This item is only available as the following downloads:
A GRADUATE CLARINET RECITAL By MELODY BAKER SUPERVISORY COMMITTEE: MITCHELL ESTRIN CHAIR LESLIE ODOM MEMBER MARGARET BUTLER MEMBER A PERFORMANCE IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA MAY 2014
Summary of Performance in Lieu of Thesis Presented to the College of Fine Arts of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Master of Music A GRADUATE CLARINET RECITAL By Melody Baker May 2014 Chair: Mitchell Estrin Major: Music Melody Baker presented a graduate clarinet recital on March 30, 2014 at 5 pm in Room 101 of the Music Building The works performed represented a wide variety of genres, from classical to contemporary. Solo and colla borative works d isplayed the different roles of the clarinet within the literature. The recital began with Fantasiestcke O p. 73 by R obert Schumann. While this work is for solo clarinet and piano, the piano assumes a major role It contributes to the lush texture and beautiful, flowing melodies of this Romantic piece. Following this standard work was Raga Music by John Mayer. This unaccompanied work is improvisatory in nature and allows the soloist free range of expression and the o pportunity to explore the harmonies used in Indian music. Glint by Roshanne Etezady, is a contemporary duet for clarinet and alto saxophone. Composed in 2007, it is a frantic, fiery wor k with
moto ric rhythms that showcases the altissimo range of both inst ruments. The well Parto, parto, La Clemenza di Tito features the clarinet in an accompanying obbligato role to the mezzo s ability to write many interesting and varied melodies i Clarinet Concerto published in 1948. Composed for Be nny Goodman, this piece contains jazz as well as classical s tyles. This piece has become a major staple in the clarinet repertoire. These works together comprise d a program representing the clarinet from the Classical to Modern eras. Solo and collaborative works
PROGRAM A Graduate Recital Melody Baker, clarinet March 30 th 2014 5:00 pm MUB 101 Assisted by Katherine Plympton, piano Gregory Snider, saxophone Clary Rom n, mezzo soprano Brian Hargrove, piano Fantasiest cke Op. 73 Robert Schumann (1810 1856) Raga Music John Mayer I. Vilasa khani (1930 2004) II. Megha (Rainy Season) III. Vibhasa (Sunrise) IV. Gunakali (Morning) V. Shri (Afternoon) VI. Pilu (Evening) VII. Puravi (End of Day) VII I Kanada (In the Deep of Nig ht) IX. Vasanta (Spring Raga) Glint Roshanne Etezady (b. 1973) Intermission Parto, ma tu, ben mio W. A. Mozart (1756 1791) Parto, ma tu ben mio, I go, but, my dearest Meco ritorna in pace; make peace again with me. Saro qual piu ti piace; I will be what you would most Quel che vorrai faro. have me be, do whatever you wish. Guardami, e tutto oblio, Look at me, and I will forget all E a vendicarti io volo; and fly to avenge you; A que sto sguardo solo I will think only Da me si pensera. of that glance at me. Ah qual poter, oh Dei! Ah, ye gods, what power Donaste all a belta. y ou have given bea uty!
Concerto for Clarinet and String Orchestra, with Harp and Piano Aaron Copland (1900 1990) This recital is presented in partial fulfillment of the requirements for the degree Master of Music in Performance. Mrs. Baker is from the studio of Professor Mitchell Estrin.
PROGRAM NOTES Fantasiestcke op. 7 3 by Robert Schumann Schumann is most renowned for his piano music, songs, and some of his symphonic and chamber works. His well known lyrical and poetic style can still be heard, however, in the Fantasiestcke op. 73 for clarinet and piano The form for this work chosen by Schumann allows for his unbridled creativity and imagina tion to come forth through the r omantic, flowin g melodies pervading the piece The short two day span over which this piece was written also s eems to indicate the control Schumann allowed his creativity to take in the formation of this piece. Further, Schumann attributed the creative outburst he had during this year, 1849, to the effects of the revolutions he and his family felt in Dresden which Fantasiest cke nearly forty works were completed during this time. Fantasiestcke is a duo for clarinet and piano, with the piano holding an equal role to the clarinet in the presentation of important melodic material. The work comprises three movements The melancholy M ajor. They increase i n intensity leading to the energetic ending of the third movement. Raga Music by John Mayer A British composer and violinist of unique musical career set the stage for his signature blending of Western and Indian styles. He began studying both violin and composition in his native India at a young age. Mayer studied both Western and Eastern forms in scho ol, realizing that his success as a musician depended on a thorough knowledge of both. In 1952, Mayer was awarded a violin scholarship that allowed him to relocate to Britain and attend the Royal Academy of Music. He continued compositional activities whil e also performing in the London Philharmonic Orchestra and, later, the Royal Philharmonic Orchestra. In 1964, he helped convene the well known ensemble, Indo Jazz Fusions, combining jazz and Indian idioms. Raga Music for solo clarinet reflects the fusion o f Western and Indian styles for which Mayer is renowned. The piece uses Western notation to present nine short movements. Each movement is based on an Indian raga, or mode, and depicts a certain time of day or season. While the music is notated in Western form, it is also improvisatory in nature. This is especially evident in sections labeled senza misura and in the glissandos marked ad lib. e molto rit. in the seventh movement.
Glint by Ros hanne Etezady Glint was commissioned in 2006 by clarinetist, Robert Spring and saxophonist, Timothy McAllister. This energetic work features motoric rhythms and exploits the altissimo range of ink of something small, hard, and shiny, like broken glass on asphalt, or a diamond catching sunlight. It seemed like the perfect title for this piece, which is a fiendishly difficult showpiece for clarinet and saxophone. Etezady is one of the founding me mbers of the Minimum Security Composers Collective and is an avid supporter and proponent of new music. by W.A. Mozart This well known aria from La clemenza di Tito was premiered in Prague in 1791 After this, the work declined in popularity due to criticisms that Mozart composed it just to secure a good commission. Fresh consideration given to the work post World War II, howe ver, has placed increased value on the work and its potential aspects of operatic reform. The obbligato part was The virtuosic writing for the clarinet, including the many te the basset clarinet at the time. depicts the character Sesto revealing the m urderous extent he is willing to go to prove his love to Vitellia. Vitellia wishes the king, Tito, dead because her love for him is unr equited. The first section, Adagio is reflective and sentimental. The following two sections, Allegro and Allegro assai build in intensity as Sesto becomes more impassioned and determined to carry out the gruesome task at hand. Sesto is a trouser role, a male character played by a female. Concerto for Clarinet and String Orchestra, with Harp and Piano by Aaron Copland Wr itten for the iconic String Orchestra consists of two movements connected by a cadenza. The first movement floats by in a dream like state. It features a melodious and lyrical clarinet pa rt. The cadenza bridges the two movements and introduces the elements of jazz that pervade the second movement. Goodman commissioned the work in 1947 but did not premiere it until 1950. He wished for Copland to simplify the work becau se he was reluctant ab out some of the tricky rhythmic notations and of his ability to execute the many passages in the altissimo range in the second to make any changes. Copland eventual ly acquiesced and simplified sections of the work to make it more easily playable. The clarinet concerto is now a standard staple in the clarinet repertoire.
BIOGRAPHICAL SKETCH Melody Baker is currently pursuing her Master of Music degree in Music Performance at the University of Florida. She is a Graduate Assistant in t he clarinet studio at UF under Prof. Mitchell Estrin. She assists in administering clarinet lessons, maintaining the sizable clarinet choir library, teaching the clarinet section of Woodwind Skills, MUE 2450, and aiding in other day to day activities of the studio. She has also been a member of three major Univ ersity of Florida music ensembles: the Wind Symphony, the Orchestra, and the Clarinet Ensemble. In Il Convegno with the Clarinet Ensemble as one of the two winners of the Clarinet Studio Duo Concerto Competition Additionally, i n March of 2013, she Introduction, Theme, and Variations with the Clarinet Ensemble as the winner of the 2013 Clarinet Studio Concerto Competition. Melody has acted as a substitute clarinetist in the Ocala Symphony Orc hestra and the Central Iowa Symphony Orchestra and maintains a clarinet studio at Grea t Southern Music in Gainesville FL A long with her graduate assistant appointment at UF, Melody is also the adjunct instructor of clarinet and saxophone at the College of Ce ntral Florida in Ocala, FL. Melody received her BM in Clarinet Performance summa cum laude at Drake University in Des Moines, IA. While studying at Drake, she was inducted into the prestigious fraternity Pi Kappa Lambda Throughout her graduate and under graduate years, Melody has had the opportunity to study with several influential teachers including Mitchell Estrin, clarinet; Jackie Glazier, clarinet; Clarence Padilla, clarinet; Dr. Gregory Oakes, clarinet; Dr. Joseph Messenger, clarinet; Joyce Wheeler, bass clarinet and saxophone; and Dr. Lynn Zeigler and Ruth Harris, organ. Musical experience on different instruments has allowed Melody to receive the Amott
S cholarship for organ, perform as church organist for St. John Lutheran Church, as well as perform in various ensembles at Drake University and Iowa State University. Melody will begin doctoral studies in Clarinet Performance at The Ohio State University in the fall of 2014 She will be a g raduate teaching assistant to Dr. Caroline Hartig in the clarinet studio and in the department of musicology