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Nicholas Bragg, horn
Melody Cook, piano
Enterprise Brass Quintet
Kevin Easton, trumpet
Tyler Payne, trumpet
John Bruce, trombone
Tyler Davis, tuba
This recital is presented in partial fulfillment of the requirements for the Bachelor of Fine Arts degree in Music Performance. Mr. Bragg is a student in the studio of Dr. Stephen J. Lawson and Dr. Mark Zanter.
Traditionally, melodic material from operatic compositions was used by virtuoso performers as an attractive way to demonstrate their abilities. This Fantasie by C. D. Lorenz is no exception. Unfortunately there is little information available for C. D. Lorenz. It is believed that he was either born or died in 1885. Lorenz composed many works for horn and piano. This fantasy is based on themes from Bellini's opera l Puritani. Much of the opera's vocal coloration is given to the horn in this work by C. D. Lorenz.
Scholars speculate that Antonio Rosetti was actually born under the name Franz Rosier. Rosetti wrote over forty symphonies, many chamber works, and an abundance of concertos including seventeen for horn and six for two horns. His Concerto in D minor for horn was written between 1789 and 1790. It paints a picture of elegance with the cheerful horn solo entrance immediately showing the virtuosity of the soloist. The melody primarily is in the upper register of the instrument and requires the use of extended techniques such as lip trills. This movement is also technically demanding with many octave leaps, varying sixteenth notes scale lines, and triplet figures. The second movement begins with a song-like melody with ornamentation which leads to a cadenza in the horn solo, showing again the virtuosity of the soloist. The final movement of the work begins with the horn playing an upbeat melody. This movement also includes a more melodic segment in a triple meter that has a dance-like quality. These two melodic ideas are repeated throughout this movement and are interrupted by a hunting horn call in six-eight. After the horn solo plays the opening theme to the movement a final time the accompaniment finishes the work.
Bernhard Heiden was a German born twentieth century composer. Heiden made massive contributions to horn literature, despite having little formal training. They are: a concerto, a quintet for horn and strings, a set of duets for horn, a horn quartet, a work for horn, violin, cello, and piano, and this Sonata for horn and piano, written in 1939. Heiden's neoclassical approach is the foundation of all his works, which is a direct result of his time studying with Paul Hindemith. This sonata is the first work Heiden ever wrote for horn, and is dedicated to Theodore Seder, first horn for the Detroit Symphony at the time of the composition. Heiden's sonata uses both traditional and contemporary form ideas; the first movement is a sonata form, the second movement is a blend of several dance forms, and the third is a rondo. Heiden used twentieth century devices such as shifting tonal centers, quartal harmonies, rhythmic displacement, and meter changes. Theme I in the first movement is both major and minor, and uses all twelve pitches. In spite of using aII twelve pitches it does not form a row, but is primarily quartal and quintal in harmonic organization. An energetic rondo theme, built on primarily thirds and fourths, begins the final movement of the work. The movement has mixed meters, changing of tonal center, modes, and a combination of two themes.
Second Suite in F, for band, was written in 1911 by Gustav Holst and was arranged for brass quintet by David Sabourin. Sabourin's orchestration of the suite features the horn frequently throughout this work. The horn gets to play many of the melodic lines in this arrangement, which is a rarity in band literature for horn players, who primarily see off-beats. Holst incorporates a variety of folk melodies in this work. The first movement, March, features the melodies Swansea Town and Cloudy Banks. The march is in a ABCAB form with little transition between sections. Songs Without Words is based on the folk melody I'll Love My Love and begins with the trombone. During this movement a rising and falling counterpoint is traded between instruments and slowly fades away until the striking sounds of the Song of the Blacksmith begin. The use of off-beats to syncopate this song gives the feeling of a hammer hitting an anvil. The high energy of this movement works as a perfect contrast to Songs Without Words. Fantasia on the Dargason meshes two folk melodies. The first melody, The Irish Washerwoman, is introduced by the trombone and later in the horn. The second melody, Greensleeves, rises over the first with the horn forming a hemiola with the rest of the ensemble driving the work until it ends with a staccato chord.
Smith Recital Hall
Arts and Humanities | Fine Arts | Music | Music Performance
Bragg, Nicholas, "Marshall University Music Department Presents a Senior Recital, Nicholas Bragg, horn" (2014). All Performances. 642.