A GRADUATE SAXOPHONE RECITAL By TAYLOR A. BARBAY SUPERVISORY COMMITTEE: JONATHAN HELTON, CHAIR LESLIE ODOM, MEMBER SILVIO DOS SANTOS, MEMBER A PERFORMANCE IN L I EU OF THESIS PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARITAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA MAY 2013
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 SAXOPHONE RECITAL By Taylor A. Barbay MAY 2013 Chair: Jonathan Helton Major: Music At 5:00 pm on the 30 th of March, 2013, a graduate saxophone recital was presented showcasing many diff erent styles of saxophone music. It was given in the room 101 Recital Concerto for Saxophone and Piano This piece was originally composed in 1949 for saxophone a nd concert band and was later revised for saxophone and orchestra, and then saxophone and piano. The revised version was performed at the recital, with the pianist Brian Hargrove. The second piece on the program was Luciano This piece while originally written for clarinet, is a standard in the classical saxophone repertory. The piece suggests a polyphonic mode of listening, with two distinct lines, appearing most transparently at the beginning and the end of the piece. The works pres ented on the second half of th e program included the use of electronics with both prerecorded tape and live electronic sounds. Buku was first after intermission. It uses repeated prerecorded sections of famous jazz saxophonists to cre ate an electronic base to be played with the saxophone. To end the
concert, the piece Dracones Nursery was presented. The use of live electronics with the saxophone created many dif ferent effects, changing aspects of the conventional concert saxophone such as timbre, pitch, and adding reverberation to the alto saxophone sound. The pieces that were played were over fifty minutes in length. The repertoire s flexible nature virtuosic classical playing, polyphonic te xtures, jazz, and the saxophone with live electro nics. This program also explored the diverse aesthetics of the concert saxophone repertory.
PROGRAM A Graduate Saxophone Recital Taylor Barbay, saxophone March 30, 2013 5:00 pm MUB 101 Assisted by: Bri an Hargrove, Piano Concerto Inglof Dahl (1912 1970) I. Recitative II. Passacaglia III. Rond alla marcia Brian Hargrove, piano Sequenza XIb Luciano Berio (1925 2003) Intermission Buku Jacob Ter Veldhuis (b. 1951) Dracones Nursery Nick Hwang (b. 1982) Ms. Barbay is from the studio of Dr. Jonathan Helton This recital is presented in partial fulfillment of the require ments for the degree of Master of Music
PROGRAM NOTES This program presents works that explore the flexible nature of the saxophone: virtuosic passages, polyphonic textures, jazz inflections, and the manipulation of the saxophone sound through the use o f live electronics. The first piece, by the German born composer Ingolf Dahl who was also an acclaimed pianist, conductor, and teacher of many music subjects, is the Concerto for Saxophone and Wind Ensemble -a widely celebrated wind band piece and saxoph one concerto. The Concerto was written for saxophone virtuoso Sigurd Rascher, who premiered this piece with the University of Illinois Concert Band in 1949. Three more revisions of the concerto were published to make the piece more programmable altering the length from 28 minutes to 19, and also by changing the instrumentation of accompaniment orchestra and piano. The altered versions contained shortened sections of the piece, added optional lowering of altissimo passages, and a reduction in the number of players. Sequenza IXb for alto saxophone was written originally for clarinet in 1980 and later adapted for the saxophone. Like the other fourteen Sequenzas, this one requires a polyphonic mode of listening. A loud, held out note figure ap pears in the beginnings and end of the piece, and a very strict rhythmic pattern is used throughout the piece. The melody is transformed through two pitch fields. From the liner notes of the quenza underlines the fact that the construction of these pieces almost always takes as its point of departure a sequence of harmonic fields, from which spring, in all their individuality, the other musical
Dutch avant garde composer Jacob Ter Veldhuis wrote Buku for Arno Bornkamp, who premiered it at the World Saxophone Congress in Slovenia in July of 2006. Most of this piece uses speech from an interv iew of Charlie Parker. Prerecorded saxophone passages also make up the foundation of the electronic part. The majority of the piece is based on recordings from highly energetic passages and licks from some of the greatest jazz saxophone players of all time : Charlie Parker, Cannonball Adderley, and Art Pepper. The piece comprises call and response interplays between the saxophone and the soloist, and fugato passages. This is an excerpt of the interview used in this piece: (Bold print denotes passages used in the piece) DESMOND: Charlie, this brings us kind of up to when you and Diz started joining forces the next record we have coming up. When did you first meet Dizzy Gillespie? PARKER: Well, the first time, our official meeting I might say, was on the band stand and came back to New York with it. Dizzy came by one night I think at the time he was and he sat in on the band and I was quite fascinated by the fellow, and we became very good friends and until this day we are, you know. And that was the first time I ever had the pleasure to meet Dizzy Gillespie. DESMO ND: Was he playing the same way then, before the played with you?
PARKER: might call, in the vernacular of the streets of Buku of horn, you know? DESMOND: Buku? PARKER: DESMOND: Okay. PARKER: You know, just like all of the horns packed up in one, you know. DESMOND: Right. PARKER: And we used to go around different places and jam together, and we had quite a bit of fun in those days, and shortly after the McShann band went out West agai again, in the old Hines organization in 1941, and I joined the band with him. I was in Gillespie, S arah Vaughan, Billy Eckstine, Gail Brockman, Thomas Crump, Shadow know, were in that band. The last piece in this recital was written for me and was premiered at the North Americ an Saxophone Alliance Conference on March 2, 2013 in Orlando, Florida. Dracones Nursery by Nick Hwang showcases the use of live electroacoustic sounds depicting a nursery of baby dragons. The beginning of the piece contains quick, energetic gestures, imita ting both the cry of a baby and dragon like sounds. As a composer, Hwang focuses on the combination of live and electroacoustic performances, laptop ensembles, physical/gestural musical controls, and interactive musical systems. Hwang, a University of Flor ida graduate, is currently pursuing his Ph.D. at Louisiana State University where he
studies music composition, experimental music, and digital media with Stephen David Beck and Jesse Allison.
BIOGRAPHICAL SKETCH Saxophonist Taylor Barbay is an avid per former and teacher. She currently holds a graduate assistantship at the University of Florida and is pursuing a Master of Music Degree in Saxophone Performance. Barbay performed as a soloist at the 16 th World Saxophone Congress in St. Andrews, Scotland. Sh e also maintains an active performing schedule as a chamber musician and as a soloist. Barbay has performed with the Ocala Symphony Orchestra, the Zenith Saxophone Quartet, the TAKT Quartet, woodwind specialist Christian Gonzalez and acclaimed pianist Dr. Willis Delony. As an advocate for new music, Barbay has premiered works for saxophone quartet, solo saxophone, and saxophone duo. In March 2008, as a member of the Vert Saxophone Quartet, Barbay presented a world premiere at the North American Saxophone Alliance (NASA) Biennial Conference in Columbia, South Carolina. She has also premiered works by Nick Hwang, Dr. Alejandro Arguello, J. Corey Knoll, Chet Udell, and Garrett Hecker. As an educator, Barbay has given several masterclasses and worked as a wood wind instructor at various schools in East Baton Rouge Parish and Ascension Parish in Louisiana and in Gainesville, Florida. Students have received numerous honors such as LMEA All State Jazz Band, LMEA All State Concert Band, All District, and All Parish Honor Bands. Her students have also participated in LSU's Golden Band from Tigerland and joined the saxophone s tudio at the University of Florida. Barbay has received honors such as the Louisiana Music Award and the Baton a member of Alpha Lambda Delta Honor Society. She is also a collegiate member of NASA
and has competed in the North American Saxophone Alliance Collegiate Quartet Series Competition in March of 2012. Barbay received the Bachelor of Music Degree in Performance and the Bachelor of Music Education Degree from Louisiana State University, where she studied with Dr. Griffin Campbell. She has also worked with Dr. Timothy McAllister and Dr. Geoffrey Deibel. Ba rbay is now studying with Dr. Jonathan Helton at the University of Florida.