School of Music Student Event lnforn1(-1t1on ForTn Rf PFRTOIRF Tyler Armenta, clarinet Doctoral Student Recital Series Katzin Concert Hall I 24 February, 2016 I 2:30 p.m. Program George Gershwin (1898 - 1937) arr. Gareth Brady 3 Preludes No. 1 - Allegro ben ritmato No. 2 - Andante con moto No. 3 - Allegro ben ritmato Vientos Dulces Tyler Armenta, Eb Julie Park, Bb/A Paco de Alba, Bb/ A Julia Lougheed, Bass Leonard Bernstein (1918 - 1990) Sonata for Clarinet and Piano I - Grazioso II - Andantino; Vivace e leggiero Steven Harlos (b. 1953) Benniana Benny's Dream Blues Nocturne Jazz Rondo Gail Novak, piano Intermission Meyer Kupferman (1926 - 2003) Moonflowers, Baby! Eddie Sauter (1914 - 1981) Clarinet a la King trans. by arr. by Tyler Armenta Kate Vincent, alto Patrick Feher, tenor Kristen Zelenak, bari Liam Connor, trumpet Alex Price, trumpet Nathan Bitter, trombone Gail Novak, piano Three Preludes Upon the major success of Rhapsody in Blue in 1924, George Gershwin ( 1898-193 7) followed up with a set of short piano pieces influenced by jazz. Originally planned to be 24 preludes, the number was reduced to five upon the first public performance, and reduced once again to three when published in 1926. The preludes are dedicated to Gershwin's friend and mentor William "Bill" Daly Jr. Sonata for Clarinet and Piano In the summer of 1941, recent graduate of the Curtis Institute of Music, Leonard Bernstein (1918-1990) headed to Key West, FL for a vacation and to work on what would become his first published work: his Sonata for Clarinet and Piano (1941-2). During his vacation, Bernstein listened frequently to Radio Havana and would become influenced by the popular music played on the The first prelude is based almost entirely on a five 7 station (primarily, at the time, the rumba, el son cubano, and the merengue). This infatuation with Latin music would note blues motif, stated twice in the beginning. The go on to inspire this and many of his other works underlaying rhythm that follows is based on the Brazilian especially West Side Story. Since its publication, the baiao: an incredibly popular dance style from the Nordeste clarinet sonata has been revamped into several different (Northeastern) region of Brazil that permeated throughout arrangements, including a clarinet and orchestra setting, a Latin America and into the U.S. The syncopated rhythmic pattern of the baiao has become very common, especially in cello sonata, and a violin sonata. jazz and fusion idioms. The first movement begins in the gentle Grazioso with what many describe as having "a hint ofHindemithian The second prelude has been referred to as "a sort of blues lullaby" by the composer. With the steady bass line harmony" underneath the slow, wandering, and lyrical melody of the clarinet. The piano soon shifts into a restless starting this movement and the loving melody on top, it's ostinato pattern above which the clarinet develops the easy to hear the lullaby effect. This relaxed prelude previous "Hindemithian" theme into a more uniquely emphasizes the use of thirds, the interval of a seventh, and "Bemsteinian" style. This new style is decidedly more the duality of major and minor found within the blues American, in that it is reminiscent of jazz music through the scales. In the middle, contrasting section, the left hand of use of harmony and rhythmic qualities. Written in a large the piano (here, the bass clarinet) is featured with a slow, ternary form, the opening section is recalled later on before lush, and bluesy melody before returning the first section, switching suddenly into an extended coda section. The almost unchanged. ending winds down to give the movement a sense of Gershwin described the final prelude as "Spanish," lingering off in thought or in meditation. and while indeed snappy, rhythmic, and somewhat "exotic," Continuing in a thoughtful mood, the second the more likely influence for this movement comes from the movement explores the delicacy that can be achieved mixing of Caribbean-like rhythms with jazz/blues between the clarinet and piano before suddenly shifting into harmonies rather than any Spanish influences. Regardless a burst of cheerful rhythmic pulsing. The writing of this of its heritage, this prelude explores the relationship section in 5/8 time harkens back to Bernstein's Jistenings to between major and minor modes, in which two themesRadio Havana, were many of the popular music played on one in minor and the other in major - argue in a questionthe station would have been heavily syncopated and filled and-answer setting. Eventually, major wins the fight and with riffs between performers. The quintillo rhythm (rather, ends the piece on a flourish in the Eb major key. a variation of the tresillo rhythm), a popular drum technique in many Cuban music, is referenced to throughout the piano line and helps to create a constant shift in rhythmic pulse (3+2 vs. 2+3). Halfway through the movement, the delicate interplay between the clarinet and piano reappears and develops a more playful spirit; it eventually evolves into the previous, cheerful, syncopated, and jazzy section. The coda propels the clarinet to the upper end of its register before ending with a declamatory motif. Benniana Moonflowers, Baby! Steven Harlos (b. 1953) is a pianist and composer who is well known as a collaborative artist and has performed with many diverse artists as Harvey Philips, Dick Hyman, Marvin Gaye, Dionne Warwick, and Chaka Khan. He currently serves as Staff Keyboardist for the Dallas Symphony Orchestra, and as Chair for the Division of Keyboard Studies at the University of North Texas in Denton. Dr. Harlos, who feels equally at home between the concert stage, jazz clubs, and in the pit of Broadway musicals, has written his sonatina Benniana (2004) for clarinet and piano that combines elements of jazz and classical music. Dedicated to James Gillespie and inspired by the jazz/classical crossover clarinetist Benny Goodman, Benniana is in three movements. Each movement explores the contrasts and relationships between the classical and jazz worlds of clarinet. Meyer Kupferman (1926-2003) was a largely selftaught composer, but was still highly influenced by the 12tone technique of serial music. Although not as strict as Arnold Schoenberg, Kupferman created an "Infinities Row" in 1961 and used this tone row as the basis of all his major works. Kupferman also had very strong ties to the jazz music scene and incorporates both jazz and modem techniques in his pieces. The first movement, "Benny's Dream," begins in a style meant to represent the classical side of Goodman's playing which, through chromatic passages, gently morphs into a swing feel and back again to the original mood. ·This is reminiscent of Goodman's own ability to move freely between jazz and classical music. Moonflowers, Baby! was written in 1986 and is dedicated to clarinetist Richard Stoltzman. Roughly divided into three sections, this work utilizes various jazz-style writings ranging from bebop to blues. The "Infinities Row" can be heard in several incarnations during the first section. The second section is a slow, weary blues melody that is later heavily embellished, while the third section returns to a quicker pace and new motif: a quick series of three repeated notes. The blues melody of the second section returns at the end to give a sense of rest to the piece. "What's a moonflower?" is the question you might be asking yourself. According to the composer, "It's just what you imagine it might be. A flower that blooms in the moonlight. Sensitive, subtle, beautiful, refined." "Blues Nocturne" briefly seems to begin Clarinet a la King classically, but soon becomes apparent that the style is more smoky and laid back - much like the ballads of the swing Eddie Sauter ( 1914-1981) was a composer and era. There is a constant rhythmic unsettling due to the arranger for such swing era royals as Woody Herman, Red switches between triple and duple times while still Norvo, Artie Shaw, and Benny Goodman. Sauter is known exploring the clarinet's wide range. for his big band works such as Benny Rides Again and Clarinet a la King as well as his work in the musical 1776. The final movement, "Jazz Rondo," is essentially In 2003, Sauter was inducted into the Big Band and Jazz just that: a rondo in a jazz style. Beginning with a piano Hall of Fame. introduction, and following with a 5-part rondo, the theme presented in the clarinet is a fast and lively riff in a quick swing style. The contrasting episodes that appear in between the initial theme are written in styles that were popular during the swing and big band era. The rondo form breaks away with a kind of "shout section" between the clarinetist and pianist before rounding off with an energetic coda building to the end. Benny Goodman (1909-1986) was a jazz clarinetist and band leader who also branched out into the classical repertoire. Goodman commissioned works from Bart6k, Poulenc, and Copland and regularly performed Mozart, Weber, and Bernstein. Naturally, the "King of Swing" is also known for his renditions of such standards as Sing, Sing, Sing, Stompin' at the Savoy, and Clarinet a la King. Sauter's Clarinet a la King was written for Goodman's band in the early 1940's and is, quite naturally, a clarinet feature. Harmonically innovative for the time and technically challenging, this chart was popular and served as an encore many times for Goodman. Originally written for a full big band, it has been arranged here for a septet combo.