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Graduate recitals Schultz, Joanna Satomi 2002

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GRADUATE RECITALS by JOANNA SATOMI SCHULZ B . M u s . , U n i v e r s i t y o f B r i t i s h C o l u m b i a , 1999 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC i n THE FACULTY OF GRADUATE STUDIES (School o f Music) We accept t h i s t h e s i s as conforming t o the r e q u i r e d s t a n d a r d THE UNIVERSITY OF BRITISH COLUMBIA September 2002 ® Joanna Satomi S c h u l z 2 002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I 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 "^^jfyW-KJo e< M ' 2 - o o ' 2 _ DE-6 (2/88) ABSTRACT The t h e s i s f o r the Master o f Mus ic degree i n O r c h e s t r a l Instrument Performance c o n s i s t s o f two f u l l -l e n g t h r e c i t a l s w i t h emphasis on s o l o works, but a l s o i n c l u d i n g r e p r e s e n t a t i v e chamber works . I per formed the r e c i t a l s on J a n u a r y 13, 2002 and August 19, 2002. 1. Concertino for Horn, Op.45 Andante-Recitative-Polacca C M . von Weber (1786-1826) 2. Concerto in Eb Major, K.417 W.A. Mozart (1756-1791) I Allegro Maestoso II Andante III Rondo *** Intermission *** 3. Four Fables Judith Olson (1961) 4. Wind Quintet, Op.43 Carl Nielsen (1865-1931) I Allegro ben moderato II Menuet HI Preludium - Tema con variazioni With the Wicked Winds of the West Jack Chen, Flute Emily Yu , Oboe Eileen Walsh, Clarinet Mehgan Dahl, Bassoon * In partial fulfillment of a Master's Degree in French Horn Performance 2 1. Carl Maria von Weber's Concertino for Horn, Op.45 is a classic showpiece. It's tremendous virtuosity is cultivated not only through range but also through agility. Originally written in 1806 for his colleague Dautrevaux, Weber innovatively used the technique of multiphonics, which was still in its stages of development. This would become one of the earliest examples of such music. In 1815, the Concertino was revised for Rauch and still in use today - as Weber's original edition was lost. 2. There is much confusion and controversy surrounding the four concerti that W.A. Mozart wrote for the French Horn. Heralded for many years as Concerto #1, K.412 was actually the last of the four to be composed! Concerto in Eb Major (K.417), previously numbered as Concerto #2, was Mozart's first complete Horn concerto. The first movement is illustrative of Mozart's vocal style, as it evokes the powerful colours and emotions that an aria would command. Contrastingly, the last movement is very reminiscent of hunting horn music. Al l the Horn concerti that Mozart composed were dedicated to his longtime friend and colleague, Joseph Iganz Leutgeb. The inscription for this piece reads, "Wolfgang Amade Mozart finally took pity on Leutgeb, Ass, Ox, and Fool, Vienna, 27 May 1783". Words were written throughout the original part to Leutgeb which cannot be reprinted as to not offend. 3. Judith Olson is one of America's prominent female composers. Olson is also a renowned pianist and violinist and currently teaches at Bloomingdale School of Music. She wrote the piece for her husband, Orrin, who is a celebrated French Hornist. Four Fables is closely associated with the works of German composer, Paul Hindemith. Interestingly, the third movement contains an almost exact quote from Hindemith's Concerto for Horn. It is also very characteristic of music written for horn and piano in the 1960s as it bears resemblance to the music of Alec Wilder. 4. Wind Quintet, Op. 43 is the most widely performed works of Danish composer, Carl Nielsen. Nielsen was sp beloved and influential that the Quintet was even performed at his funeral: In the last decade of his life, Nielsen explored conversational styles and intimately brought them to his works. The Quintet brilliantly displays his gift in drawing upon and highlighting the unique characteristics of the various instruments. Of the three movements, the last is the most complex and is a culmination of the entire piece. It is based on a hymn tune that Nielsen wrote titled Min Jesus, lad mit hjerte faa (My Jesus make my heart to love thee) in A major. Nielsen then varies the theme by either featuring each instrument or interweaving them together. In variation #9, Nielsen brings back a solo variation that focuses on the horn. He made a penciled note to the horn player: "Unless done with naive abandonment to the atmosphere of nature, its no good." Nielsen's dramatic texture remains even as the hymn tune is finally brought forth again in A major, providing salient closure. Monday August 19th, 2002 UBC Recital Hall 7:30 pm Joanna Schulz, Horn Graduate Recital Intrada- 1958 Otto Ketting (1935-Suite No. 1 J.S. Bach (1685-1750) Arr. Francis Orval Prelude Allemande Courante Sarabande Minuetto I - Minuetto II - Minuetto I Gigue Parable for Solo Horn - 1972 Vincent Persichetti (1915-1987) (Parable VII) Op. 120 Etude No. 3 - 1954-59 Verne Reynolds (1934 Intermission Quintette Op. 13-1967 Jaques Hetu (1938. with the AdMare Wind Quintet Flute- Mark McGregor, Oboe - Nicolas Braun Clarinet - AK Coope, Bassoon - Sophie Dansereau 4 Program Notes Otto Ketting is a Dutch composer who began his musical career as a trumpet player. He studied at the Royal Conservatory in The Hague and in 1954 moved on to play with the Hague Residentie-Orkest. As he began composing he went on to study composition in Munich with Hartmann. Today he is well known as a conductor of 20 t h century music. The Intrada definitely displays Ketting's knowledge of the trumpet and so has become standard in the repertoire. As it works equally well on horn it is becoming a standard in our repertoire as well. J.S. Bach lived out his life in the town of Leipzig without ever knowing what an impact his work would have on Western Music. Today the basis and beginning of most musical training requires analysis of his work. The Cello Suites display Bach's wonderful ability to create vertical harmonies with a single linear voice. Unlike the horn, the cello is able to play continuously without needing to breath. The challenge in playing these works on any wind instrument is being able to create breathing places and make them fit in a musical context. Vincent Persichetti began his major music studies in composition at Combs College of Music in Philadelphia with Russel King Miller. Later he moved on to study conducting with Fritz Reiner at Curtis. Through his career as a composer and conductor he also taught at the Julliard School of Music. His works range in genre from solo works for piano and organ to large orchestral, choral and band ensembles. Among his smaller works are a group of 25 Parables! Each one is written for a different solo or group of instruments. As a composer who was not afraid to borrow from his own works, the eight parable which is for solo horn makes reference to his Liturgical Symphony Op. 80 which was written 14 years earlier in 1958. Jaques Hetu was born in Trois Rivieres in 1938. He studied composition at the Montreal Conservatory starting in 1956 and by 1963 had won national awards in both Canada and France. Beginning in 1967 his compositional output was limited to commissioned works only. Still his repertoire consists of four symphonies, several concertos, an opera and many chamber works performed by a host of international soloists. He finished teaching at the University of Quebec in Montreal in 2000 where he had been for 21 years. Previous to that he taught at Laval University for 14 years. 


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