ Concerto by violinist Millie Bai accompanied on the piano by her sister, Joy Bai.

Photo by TanoyPhoto.

Photo by TanoyPhoto.

The ancient Chinese story of the Butterfly Lovers, or Liang Zhu (梁祝), is sometimes considered the Chinese Romeo & Juliet. As with most ancient legends, a number of variations exist, but the basic story takes place during the Eastern Jin dynasty (265-420 AD). The young girl Zhu Yingtai (祝英台) disguises herself as a boy so that she can pursue an education, expressly forbidden for women.  She meets Liang Shanbo (梁山伯), a student and scholar at the school, and they become close friends, Liang believing all the while that Zhu is a boy. Zhu falls in love with Liang but keeps her identity secret. Several years later Liang discovers that Zhu is indeed a woman, and he falls in love with her. But sadly, Zhu’s family has promised her to another, and she must leave the school.  Liang, heartbroken, contracts a severe illness and dies. On the way to her wedding, Zhu and her entourage encounter strong winds and a storm which prevent her from continuing the journey. Finding out that they were near Liang’s grave, Zhu approaches and as she weeps the ground opens and she throws herself into the grave to be with Liang forever. When the grave closes, the spirits of Zhu and Liang emerge as two butterflies never to be separated again.

The beautiful Butterfly Lovers’ Concerto by He Zhan-Hao and Chen Gang, although written for a symphony orchestra and solo violin, features Chinese musical elements such as the pentatonic scale, Chinese melodies, and chords. The composers, He Zhan-Hao and Chen Gang, wrote the concerto while they were students at the Shanghai Conservatory. The premier in 1959 was part of the 10 year anniversary celebration of the founding of the People’s Republic of China. In the late 1970s, the Butterfly Lovers’ Concerto became an emblem for change and China’s new openness to western art forms after the restrictive years of the Cultural Revolution. In the version to be performed the orchestral parts are played by the piano.

Mille Bai, violin and Joy Bai, piano

At the age of 17, MILLIE BAI began her self-study of the violin, taking lessons occasionally with professional musicians. Four years into her violin studies, while working full-time as a factory employee under the system at the time during China’s Cultural Revolution, she won the 1975 audition for a position in the Shanghai Opera House Orchestra. Due to her factory occupational assignment by the Chinese government Ms. Bai was initially rejected as a member of the orchestra. The audition judges were so impressed with her playing that it was agreed that the opera house would “borrow” her from the local factory to perform with the orchestra, however, without compensation beyond receiving meal tickets. She played with the Shanghai Opera House Orchestra for almost two years until the Cultural Bureau of Shanghai terminated her engagement and ordered her return to the factory. Later, after successfully passing multiple rounds of auditions, Ms. Bai was enrolled in the extension division of the Shanghai Conservatory of Music because, by this time, she had surpassed the maximum age limit for entry into the college division. Two years later, her recorded audition earned her admission to the New School of Music in Philadelphia where she was granted a four-year full scholarship to study with world-renowned teacher and musician, Jascha Brodsky, first violinist of the original Curtis String Quartet. Ms. Bai continued her studies with Mr. Brodsky following the New School’s merge with Temple University’s Boyer College of Music. Shortly after receiving her Master of Music degree, Jascha Brodsky appointed Ms. Bai as his teaching assistant until his retirement in 1996. In addition to teaching, Ms. Bai regularly performs in recitals with her sister, pianist Joy Bai, and in other chamber music and orchestra concerts.


Find out more – Read!

Dai, Fan. Butterfly Lovers: a tale of the Chinese Romeo and Juliet. Dumont, NJ: Homa & Sekey, 2000.  Paley Stacks PS3554.A2 B87 2000

Idema, Wilt L., ed. and trans. The Butterfly Lovers: the Legend of Liang Shanbo and Zhu Yingtai, four versions, with related texts.  Indianapolis: Hackett, 2010.  Paley Stacks GR335.4 .L53B88 2010

Qingge, Zhao. The Legend of White Snake [and] Liang Shanbo and Zhu Yingtai (The butterfly lovers).  New York: Better Link Press, 2008. Paley Stacks GR335.4 .L68L34 2008

Sieber, P. and Sieber, P. (2009). Butterfly Lovers. In L. Cheng (Ed.), Berkshire Encyclopedia of China: Modern and historic views of the world’s newest and oldest global power. Great Barrington, MA: Berkshire Publishing Group. Retrieved from http://search.credoreference.com/content/entry/berkchina/butterfly_lovers/0

Smith, Ken. “On the Wings of Love – The Butterfly Lovers has survived revolution and political turmoil to become one of the best-loved 20th-century violin concertos.” The Strad, May2005, Vol. 116 Issue 1381, p56-63.

Find out more – Listen!

Chen, Gang and He, Zhanhao. The Butterfly Lovers’ Violin Concerto.  Yellow River, 1992,http://temple.naxosmusiclibrary.com/catalogue/item.asp?cid=82031#  (Temple authentication required.)

Find out more – Watch!

Butterfly Lovers[videorecording].  Catherine Hun, producer, screenplay by Jingle Ma.  Kowloon, Hong Kong: Mei An Entertainment, 2008. Paley Media Services PN1997.2 B888x 2008

The Lovers [videorecording] Hong Kong: Universe laser, 2002. Paley Media Services DVD 16 342

Find out more – In depth

Cheung, Chan-Fai. “Western Love, Chinese Qing, a Philosophical Interpretation of the Idea of Love in Romeo and Juliet and The Butterfly Lovers.” Journal of Chinese Philosophy, 12/1999, Vol. 26 Issue 4, p469-488. doi:10.1111/j.1540-6253.1999.tb00553.x

Yinxian, Gao.  “The Karmic Affinity of Liang Shanbo and Zhu Yingtai” in  Heroins of Jiangyong: Chinese Narrative Ballads in Women’s Script, trans. and intro. by Wilt Idema.   pp.123-134. http://site.ebrary.com/lib/templeuniv/reader.action?ppg=132&docID=10519789&tm=1472065332294

Xu, L. “The Lure of Sadness: The Fever of Yueju andThe Butterfly Lovers in the Early PRC.” Asian Theatre Journal 33.1 (2016): 104-129. Project MUSE. Web. 24 Aug. 2016. <https://muse.jhu.edu/>.

Beyond the Notes is supported by the Boyer College, Temple University Libraries, and the Presidential Humanities and Arts Research fund.















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Beyond the Notes Announces 2016-2017 Season!

Beyond the Notes, Temple University Library’s popular and award-winning noontime concert series, announces a varied, imaginative and fun 2016-2017 season!

All concerts are 12:00pm-1:00pm, Paley Library Lecture Hall.
Light refreshments served.
Boyer recital credit given.

Mille Bai, violin and Joy Bai, piano

Millie Bai, violin and Joy Bai, piano

Violinist Millie Bai, accompanied by her sister Joy Bai, open the season with the beautiful Butterfly Lover’s Concerto. Millie will share her extraordinary life story, and tell us how Chinese art and calligraphy inform and influence her interpretation of the concerto.

Wednesday, September 28th, 12:00pm – 1:00pm.


Thomas Weelkes

Thomas Weelkes, 1575-1623

In A Concert 420 Years in the Making, Edward Latham, professor of music theory, Mitos Andaya Hart, professor of choral activities, and the Temple Ten, an elite group of Boyer College singers collaborate in a historic performance of English madrigals by Thomas Weelkes and corresponding Italian madrigals by Salamone Rossi, based on research by Temple physician Eric Altschuler.

Wednesday, October 12th, 12:00pm – 1:00pm


folk guitar


Returning to the library, the ever-popular and enormously talented students of Allen Krantz will beguile us with beautiful classical  guitar music.  Beyond the Notes and Temple Libraries enthusiastically welcome back Professor Krantz and his students and thanks them for sharing their exquisite artistry with us.

Wednesday, November 9th, 12:00pm – 1:00pm



Johann Sebastian Bach being silly.

Do you feel like this during finals?

What can be better than coffee during finals and study days?  Coffee with the Coffee Cantata!  Join us as graduate students and faculty from the Boyer College turn the library’s Lecture Hall into a coffeehouse. Sip coffee and sample treats from all over the world while enjoying the hilarious Coffee Cantata and more by none other than the great Johann Sebastian Bach, who said “Give me some coffee or I will turn into a goat!” Anais Naharro-Murphy, Benjamin Katz, Matthew Lulofs, Brandon McShaffrey and more collaborate in costume for a partially staged performance that is not to be missed.

Wednesday, December 14th, 12:00pm – 1:00pm


Spring Semester Features – Save the dates!

Ring in the New Year – music inspired by and performed on keyboard and bells!
Joyce Lindorff and friends
Wednesday, January 25th, 12:00pm – 1:00pm

Classical Music for Piano from Unexpected Places
Charles Abramovic and studio
Wednesday, February 15th, 12:00pm – 1:00pm

The Beggar’s Opera – a Timely and Timeless Political Satire
Marcus DeLoach and Brandon McShaffrey with Temple Opera Theater
Wednesday, March 8th, 12:00pm – 1:00pm

An Afternoon of Gospel and Spirituals
Dr. J. Donald Dumpson
Wednesday, April 19th, 12:00pm – 1:00pm

All concerts are 12 – 1pm in the library’s Lecture Hall and are free and open to the public.

Many thanks to Temple University Libraries, Boyer College, and the Presidential Humanities and Arts Program for their support of Beyond the Notes.

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Platero and I Concert Contest!

Answer the question below to win a $10 gift certificate!
Captionless Image

Who is Juan Ramón Jiménez?
Remember to cite your source for more chances to win!
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