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1 A GRADUATE CONDUCTING RECITAL By MEGAN KAY HERMANN 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 FLO RIDA 2010
2 A Graduate Recital Megan Kay Hermann, Conductor Program Old Wine in New Bottles Gordon Jacob (1895 1984) III. Begone, Dull Care IV. Early One Morning The Solitary Dancer Warren Benson (1924 2005) Santa Fe Saga Morton Gould (1913 1996) Pas Redoubl Camille Saint Sens/trans. Arthur Frackenpohl (1835 1921 )
3 Old Wine in New Bottles Gordon P ercival Septimus Jacob (1895 1984) is regarded as one of the most significant British composers of the twentieth century. Jacob began studying piano at the age of eight and began composing shortly after he started piano lessons. From 1908 to 1914, h e att ended D ulwich College where he studied the classics continued his piano lessons and played timpani and other percussion instruments in the school orchestra. Jacob served as a Lieutenant in the Queens Royal West Surrey Regiment during World War I. In 1917 he was taken prisoner by the Germ ans near Arras, and there he met other musicians and began arranging and writing music for the small group. After his return home from the war, Jacob enrolled in a school fo r journalism, but continued to work on his c ompositions. He soon applied for the Royal College of Mus ic and was accepted in April 1920. There he studied composition with his primary teacher Sir Charles Villiers Stanford as well as Ralph Vaughan Williams and Herbert Howells. Jacob also studied c onducting and piano. William Byrd Suite ( in 1923 ), followed by a ballet titled The Jew and the Harp. After he graduated from the Royal College of Music, he was appointed to the faculty. Jacob m arried his childhood s weetheart, Sydney Wilmot Grey, in 1924 and shortly after he began to seriously pursue his composition career.
4 sic from 1924 to the 1950s comprised of orchestral works, concertos and solos for every stringed instrument and most of th e orchestral wind instruments, and a variety of chamber music. Jacob also composed music for documentaries during World War II, and also for the feature film Esther Waters ( in 1948 ). Jacob contributed several written works including Orchestral Technique: A Manual for Students (1931), followed by How to Read A Score, The Composer and His Art, and The Elements of Orchestration After the untimely death of his first wife, Jacob married Margaret Gray, a niece of his first wife and for ty two years younger tha n Jaco b. The couple had two children: Ruth (June 2, 1960) and David (born in 1961). Gordon Jacob officially retired from the Royal College of Music in 1967, but continued to devote his life to music and composing. In 1971, Jacob ventured to the United S tates for the premiere of his Trombone Concertino, which was commissioned by the International Trombone Associat ion. The visit caused him to gain a new interest in his compositions for wind instruments in the United States and resulted in several commissi oned works, including the march Across the Sea, w ritten for the U.S. Coast Guard; and Celebration Overture, commissioned by Harvard University and first performed November 2, 1984. Gordon Jacob died on June 8, 1984 in Saffron Walde n, England, after a mas sive stroke. Old Wine in New Bottles was complete in August 1958 and was first performed by the BBC Northern Orchestra on April 4, 1959 at the St. Bees Festival under the direction of Stanford Robinson. Old Wine includes four old Englis h folk tunes; New Bottles
5 The tunes ar Care The Solitary Dancer Warren Frank Benson is a distinguished composer, conductor, lecturer, and writer. taught pianist and helped 1932 ( at age eight ), when he started taking percussion lessons with Gerry Gerard. At age twelve he began taking private marimba and drum lessons with Selwyn Alvey During his years in hi gh school, he developed his skills on several different instruments and also took an orchestration class. He enrolled a t the University of Michigan, where he music theory i n 1951. Benson married Patricia Vander Velde, who had graduated in art from the University of Michigan, on November 19, 1949. He received a Fulbright scholarship for ( 1950 to 1952 ) to conduct and teach music at Anatolia College in Salonika, Greece. He returned from Greece in 1952 to serve as the Director of Bands and Orchestra at Mars Hill College in North Carolina. Benson held the position of professor of music and composer in residence at Ithaca College (Cornell, New York) for fourteen years and taug ht composition at Eastm an from 1967 to 1994. Benson was self taught in
6 composition and has written over 150 works for solo instruments and voice, chamber ensembles, choirs, bands, and orchestras. He has written for most genres, except for opera, and is b est known for his song cycles and his wind and percussion music The Solitary Dancer evolved from the ballet Bailando a collaboration between Warren Benson and Interlochen Arts Academy choreographer Bill Hugg. During this experience, Benson noted the danc e rehearsal began. Benson wrote a note in the score: The Solitary Dancer deals with quiet, poised energy The composition is a through composed work in d phrygian. The two themes prevalent throughout the piece are presented in the first two measures. Th e first theme is a melodic four note motive presented by the soprano saxophone (which is a predominant voice throughout the composit ion). The second the me is a two note rhythmic motive presented by the piccolo. The melodic language that follows is developed from inversions, augmentations, and combinations of these two motives. Much of the work is dependent on quiet soloistic playing over a percussion osti nato. Santa Fe Saga Morton Gould was born in Richmond Hill, New York on December 10, 1913. He began playing piano an d composing when four years old; his first composition was published at the age of six (titled Just Six) ; and he won a scholarship to the Institute of Musical Art at the age of eight. Most of his musical studies were with Abby Whiteside and Dr. Vincent Jones. During the Great D epression, Gould worked in New York City
7 playing piano in movie theaters, as well as with vaudeville acts. When Radio City Music Hall opened, Gould became the staff pianist. At the age of twenty one, he conducted and arranged a weekly series of orchestral radio programs for WOR Mutual Radio He has composed for musical comedy, television, and motion pictures; his ballet scores include those for Jerome Robbins, George Blanchine and Agnes de Mille. His other compositions for band include American Salute, Ballad for Band, and his Symphony for Band West Point Symphony. Gould has conducted all of the major American or chestr as as well as those of Canada, Mexico, Europe, Japan, and Australia and won a Grammy First Symphony with the Chicago Symphony Orchestra. In 1995, he received the Pulitzer Prize for Stringmusic, a piec e commissioned by the National Symphony in recognition of the final season of director Mstislav Rostropovich. Gould died February 21, 1996, at the age of 82 in Orlando, Florida. The evening before his death he attended a concert by the U.S. Military Aca demy Band which performed all Gould compositions. Santa F Saga was commissioned by the famous bandmaster and march composer Edwin Franko Goldman for performance at the 1956 convention of the American Bandmasters Association, held in Santa F, New Mexico Gould himself conducted the appropriate to compose a piece evoking that area and its hi story. The work is in four brief interlinked sections; they are not separate movements, but do bear individual titles:
8 describes as a general Spanish Mexican Western influence on our music. Pas Redoubl Paris born Charles Camille Saint Sans was a child prodigy, composing his first piece for piano at the age of three. He studied with Stamaty and Boly before entering the Paris Con servatory in 1848 and studied organ with Benos it. He won the premier prix in 1851, and in the same year began studying composition and orchestration with Halvy. Camille also took lessons in accompaniment and singing and w as a private student of Gounod. Saint Sans had total recall; any book he re ad or tune he heard was f orever committed to his memory. He held the coveted post of organist at the Madeleine from 1857 to 1875. He was also an accomplished pianist, conductor, score reader, and astronomer. As a composer, he wrote in many genres, inclu ding opera, symphonies, concertos, sacred and secular choral music, concertos, and chamber music. His highly popular works, including Danse macabre (1875) and Samson and Delilah were written during a short and tragic marriage to nineteen year old Marie L aure Truffot that included the loss of his two young sons within a period of six weeks. The Carnival of the Animals is a favorite of children of all ages, but it had only two performances while Saint Sans was alive, possibly because he had written it as a parody of some of the popular music of the time. Saint Sans died in December 1921 after he had closed his conducting career with rehearsals for Antigone in August and had returned to Algiers. The perspective of history shows him as a neo classicist a nd as the embodiment of certai n traditional French
9 qualities moderation, logic, c larity, balance and precision that were coming back into fashion at the turn of the 20th century This quickstep concert march (Opus 8 6) is reminiscent of the gallops by Offenbach and other 19th century composers. Originally written for four hand piano in 1887 and published in 1890, this transcription was made by Arthur Frackenpohl in 1972 and dedicated to Harry Phillips and the Crane W ind Ensemble at the State University in Potsdam, New York, where Frackenpohl became a member of the music faculty in 1949. The tempo of a pas redouble varies with the proficiency of the performer(s) as well as the wishes of the composer and the customs of that period. Saint Saens defended technical virtuosity, because it was for him, at least partially, a gift. During the mid 19th century, military units in some nations were marching to a cadence of about 90 steps per minute for the slow march (pas ordinair e), 120 for the quick march (pas redouble), and 160 to 180 for the double quick march (pas de charge). Frackenpohl suggest a tempo of 144 for this march.
10 REFERENCES Goodman, Peter W. Morton Gould: American Salute Portland, Or: Amadeus Press, 2000. Grove Music Online ed. L. Macy (Accessed March 29, 2010). < http://www.grovemusic.com > New York: Oxford University Press, 2007 2010. Grove Music Online ed. L. Macy (Accessed March 29, 2010).
11 Grove Music Online ed. L. Macy (Accessed March 28, 2010).
12 Saxophone and Band Vol. 1 and also with tuba soloist Timothy Northcut and the Tennessee Tech Symphony Band on the album entitled Tennessee Tech Pride. While attending Tennessee T ech, Miss Hermann achieved the d ean ist all four years and graduated magna cum laude. In summer 2004, Miss Hermann moved to West Des Moin es, Iowa, wher e she served in the West Des Moines Community School District at Clive and Hillside Elementary Schools as the Band Director for the 5th and 6th Grade. She conducted the Northside 6th Grade Band, which included four district schools; and the Eighth S treet 5 th Grade Band. In May 2005, she was asked to conduct the 6th Grade District All Star band which consisted of students from all eight elementary schools in the West Des Moines school system. During the summer of 2006, Miss Hermann moved to Cleveland, Tennes see, and began work as the Assistant Band Director for Walker Valley High School. She conducted the Wind Ensemble, the Symphonic Band, the 9th Grade Band, the Woodwind Ensemble, and the Mustang Marching Band. She also assisted with the choir program and pl Footloose and Beauty and the Beast. Miss Hermann is affiliated with several professional organizations including the Delta P i, the Tennessee Music Educator s Association, the East Tennessee Band and Orchestra Association, the National Band Association, the Tennessee Education
13 Association, the Bradl ey County Education Association, the Florida Bandmasters Association, the F lorida Music Educators Association, and the Mortar Board National Honor Society.