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    aaw9340a

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    ssaphn2
    1990 program for recital performance

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    aaw9340a

    Uploaded by

    ssaphn2
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    1990 program for recital performance

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    1990 program for recital performance

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    4 views3 pages

    aaw9340a

    Uploaded by

    ssaphn2
    1990 program for recital performance

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    © All Rights Reserved
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    \P-~

    -~ICJg INDIANA UNIVERSITY


    SCHOOL OF MUSIC
    q o-q-z._r One Hundred Twenty-Ninth Program of the 1990-91 Season

    {2- Vob)
    Graduate Recital

    Timothy J. Sanborn
    Trombone

    Fantasy, Op. 42 (1951) I 3~28 Paul Creston


    (1906-198.5)
    Lourdes Diaz, Piano

    Concerto in D Major (1762) 12!2..5


    . ......... Leopold Mozart
    AIJegro (1719- 1787)
    Adagio
    Menuetto
    Lourdes Diaz, Piano

    .e_e
    t2 Six Studies in English
    Folk Song (1927)
    I
    . . .0..'! ?. ... . Ralph Vaughan Williams
    (1872 -19 ~3)
    Nancy Totten, Piano

    Poor Wayfarin' Stranger LJ' 2


    . .. . · . . .~
    .. . . . Spiritual
    (arr. Dan Marvin)
    Nancy Totten, Piano
    Al Lilly, Trumpet
    Karl Seeley, Trumpet
    Jo Dee Davis, Trombone
    Brad Ward, Trombone
    Matt Vaughn, Trombone
    Steve Richey, Tuba

    Jesus Paid It All . . .. . . . . . Spiritual


    (arr. Dan Marvin)
    Nancy Totten, Piano

    Recital Hall
    Friday Bvening
    NOTE: Thi r~or g September Twenty-First
    crowd ambi Tr'Ombone (8601) Seven O'Oock
    Program -;nf
    leader tape. (Radto e
    removed for conttnuity of cone rt
    lo • r Place before returning to r
    ilbt•ry.) .
    school of mJJSI~ feCOfO,ing 335-2020 ~
    recordist l:r K eo.;tt ~ tape----~---
    assistant # reels---"'• 2....- - - --
    2 track stereo @ 7112 ios unless specified. - - -
    PROGRAM NOTES

    Fantasy-Paul Creston
    Paul Creston's music has ~een called brash, vital,
    s pon t aneous, in tense, a nd fla rr b•:•yant. The Fantas y , op 42,
    '""ritten in 1'347, is all of the s.e . Long, lush, moti vically
    generated melodies combine with driving rhythmic sections
    and lus h ha r mony in this work.
    As in most of Creston's works, rhythm is one o f the
    v er y import ant focuses of the Fa n t asy, especially the
    co mple xi t y o f sh i f ti ng subdivisions in a regular me ter.
    This trea tment of r hythm lea ds to r hythmi c ambiguity, within
    the melody as well as between the trombone and
    ac c ompc:~n i ment.
    Concerto for Alto Trombone-Leopold Mozart
    Leopold Mozart moved to Salzburg in 1 737 and spent the
    rest of hi s life there. He was a v iolinist in the court
    orchestra, a teacher of violin and piano, and later court
    composer and Kapellmei s ter. At the ag e of 37, Leopold
    Mozart published a musi c theory treatise which earned him
    grea t fame in European music circles .
    Between 1760 and 1762, Mo za rt gave up both violin
    instruction and music composit i on to de v ote time to the
    edu c a t ion of his two chil dren. In 1768 he wrote in a le tter
    that he felt it wa~ his duty to co nvince the world of the
    tn i l' a : : l c: :3·:•d had wc·r· ke-d in n · s .,._n, Wt:•l-f g·c:frTg - Amadecrs i·iozart.
    The secon d period of his life is understood best as the time
    in which Leopold wholeheartedl y devoted himself to
    furtheri ng his son's career.
    The Alto Trombone Concerto is part of a larger, nine-
    movement work, a Serenata, in which are included numerous
    solo movements for various instruments. The three
    mo v ements, Allegro, Adagio, and Minuet-Trio were originall y
    numbers eight, six, and five o f the Serenata.
    Six Studies in English Folksonq-Ralph Vaughan Williams
    Six Studies in English folksong, written in 1927 by
    Ralp h Vaughan Williams, was set originally for violoncello
    and piano, but works very well for Trombone. Vaughan
    Williams recognized that his musical goals were best met not
    in imita ting foreign models, but in regenerating native
    resources. One of the most logical steps to take was his
    interest in English Folk Song, an interest he shared with
    Gusta v Holst. Their close friendship lasted from 1895 until
    Holst's death in 1934, and they would often share each
    other's in-progress wc•rk for mutual criticism.
    That English Folk Sonqs were such an important part of
    Vau ghan Williams' music is-an example of his outlook on
    l i f e - a very human and social man, music to Vaughan
    Williams was for people, for situations, however hum~le.

    My thanks to Kermit Britt for his euphonium work at such


    late notice, and to Lourdes and Nancy for their time and
    patience.

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