Nicholas A. Amis

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Publication Date

3-15-2008

Year of Release

2008

Note(s)

Nicholas A. Amis, horn

assisted by, Leah Connelly, piano

Dilek Engin, viola

Laura Johnson, oboe

Special thanks to Reed Smith, Leslie Petteys, Ann Bingham, and Vicki Stroeher.

Mr. Amis is a student in the studio of Dr. Stephen Lawson

Program Notes

Concerto for Horn and Strings was written for Englishman Dennis Brain in 1951. The work is virtually a string serenade in dialogue with the horn, and Jacob utilizes the writing to demonstrate extreme flexibility and technique. Jacob was one of the most musically conservative of his generation of composers, preferring to compose in traditional forms. The first movement of the concerto is in Sonata form, with folk tunes and a beaming cadenza. The exposition contains a lengthy technical passage that leads into the more melodic development, and the recapitulation reflects the earlier intensity, beginning with the eighth notes in the strings. The second movement is a gentle nocturne, with the strings and horn exchanging playful tune during the middle section. Movement three is filled with rapid tonguing; broad horn melodies arid a ritornello, suggesting a rondo form.

During his lifetime, the composer and teacher Richard. Lane was known for dedicating works for his friends and students. Conversation (1986) is a piece that was written for two of his friends, a hornist, Kazimierz, and violoist, Elaine. Lane left his personal signature on all of his pieces; a synthesis between charm and an· exceptional sense for melodic and harmonic forms. The horn begins with a soft melodic statement, followed by a contrasting viola theme. The two begin to play together, still contrasting one another, but occasionally agreeing in rhythm at crucial points during the work. A recurring horn theme during the last section of Conversation suggests a quasi-sonata form. Both instruments then return to their original statements, but this time they are switched, and together they end on a concert E, suggesting that an agreement has finally taken place.

Although his career was ultimately overshadowed by Johannes Brahms, Carl Reinecke was a popular composer in his time. His output includes: operas, symphonies, overtures, piano solos/concy1tos and many chamber music works. His style is a compilation of Mendelssohn, Schumann, and Brahms, and his Trio in A Minor, op: 188 for oboe, horn, and piano displays these styles. The first movement is in Classical sonata form, displaying an array of dramatic lyricism. Careful attention is given to refinement and clarity, all influences taken from Mendelssohn. The scherzo (''joke" in Italian) is centered on a three-note motive that all performers compete to play while constantly interrupting each other. The adagio movement includes a beautiful, song-like horn melody, much like the vocal works of Schumann and Mendelssohn. The work ends with a jolly, folk-sounding finale in sonata form. The horn melody from the adagio movement returns during the recapitulation, with the piano creating a hemiola effect, an influence taken directly from Brahms. Trio in A Minor, op. 188 is the most often played work for the combination of oboe, horn, and piano.

Note

Smith Recital Hall

Disciplines

Arts and Humanities | Fine Arts | Music | Music Performance

Marshall University Music Department presents a Graduate Recital, Nicholas A. Amis, horn, assisted by, Leah. Connelly, piano, Dilek Engin, viola, Laura Johnson, oboe

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