Junior Recital Preview

Maxwell Kestner, Bass Trombone

Tyler Harr, Tenor Trombone
Dr. Jonathan Bowman, Piano
Cheyenne Brickner, Congas
Johann Ernst Galliard (1678-1749)

Sonata No. 1
1. Cantabile
2. Spiritoso e Staccato, a tempo moderato
3. Largo e Staccato
4. Allegro e staccato, Hornpipe a LInglese
5. Vivace
Tyler Harr, Bassoon
Dr. Jonathan Bowman, Piano
Deux Danses

Jean-Mitchel Defaye (b. 1932)

ad. Donald Knaub
1. Danse Sacree
2. Danse Profane
Maxwell Kestner, Bass Trombone
Dr. Jonathan Bowman, Piano

Cavatine Op. 144

Camille Saint-Saens (1835-1921)

O Mio Babbino Caro

From Gianni Schicci

Giacomo Puccini (1858-1924)

arr. Elkjer

Tyler Harr, Tenor Trombone

Dr. Jonathan Bowman, Piano
Sterograms

David W. Brubeck (1920-2012)

3. Dedicated to George Roberts
10. trOmBOnE: Dedicated to Gustav Holst
Maxwell Kestner, Bass Trombone

Fantasy Op. 27

Sigismond Stojowski (1870-1946)

Tyler Harr, Tenor Trombone
Dr. Jonathan Bowman, Piano

Sterograms

David W. Brubeck (1920-2012)

11. Miami: Dedicated to Teddy Mulet
Maxwell Kestner, Bass Trombone
Cheyenne Brickner, Congas

Stereograms, David W. Brubeck

David W. Brubeck was born on December 6, 1920 in Concord, CA. His mother was a
trained pianist, and while Brubeck did not want to become a musician, she gave him piano
lessons from a young age. Brubeck couldnt read music, and faked his way through these
lessons. He intended to work with his father, a cattle rancher, and studied veterinary science at
the College of the Pacific in Stockton, CA. Brubeck switched his career to music after one of his
professors told him Your minds not here, its across the lawn at the Conservatory. Stop wasting
my time and yours. Later, Brubeck was almost expelled from the conservatory when they found
out he couldnt read music. Several professors vouched for his ability, and wanting to avoid a
scandal, the conservatory allowed him to graduate.
The word stereogram refers to an image made up of multiples of the same image, often
used to create the illusion of a three-dimensional image on a two-dimensional plane. Brubecks
Stereograms were published in three volumes. Volume I: Three Smooth Stones contained the
first ten works. Volume II: Modern Renaissance contained the next ten. The final volume had no
title, but followed the same pattern and had the next ten Stereograms. Brubeck released Works
after number 30 for free. Stereogram No. 3 has no title, and is dedicated to George Roberts.
Roberts was a bass trombonist who played with Gene Krupa, Stan Kenton, and on many
Hollywood recordings. The Stereogram is a very beautiful and free-flowing Ballad. It tries to
capture the pure bass trombone sound that Roberts was revered for. The tempo is slow, but it
fluctuates almost constantly throughout the piece. Stereogram 3 takes full advantage of the
trombones slide, with many drawn out scoops, swooping glissandos, and lots of delicate slide
vibrato.
Stereogram No. 10 is titled trOmBOnE, and is dedicated to Gustav Holst. Holst was a
trombonist and composer, known most famously for his orchestral work, The Planets. The title
of this Stereogram is not a freak spelling accident, but a subtle hint as to the instrument whose
qualities Brubeck took inspiration from. The work starts with an interval widening chromatically
downwards, and emulates the beauty seen in Holsts legato melodies. As the theme continues it
becomes more intricate, and the bittersweet feeling introduced at the start continues to grow. The
work ends in fond remembrance as it slowly fades into silence.
Stereogram No. 11 is titled Miami, and is dedicated to Teddy Mulet. Mulet was a
rock/pop trombonist and trumpeter who played with the Miami Sound Machine. This stereogram
begins with a Timba rhythym, a Cuban genre of R&B. After the first statement, triplet horn
melodies an octave up punctuate the still-driving Timba. A true bass grove emerges in the lower
range for a chorus, and then the Timba and horns take over. The climax occurs in a three-voice,
three octave exchange between the sharp, punctuating horns, the timba rhythm, and low, bass
hits all happening simultaneously. The addition of Congas was not notated by Brubeck, but was
a creative addition to add to the rhythmic groove of the piece.

Duex Danses, Jean-Michel Defaye

Jean-Michel Defaye was born in September of 1932 in Saint-Mand, Val-de-Marne,
which is near Paris. He was admitted to the Paris Conservatoire when he was ten, and studied
theory, piano, and composition. He won the Premier Second Grand Prix de Rome in 1952. In
1953, he placed second in the Belgian Queen Elisabeth competition for composition.
Duex Danses is heavily influenced by the Romantic style of composition. It consists of
two very different movements. Movement I is titled Danse Sacree, which means Sacred
Dance. It is a slow, lyrical piece with four distinct sections. The opening is a very delicate
melody interplayed with the trombone and piano. Following this, things get more intense. The
piano and trombone call and respond to one another with highly chromatic passages that soar to
the upper register of the instrument. A dichotomous cadenza in trombone is followed by a muted,
fluid statement in which the original melody can be heard in the piano. In this ending of the
movement, the trombone becomes accompaniment to the piano. Movement II is titled Danse
Profane, which means Profane Dance. This movement is much more energetic, and requires a
lot from the pianist as well as the trombonist. The driving actions of the dance are broken up by
lyrical gestures throughout the piece. The trombone climbs alone to the end of the piece, with the
finale punctuated by full, block chords in piano.

Sonata No. 1, Johann Ernest Galliard

Not to be confused with the Renaissance dance of the same name, Galliard was German
born Baroque composer who began studying flute and oboe as a young child. He would
eventually play in the orchestra of his hometown. This orchestra disbanded in 1706, leaving
Galliard looking for work. He eventually found employment in the royal courts of England,
where he would compose some of his most popular works. He would write many unsuccessful
English Operas in the Italian Opera Seria style. Despite the failures of his operas he would go on
to work with poet Lewis Theobald on many successful Masques, including Pan and Syrinx and
Decius and Paulina. Masques were much more popular in England and included more
lighthearted plots, and spoken dialogue.
This sonata comes from a set of six sonatas written for bassoon and basso continuo in
1733. This sonata is a set of contrasting dances that are joined together by the a minor key center.
Written before the structural expectations of sonata form, Galliard uses the term sonata to
describe a generic work of instrumental music. The first movement layers flowing melodies from
the keyboard and bassoon full of conventional baroque ornamentation. In contrast, the second
movement is in a much brighter tempo. This movement demonstrates traditional baroque phrase
structure of sequences, sets of similar musical patterns. The third movement uses large leaps in a
very stately manner to contrast the faster movements that follow. After that is an English
Hornpipe dance, a sailing dance from 16th century England. The last movement completes the
sonata in a fast dance in 6/4 time.
Cavatine Op. 144, Camille Saint-Saens
Born in France in 1835, Saint Saens began playing piano at two, and began composing at
age three. At age ten, he gave a concert that consisted of works by Beethoven, Mozart, Bach,
Handel, and Hummel, with his own newly composed cadenzas. He played this entire recital by
memory, which was not typical during the time period. In 1848, Saint-Sans entered the Paris
Conservatory where he studied organ and composition. Saint-Saens was friends with many other
famous composers including Rossini, Berlioz, and Liszt who even proclaimed him as one the
worlds best organists at the time. He would go on to compose several symphonies, operas, vocal
works, and many others. Some of his most famous works include Carnival of the Animals for
Chamber orchestra and his third symphony subtitled Organ. French composer Faure had this to
say to about Saint-Saens, "the closest France has come to producing another Mozart".
Cavatine, his only composed work for trombone, was composed in the late period of
Saint-Sans life. The title comes from the Opera house: A Cavatine or Cavatina is a simple aria
in ABA form that is typically a characters first Aria. This work introduces three and half octaves
of the trombones range while expressing its virtuosity and expressiveness. Melodic lines
seamlessly flow back and forth between the trombone and piano.

O Mio Babbino Caro, Giacomo Puccini

Born into an Italian musical family, it would seem that he would be destined to become a
musician, but he did not always live up to the family name. Puccini was not serious about music
until his teenage years when his brothers took him to Opera productions by Verdi. Although he
only wrote for Opera, he would become one of the most important Italian Opera composers of all
time.
O Mio Babbino Caro is an Aria from Puccinis Opera, Gianni Schicchi, a one act comic
opera by Italian composer, Giacomo Puccini and Librettist Biovacchino Forzano. This opera is
Puccinis last completed work performed in 1918. His other Operas are La Boheme, Madame
Butterfly, and Tosca, which are all still performed highly today. Gianni Schicchi follows the
story of a family fighting over their loved ones estate. Schicchis Daughter, Lauretta, sings this
aria to convince her father that she can marry her beloved. The English translation is as follows,
O mio babbino caro,
Oh my dear father,
mi piace, bello bello,
I like him, he is very handsome.
voandare in Porta Rossa
I want to go to Porta Rossa
a comperar lanello!
to buy the ring!
Si, si, ci voglio andare!
Yes, yes, I want to go there!
E se lamassi indarno,
And if my love were in vain,
andrei sul Ponte Vecchio
I would go to Ponte Vecchio
ma per buttarmi in Arno!
and throw myself in the Arno!
Mi struggo e mi tormento,
I am pining and I am tormented,
O Dio! Vorrei morir!
Oh God! I would want to die!
Babbo, piet, piet!
Daddy, have mercy, have mercy!
After threatening to drown herself in the river, her father agrees to let Lauretta marry. Although
typically sung by a soprano, This arrangement by Robert Elkjer is written for Joseph Alessi,
Principle Trombonist of the New York Philharmonic and appears on his album Return to
Sorrento: Italian Songs Arranged for Trombone. This arrangement transposes it to C major from
the original Ab major as well as expanding the form and embellishing the melody on the repeat.
Fantasy for Trombone and Piano Op. 27, Sigismond Stojowski
Stojowski was born into a family of Polish musicians in the late 19th century. Little is
known regarding his upbringing until he entered the Parisian Conservatoire National at the age of
seventeen. While there, he became friends with Pytor Tchaikovsky who dedicated his conducting
score of his forth symphony to Stojowkski, who helped him translate during rehearsals. He later
graduated and became a professional pianist, conductor, and composer. In 1905, Stojowski
moved to New York city to look for and work and became a featured pianist with the New York
Philharmonic, Boston Symphony, San Francisco Symphony and many others. He would spend
the later parts of his life teaching in many different schools including the newly founded Julliard
School of Music.
Fantasy for Trombone and Piano was written in 1905 and was one his first works
published in the United States. It was dedicated to Mr. Theodore Dubois, the director of his
school in Paris. Since then it has become a favorite of trombonists and even transcribed for viola
and other instruments. Traveling through many different keys and melodic ideas the piece is in a
constant flowing changes and new ideas.