Program Notes
Frank Lynn Payne was born in Asheville, North Carolina and attended Little Rock
Central High School in the state of Arkansas. Payne taught at the Oklahoma City
University. He recently retired from the University of Oklahoma City as Professor
Emeritus of Music after 35 years of service. Payne was also the composer of the
first piece to be considered a tuba quartet (4 tubas) entitled, appropriately, "Quartet
for Tubas." His Sonata for Tuba and Piano (1979) was dedicated to and inspired
by Mark Mordue, then tubist with the Oklahoma Symphony Orchestra. The Sonata
is a technically challenging piece fdr both the soloist and accompanist, and includes
a lot of interplay and unison thematic material between both musicians. (Bio and
program notes provided by composer.)
David R. Gillingham has an international reputation for the works he has written for
band and percussion. Many of these works are now considered standards in the
repertoire. Much of his music is driven by rhythm and highlights accented figures
and syncopation. Diversive Elements is no exception, as the euphonium and piano
are often scored together, while the tuba must survive by their own volition. The
piece is a very high energy work encompassing many different styles and textures,
and is a great addition to any recital or concert. (Bio provided by composer.)
It is difficult to talk about Elizabeth Raum without also mentioning the name John
Griffiths. The tuba world owes much to this friendship, as much of her solo music
for tuba came out of requests or inspiration from John. Raum's music for tuba is
very reminiscent of older styles, but has that touch of modem harmony that keeps
the music from being too trite or cliched. Concerto del Garda was written for John
Griffiths as a sonata for tuba and piano and premiered by him at the 1997 ITEC
conference in Riva del Garda, Italy. The three movements, moderato grandioso,
lento, and allegretto con anima recall an earlier era of clarity and balance much as
though a modem day Mozart might have written it. In the outer movements, the solo
part uses extensive range and alternates between expansive melodic passages and
scalar and arpeggiated sequences much like concerti of the eighteenth and early
nineteenth centuries. The middle movement is full of expressive melodic sequences
and stays much of the time in the high F tuba register. In fact, the range is so
extensive for this concerto that Raum also wrote adaptations for euphonium as well
as the CC tuba. (Notes on the piece provided by composer.)

DAN WILHELM
TUBA

GRADUATE RECITAL
REC IT AL HALL
THURSDAY, APRIL 16, 2015 • 5:00PM

ARIZONA

STATE

UNIVERSITY

School of Music

Joined by:
Gail Novak, piano
Danielle VanTuinen, euphonium

Program
Sonata for Tuba and Piano
I. Fast with energy
IL Slow and deliberate
III. Very quick and light
IV. Fast
Diversive Elements
I. Intrada
IL Jazz Walk
III. Euphony
iv. Caccia
V. Fanfare & March

Frank Lynn Payne
(b. 1938)

David R. Gillingham
(b. 1947)

**There will be a JO-minute intermission**

Concerto del Garda
I. Moderato grandioso
II. Lento
III. Allegretto con anirna

Elizabeth Raum
(b. 1945)

Dave Ihlenfeld
(b.1973)

Clouds

***************
Out of respect for the performers and those audience members around you, please
turn all beepers, cell phones and watches to their silent mode. Thank you.

Program Notes
Frank Lynn Payne was born in Asheville, North Carolina and attended Little Rock
Central High School in the state of Arkansas. Payne taught at the Oklahoma City
University. He recently retired from the University of Oklahoma City as Professor
Emeritus of Music after 35 years of service. Payne was also the composer of the
first piece to be considered a tuba quartet (4 tubas) entitled, appropriately, "Quartet
for Tubas." His Sonata for Tuba and Piano (1979) was dedicated to and inspired
by Mark Mordue, then tubist with the Oklahoma Symphony Orchestra. The Sonata
is a technically challenging piece fdr both the soloist and accompanist, and includes
a lot of interplay and unison thematic material between both musicians. (Bio and
program notes provided by composer.)
David R. Gillingham has an international reputation for the works he has written for
band and percussion. Many of these works are now considered standards in the
repertoire. Much of his music is driven by rhythm and highlights accented figures
and syncopation. Diversive Elements is no exception, as the euphonium and piano
are often scored together, while the tuba must survive by their own volition. The
piece is a very high energy work encompassing many different styles and textures,
and is a great addition to any recital or concert. (Bio provided by composer.)
It is difficult to talk about Elizabeth Raum without also mentioning the name John
Griffiths. The tuba world owes much to this friendship, as much of her solo music
for tuba came out of requests or inspiration from John. Raum's music for tuba is
very reminiscent of older styles, but has that touch of modem harmony that keeps
the music from being too trite or cliched. Concerto del Garda was written for John
Griffiths as a sonata for tuba and piano and premiered by him at the 1997 ITEC
conference in Riva del Garda, Italy. The three movements, moderato grandioso,
lento, and allegretto con anima recall an earlier era of clarity and balance much as
though a modem day Mozart might have written it. In the outer movements, the solo
part uses extensive range and alternates between expansive melodic passages and
scalar and arpeggiated sequences much like concerti of the eighteenth and early
nineteenth centuries. The middle movement is full of expressive melodic sequences
and stays much of the time in the high F tuba register. In fact, the range is so
extensive for this concerto that Raum also wrote adaptations for euphonium as well
as the CC tuba. (Notes on the piece provided by composer.)

DAN WILHELM
TUBA

GRADUATE RECITAL
REC IT AL HALL
THURSDAY, APRIL 16, 2015 • 5:00PM

ARIZONA

STATE

UNIVERSITY

School of Music