The University of New Mexico College of Fine Arts Department of Music GRADUATE RECITAL Jonathan Lightcap, trumpetProgram NotesHenri Tomasi’s Concerto for Trumpet and Orchestra (1901-1971)Henri Tomasi is an accomplished French composer, made famous for his concertos, many of which have been praised by soloists and audiences across the globe. Having studied at the Paris Conservatoire, Tomasi won the Prix de Rome in 1927 and the Grand Prix de la Musique Française in 1952. Although he is most famous in the current-day for his concertos, Tomasi divided his career equally between composition and conducting, having conducted at opera houses world-wide. Composed in 1948, his Concerto for Trumpet and Orchestra is Dedicated to soloist Ludovic Vaillant, a Professor at Paris National Higher Conservatory of Music and Dance in France. The work was first premiered by Vaillant in Paris in April of the following year.
Tomasi’s experimentation with tone color is evident in this work, as it requires the musician to use an array of mutes. In the first movement, this concerto combines contrasting joking-like energy with sweet lyrical melodies. The movement ends with a long solo cadenza. Composed in an impressionistic style, the second movement -best described as atmospheric- is entitled “Nocturne”. The piece finishes out in a witty fashion, with the fast final movement.Johann Wilhelm Hertel’s Concerto No. 3 in D (1727-1789)Born from a long lineage of musicians, Johann Wilhelm Hertel was encouraged to study law and thology.
However, having studied with a pupil of Bach (J.H. Heil), Hertel quickly developed skill in music. By the age of twelve, Hertel was touring with his father as his accompanist. During his lifetime, Hertel filled various musical positions around present-day Germany which include court harpsichordist for the Strelitz court, court composer in Schwerin, organist and music director in Stralsund, amongst other non-musical positions such as private secretary and privy councillor to Princess Ulrike.
In his later life, his focus shifted from violin performance to keyboard. While his forty symphonies make up a large majority of his repertoire, his composed works also include concertos, chamber music, trio sonatas, keyboard works, masses, cantatas, arias with orchestral accompaniment, and lieder. His style is attributed to both the Berlin School and southern German influences. Hertel is heralded for his rhythmically genius use of thematic material. Hertel’s Concerto No.
3 in D demonstrates important compositional trends of galant style in the classical period; the music is of a light, clear texture, with a primarily homophonic accompaniment to support transparent melody in the solo voice.Toru Takemitsu’s Paths—In Memoriam Witold Lutos?awski (1930-1996)Paths—In Memoriam Witold Lutos?awski was composed in 1994 by Toru Takemitsu. The piece was premiered at the Warsaw Autumn Festival, at a concert entitled “Hommage a? Witold Lutos?awski”. Paths—In Memoriam Witold Lutos?awski was both primered and dedicated to Hakan Hardenberger, an international soloist who has performed with many of the world’s leading orchestras.
Takemitsu composed the piece directly after receiving the news that Witold Lutos?awski, a famous Polish conductor and composer, had died. The main compositional techniques used in Paths were inspired by a conversation that Takemitsu had with Lutoslawski earlier in the spring of 1992, when Lutoslawski stated that “As (contemporary) composers, we should think about the melody more seriously, and we should make an effort to create new melodies without sparing ourselves.” Paths is based on a simple melodic motives, intended to create an image of subtle scene changes, much like walking through the paths of a garden.
The tempo of the piece fluctuates at a slow pace, much like one would if he/she was walking through and enjoying a garden. The solo -unmetered- consists of complex subdivisions between triplets and quintuplets, and is intended to demonstrate a notated form of rubato. The inclusion of quick mute changes offers a contrasting color, as well as a demonstrated skill level by the musician, as the mute changes are quite abrupt. Moreover, with the constant motivic structure, little rest, and use of the wide-range of the instrument, this piece requires much endurance, as the musician has no time to break. Herman Bellstedt Jr’s Napoli (1858-1926) Born in Bremen, Germany, in 1858, Herman Bellstedt Jr.
came to America when he was only nine years of age. Referred to as the “Boy Wonder”, Bellstedt made his first appearance as a soloist when he was only fifteen years old. Originally studying music from his father and with Mylius Weigand, a teacher in the city of Cincinnati, where his family settled. At the age of 20, Bellstedt became the cornet soloist of the Red Hussar Band in Manhattan Beach. At this time Bellstedt began writing cornet solos. In short time Bellstedt became widely known for his virtuosity. He became the assistant in the Gilmore Band, and eventually formed his own band in 1892.
Twelve years later, Bellstedt joined the Sousa Band amongst other cornet greats such as Gerbery L. Clarke and Walter Rodgers. Bellstedt continued his solo career until 1913, when he began teaching at the Cincinnati Conservatory of Music.
He continued composing and arranging music until his death in 1926. This fantasie is based on a familiar tune which some refer to directly as “Napoli” and mistakenly claim as Italian folksong. However, the actual theme is derived from Luigi Denza’s (1846-1922) Funiculì funiculà. Joseph Turrin’s Arabesque (b.
1947)A growing name in wind literature, Joseph Turrin has made many contributions to brass repertoire. Commissioned and recorded by acclaimed ensembles and artists such as Philip Smith, perhaps the most famous trumpeter in America, Joseph Turrin has composed for a variety of wind settings. He has composed works for wind ensemble, concert band, brass band, solo instrument, and duets for brass instruments. Composed in 1990, Arabesque is a flashy showpiece with call-and-response antecedent-consequent relationships between the two trumpets; a clear conversation can be heard between the two voices.Bibliography:Anderson, Don.
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