Student Recital Series 2024 – 2025 Season
Sara M. Snell Music Theater Saturday,April 12th at 1:15 PM
Kayla Outman, oboe
Dr. Risa Okina, piano
Three Piece Suite for Oboe and Piano (c.1970)
I. Showpiece
II. Romance
III. Finale
Morceau de Salon Op. 228 (1859)
ElAmor Brujo (1915)
I. Danza ritual del fuego
II. Pantomima
Madeleine Dring (1923 – 1977)
Johann Wenzel Kalliwoda (1801 – 1866)
Manuel de Falla (1876 – 1946) trans.Alison Teale
Brief Pause
Edelweiss (The Sound of Music) (1959)
Sylvie Hendrickson, oboe
Richard Rodgers (1902 – 1979)
Oscar Hammerstein II (1895 – 1960) arr. Kayla Outman
Play for Solo Oboe andAudience (2016)
I.
Metamorphosis for Two Oboes and Piano (2018)
Molly Murphy, oboe
Kayla Outman is from the studio of Dr.Anna Hendrickson.
This is an hour recital for completion of the Performance Certificate.
Snap II. Sing
Kelly Vaneman (b. 1969)
Jenni Brandon (b. 1977)
Three Piece Suite for Oboe and Piano
PROGRAM NOTES
Madeleine Dring
Madeleine Dring did not compose Three Piece Suite for oboe but rather for harmonica and piano. Her husband, Roger Lord, transcribed the work for oboe after her death. He was a prominent British oboist and the inspiration for Dring’s several oboe compositions. She studied composition with Gordon Jacob, Ralph Vaughan Williams, and Herbert Howell at the Royal College of Music in London. The bright opening movement, Showpiece, justifies its own name flitting through asymmetric meters and playful melodic passages. The lyrical second movement, Romance, reflects Dring’s success as a composer of British theater music; it reminds the listener of a Broadway love ballad. The closing Finale journeys from impish lightness to an unexpected ending, coming to rest on a rather wistful, gentle note.
Program Note by Dane C. Philipsen
Morceau de Salon Op. 228
Johann Wenzel Kalliwoda
Born in 1801 in Prague, Bohemian composer Johann Wenzel Kalliwoda served for more than 40 years as an orchestral director in the southwestern German city of Donaueschingen. Robert Schumann praised Kalliwoda for the tenderness and sweep of his works. Composed in 1859, Morceau de Salon Op. 228 presents temperamental melodies with slow ardent and moving parts. One of the few examples of romantic era music for solo oboe, Kalliwoda’s Morceau de Salon has earned a favored place in the modern oboist’s repertoire. His music frequently describes as having a great melodic appeal and rhythmic energy, as well as a sense of humor and charm. The flashy and fun Morceau de Salon is no exception.After a stormy, agitated opening section, Kalliwoda introduces a pleasant and stylish two-part theme that catalyzes some contrasting variations. Eventually, this material leads back to a return of the opening section and drives toward the showy finish with an impressive display of range and technique. The melodies are elegant and satisfying, with a hint of flirtatious energy and just enough flash to keep them continually exciting.
Program Note by Pablo Hernandez
El
Amor Brujo
Manuel de Falla is known as being one of the most prolific Spanish composers of the 20th century. He began his composition and piano studies in Madrid, and later moved to Paris to go on to meet composers such as Maurice Ravel, Claude Debussy, Paul Dukas, and Igor Stravinsky, who greatly influenced his style. In 1915, he composed his ballet El Amor Brujo, “Love, the sorcerer,” which exists not only as a ballet, but as a piano suite and as a version for dancers, actors, cantaora voice (a type of flamenco singing), and chamber ensemble.This transcription for English horn and piano, by Alison Teale and featured in her album Cor!, includes two movements from the original ballet, Danza ritual del fuego (translating to “ritual fire dance”) and Pantomima (meaning “pantomime”). Danza ritual del fuego begins with ajarringtrillinthepiano,which is joinedby theEnglish horninanornamented and marcato melody, later juxtaposed by soaring lyrical lines. In the ballet, a character named Candela is haunted by the ghost of her late husband. Danza ritual del fuego plays as a group of witches dance around the fire in order to get rid of his ghost.As Candela and the others dance, his ghost appears, and as they spin faster and faster, he is drawn into the fire and disappears. Pantomime, which plays later in the ballet, is a gentle, rolling ballad that represents the love between Candela and her new lover, Carmelo. The melody is elegant, nostalgic, and is reminiscent of a summer’s day.
The Sound of Music is my favorite movie of all time, and brings me great amounts of comfort. It is based on the true story of Maria von Trapp, a woman who takes the job as a governess for a large family inAustria, and falls in love with their widowed father, Captain Georg von Trapp. In doing this, she brings joy and music, as the title infers, to their home. The family then goes on to create a family singing group, for which they gain great amounts of fame and respect. The song Edelweiss is first introduced in the film when the Captain relearns to love music in his home as he is reminded of its power. Later, it is sung as a farewell to their homeland ofAustria as they leave to escape the rule of Nazi Germany. The Edelweiss itself is a flower found in the European mountains. This arrangement was created to serve as a reflection of not only my work in performance here at Crane, but also to reflect my teaching experiences. I chose to include Sylvie, one of my oboe students, in my recital program because my students have greatly impacted my perceptions of the oboe and of how I plan to continue thinking about music education.
Program note by Kayla Outman
Manuel de Falla
Program Note by Kayla Outman
Edelweiss
Richard Rodgers and Oscar Hammerstein II
Play for Solo Oboe andAudience
Kelly Vaneman
Kelly Vaneman is the professor of Oboe and Music History at the Petrie School of Music at Converse University. She is a member of the flute/oboe duo Ensemble Radieuse along with her husband, ChrisVaneman.The two work to engage with the audience directly in performance. Play very much follows this theme, as the audience is encouraged to participate in the music-making, allowing the music to fill the room and engage directly with everyone, creating a space where the audience is not only the consumer, but the collaborator. The first movement, Snap, is influenced by jazz, having a swing feel, paired with fast moving triplets. The middle section offers a contrast “with driving energy” where the audience switches from snapping to patting their legs. The second movement, Sing, invites the audience to do just that. Prepare yourself and try not to rush!!! ☺
Program note by Kayla
Metamorphosis for two oboes and piano (2018) by Jenni Brandon explores starkness, freedom, and a dance of discovery of self as told through the interweaving lines of the oboes. The piano becomes the support that helps guide the changes along the way, ebbing and flowing in its own voice. The instruments frequently intermingle, continuously evolving into something new. It is a single-movement work in which the section titles come from a variety of synonyms for the word “metamorphosis. The sections relate to each other by transitioning, growing and evolving throughout this journey of change.
I. Vulnerable
II. Evolving
III. Transformation
IV. Rebirth
V. Transfiguration
VI. Breaking through the mold
VII. Regeneration
VIII. Emerging
IX. “The metamorphosis excites in the beholder an emotion of joy…”
Program Note by Jenni Brandon
Outman
Metamorphosis
Jenni Brandon
