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COLLEGE OF VISUAL AND PERFORMING ARTS

School of Music
Senior Music Education Clarinet Recital

Sarah Gebbia
Accompanied by:
Roy Hakes
October 2nd, 2016
3:00 pm
Harris Theater
Sarah Gebbia is a student of
Dr. Kathy Mulcahy

SPECIAL THANKS
I would like to thank first and foremost my private instructor Dr.
Kathy Mulcahy for being incredibly supportive during my four years here
at Mason. I have always enjoyed our long discussions (and lessons too!). I
cannot imagine my undergraduate career without your assistance,
guidance and thoughtfulness. Thank you for making me feel so
comfortable in the clarinet studio, pushing me past my boundaries, and
helping me become the best musician I can be.
To all of my friends here at GMU, thank you for all of your
encouragement in classes, clubs, and other activities. I would not have
learned as much at university without all of your influences. Each of you
is special to me in your own way and I know undergrad wouldnt be the
same without every single one of you in my life. Thank you also to the
sisters of Sigma Alpha Iota, who taught me that our love of music can be
expressed through service, sisterhood, and most importantly
understanding.
To my Grandma, Grandpa, and Nonna; thank you for always
supporting my academic interests. I am so excited you three were able to
make the trip to Virginia to see my senior performance. To my aunts,
uncles, and cousins, I love you all immensely. Whether you are attending
my recital in-person or in spirit, I appreciate you all so much! Thank you
for all you do.
Id like to thank my Mom, Dad, and brothers J.D. and Charlie.
Mom and Dad, thank you for forcing me to continue piano lessons through
middle school and giving me the great gift of music. From all county to
all-State to all-Eastern performances, you have always undoubtedly been
there to support me. Thank you for helping me pursue my passion for
music at the collegiate level. To my brothers J.D. and Charlie, thank you
for listening to me practice in our living room, listening when I want to
rant about something music-related, and everything in between. You guys
have always kept me grounded and on track.
And finally, to everyone attending my recital today, thank you and I hope
you enjoy!

Sarah Gebbia, Clarinet


PROGRAM
Clarinet Sonata in E-Flat Major, Op. 167

Camille Saint-Sans
(1835 1921)

I. Allegretto
II. Allegro animato
III. Lento
IV. Molto allegro
Roy Hakes, piano
Intermission
The Firebird
Round Dance of the Princesses

Igor Stravinsky
(1882 1971)
Arr. Sam Raphling

Sonata for Clarinet and Piano

Leonard Bernstein
(1918 1990)

I. Grazioso
II. Andantino
Roy Hakes, piano
Black

Marc Mellits
(1966 present)
Dr. Kathy Mulcahy, bass clarinet

PROGRAM NOTES
Clarinet Sonata in E-Flat Major, Op. 167
Camille Saint-Sans
During Saint-Sans last year of life, he conceived the idea of composing a
sonata for each of the woodwind instruments. The three sonatas that he
completed before passing were for clarinet, oboe, and bassoon, which SaintSans described in a letter to a friend as the otherwise neglected
instruments. He had intended to write an additional three sonatas for three
more wind instruments, however he was unable to complete this goal. The
Clarinet Sonata in E-Flat Major was dedicated to Auguste Perier, a player of
astounding technical ability. Saint-Sans used both humorous and pastoral
elements in this composition, in a style comparable to his French colleagues
Honegger and Milhaud. All three of his woodwind sonatas skillfully integrate
the piano part in such a way that displays the character and versatility of each
instrument. The spare, evocative, classical lines, lingering melodies, and
formal structures underscore these ideals of the neoclassical movement.
Tuthill, Burnet C. "Sonatas for Clarinet and Piano: Annotated Listings."
Journal of Research in Music Education 20, no. 3 (1972): 30828. http://www.jstor.org/stable/3343885.

The Firebird, Round Dance of the Princesses


Igor Stravinsky, arr. Sam Raphlng
The New York Metropolitan Opera Company has used the Firebird Suite,
arranged for piano by Sam Raphling, in ballet rehearsals for the last 50 years
since it follows the original so closely. According to New York Times, Mr.
Raphlings edition would undoubtedly have won the approval of Liszt
himself- he has made an amazing amount of the scores complex rhythmic,
harmonic and contrapuntal detail available to ten agile fingers. In an
interview by New York Times, Mr. Raphling claimed the main reasons these
works were transcribed was to create repertory for the piano which does not
currently exist in the programmatic style of Stravinsky.
Watanabe, R. (1987). Music Received. Notes, 44(1), 170-180. Retrieved from
http://www.jstor.org/stable/941016

Sonata for Clarinet and Piano


Leonard Bernstein
After studying conducting with Serge Koussevitzky at the Tanglewood
Institute in 1921, Bernstein took a small vacation to Key West, Florida. He
did so to avoid the stresses of potentially getting drafted for the war following
the attack on Pearl Harbor. Bernstein began composing the Sonata for
Clarinet and Piano while in Key West, where he was deeply influenced by
Radio Havana. Though the presence of this impact of this influence is not as
obvious in the clarinet sonata, it is visible in the composition of West Side
Story that followed soon thereafter. The clarinet sonata was completed in
Boston, 1942 following Bernsteins Key West vacation. This sonata was
dedicated to Bernsteins long-time friend David Oppenheim (1922-2007).
Though Oppenheim was merely a student at Eastman during the time of
composition, he continued his career to not only study at Julliard, but also
became director of the Masterworks division of Columbia Records in the
1930s. He also served as Dean of the Tisch School of the Arts at New York
University from 1969 until his retirement in 1991.
"First Successes: From Tanglewood to On the Town,: 19414 (Letters
90185)." In The Leonard Bernstein Letters, edited by SIMEONE
NIGEL, 75-167. Yale University Press, 2013.
http://www.jstor.org/stable/j.ctt5vm538.

Black
Marc Mellits
One of the leading composers of his generation, Marc Mellits works are
performed hundreds of times throughout the world each year. His duet
Black has been performed nearly 1,000 times since its premiere. The
composers unique style includes driving rhythms, soaring lyricism, and
colorful orchestrations. His compositional style is commonly thought of as
miniaturist, with most of his works comprised of short, contrasting section,
but always has a sense of forward motion.
Griesgraber, S. (., & Ricat, K. (. (2002). Guitar power: An interview with Marc Mellits.
Guitar Review, (124),

STUDENT BIOGRAPHY

Originally from Lynbrook, NY, Sarah is a senior Instrumental Music


Education major at George Mason University. She plans to graduate in
May 2017 with her Bachelors in Music, and potentially go on to graduate
school in the following academic year. As a member of the Honors
College, a Deans Scholar, and a recipient of the Provost Achievement
Award, Sarah has remained active in her academic research pursuits
throughout her undergraduate career. Sarah is a member of The Honor
Society of Phi Kappa Phi, Golden Key Honor Society, Alpha Lambda
Delta Honor Society, and Sigma Alpha Iota Music Fraternity. She has
also held internship appointments with the Wolf Trap Foundation for the
Performing Arts, as well as with Smithsonian Folkways Recordings. In
addition to her academic studies, Sarah performs frequently with the
George Mason University Wind Symphony and GMU Green Machine Pep
Band.

George Mason University School of Music


For more information and a complete listing
of concerts and recitals, Visit the Web site at http://music.gmu.edu
George Mason University is a registered All-Steinway School
This recital is offered in partial fulfillment
of the requirements for the
Bachelors of Music in Instrumental Music Education.
The use of cameras and video or tape recorders without
prior permission is strictly prohibited.
Notice: For your own safety, LOOK for your nearest EXIT.
In case of emergency, WALK, do not RUN, to that EXIT.

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