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Graduate recitals Michalak, Jonathan Keith 2000

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GRADUATE RECITALS by JONATHAN KEITH MICHALAK B.Mus., Northwestern University, 1997 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC (Trumpet) in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA A p r i l 2000 © Jonathan Keith Michalak In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, 1 agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver, Canada Date DE-6 (2/88) The University of British Columbia School of Music Old Auditorium Tuesday, January 26, 1999 7:30pm MASTERS RECITAL* Jonathan Micha lak , trumpet Student of Larry Knopp Assisted by Si lvia Fraser, piano Alessandro Melani (1639-1703) Lambroula Pappas, soprano Trumpet Concerto in Eb Franz J. Haydn (1732-1809) Allegro Andante Allegro Intermission AH' Armi, Pensieri Aria- allegro Recitativo Aria- andante Recitativo Aria- allegro Recitativo Aria- allegro Concerto for Trumpet and Orchestra I. Vif- Fantasque II. Nocturne III. Final Henri Tomasi (1901-1971) Four Variations on a Theme of Domenico Scarlatti Theme- Allegro Variation I- Piu vivo Variation II- (Piu vivo) Variation III- Andante Variation IV- Allegro Vivo Country Pictures Vassily Brandt (1869-1923) I. In the Church II. Under a Lime-tree III. At the Feast The Masters Trumpet Quartet Dave Michaux, Rob Morson, and Stevan Paranosic * towards partial fulfillment of the requirements of the degree of Master of Music in Trumpet Performance Marcel Bitsch (1921- ) 10 November 1.999, 8:00 pm Old Auditorium University of British Columbia Masters Recital Jonathan Michalak, trumpet Donna Falconer, piano Proclamation (1955) Ernest Bloch (1880-1959) Concerto in Eb J.B. Neruda (1708 - 1780) Allegro Largo Vivace Intermission L'histoire du Soldat (1918) Igor Stravinsky (1882 - 1971) Soldier's March Scene 1 Scene 2 The Royal March The Little Concert Three Dances- Tango, Waltz and Ragtime The Devil's Dance The Little Choral The Triumphal March of the Devil Stephen Chatman, Director of the UBC Contemporary Players Alicia Au, violin Andrea Ciona, clarinet Leanna Wong, bass Gordon Macleod, bassoon Andrew Poirier, trombone Devon Fornelli, percussion Pastorale (1993) Eric Ewazen (1954 -) Andrea Ciona, clarinet In partialfulfillment of the requirements of the degree of Master of Music in Trumpet Performance rnest £>loch was b o m the son of a Jewish M e r c h a n t in ( j e n c v a in I 3 5 0 . A l t h o u g h his family had only a sparse musical background, the young £ ) l ° c n n a < ^ passionately and almost blindly dec ided to become a composer by the age of ten. T"his passion and dedication pervades his music throughout his career, as did the J e w i s h influences of his heritage. £) loch's works consist of a wide range of genres including opera, string cjuartets, symphonic poems, symphonies and instrumental works. "The history of f '•oclamation is summed up well in a cjuote from , 3 u z a n n e £>loch (his wife): " A f t e r having composed his Symphony for frombone, stimulated by his inner hearing of brass sonorities, £ > l ° c n wrote the proclamation for frumpet /\s the title suggests, the main theme is indeed a "proclamation," in which the ffjlochian augmented fourth shapes its personality. |n one movement, it is characterized by uneven rhythms, with the sound o f the trumpet never overshadowed by the orchestra, clear and strong, until the end. |t is a brief work lasting only seven minutes" f3 loch, S u z a n n e . ELrncst fb loch, Creative S p i r i t . |\|ew Y o r k ; Jewish M u s i c C o u n c i l , I 9J6. ttcerio in J o h a n n ffjaptist JSjeruda, born in 1 JO&, spent most of his life as a traveling; composer and violinist until I 7^0, when he came into a (ZhurcU position in [Dresden. ~]~W\s concerto was originally written for the corno-da-caccia (hunting horn), a valveless member of the horn family. T h i s corno-da-caccia differed from the standard horn of the day in that it possessed a shallow cup mouthpiece, similar to the trumpet, and thus, since it was a specialized instrument, trumpeters were selected to play the instrument. Presides this historical fact, the range of the concerto hasjustif ied its welcome inclusion into the early classical repertoire for trumpet. Paraphrase of L~}aivid packman's preface to the current edition tetom tot jUMtot IgorSt rav insky was born in Russ ia in 1532. p i e moved to prance in I and eventually landed in A m e r i c a in I ^"r^- The Soldier's J~a/c, written in 1^1 8, was inspired by a dark period in Russ ian military ethics during the Revolution. S t rav insky wanted a worlc that could be "read, played, and danced" - something that would break the formal traditions of classical music and reach out to the masses. A l t h o u g h the work is based on a Russian folic tale about a deal between a soldier and the devil, S t rav insky (besides his characteristically Russian traits) incorporates new-found genres in this work. Tor example, the Roya l March is based primarily on the sounds of the S p a n ' s h Pasodoble band. A l s o interesting to note is the inclusion of the "jazz" idioms "Tango and Ragtime, A l t h o u g h Strav insky later became more fluent injazz and its application, there is evidence to suggest that up to this point he had only seen sheet music of jazz tunes and had never actually heard it! t o r a f t P.ric Elwazen was born in I and is currently the composer in residence at ~j~he Jui l l iard School. A prolific brass composer, his works cover the gamut o f brass ensemble possibilities, from solo sonatas, to small chamber combinations, brass quintets and full-blown brass choir works, pastorale was originally written during the winter holidays in I 99^> as a horn and flute duet for his fr iend, L~)ave Wakef ie ld ( A l s o Jui l l iard faculty) and his wife. S l n c e the original conception, P wazen has rearranged the same basic material fo r many sets of instruments, exploring the \yric capabilities o f the instruments as well as their combinatorial qualities. 

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