Student Recital Series 2024 – 2025 Season
Ralph J. Wakefield Recital Hall Sunday,April 13th at 12 PM
Kathleen Crecco, piano
Moira the Warrior (2009)
Cornelius Boots (b. 1974)
Jovany Rivers, Savana Angulo, Jess Puleo, bass clarinets
Awakening Fire (2018)
Elegy for Bass Clarinet (1999)
Ballade (1939)
Julia Saxby is from the studio of Dr. Christine Hoerning.
LoriA. Sutherland (b. 1975)
Dirk Brossé (b. 1960)
Eugéne Bozza (1905-1991)
"Inspired by Wonder Women, ancient and new, featured on Imagination Lost. To honor the integrity & tenacity of authentic spiritual seekers: those driven towardsAwareness & Realization.Also to honor the Universal Yin, the Earth Mother, the Infinite She-Dragon of the Deep." - Cornelius Boots
This piece starts out relatively simple, slow and rhythmic. There is a tempo change into a faster section in the middle and “war” breaks out. You will hear extremes of the range of the bass clarinet on both ends throughout the piece, with the higher end of the bass clarinet’s register highlighted primarily in the 1st and 2nd parts.
Starting a bit backwards in the “story” I’m putting together with this recital, this piece on this program represents looking towards the future. I never imagined doing a chamber work on my recital when I got to Crane, but here I am, and I’m so excited to share this work with everyone. I am also beyond grateful to be able to play with several of the other bass clarinetists.
“The piece begins with a single note: soft and low. From this lone ember, a slow burn works its way through the first section, building in intensity as it moves the range ever higher.After a brief nod to the beginning, the piece suddenly ignites into the fast and percussive second section. The mood changes in the middle of the second section, momentarily lyrical and flowing, while keeping its driving tempo. The piece finishes with a modified recap of the initial fiery theme.” – Lori A. Sutherland
During my time at Crane, I have grown so much as a musician. The first section represents where I started, my first semester at Crane. The second section represents where I am now, finding myself as a player and finding an ability to play through my performance anxiety. This piece was on my level B performance exam and was a piece that was a big step for me as a player in terms of musical expression, especially as it’s unaccompanied!
This piece begins with a thoughtful, repetitive moment. Once that moment has passed, the bass clarinet repeats a simple rhythmic motive that continues throughout the rest of the piece.As it continues through the first section, the part gets louder and higher, more emotional in the range of the instrument.After a high point, there are moments for both the piano and the bass clarinet to shine independently, before they come back together and restart the rhythmic motive from the beginning.As the piece comes to a close, I encourage you to listen for a familiar melody, a short reference to "Danny Boy."
During my time at Crane, I lost two of my grandparents. Ever since beginning to explore this piece, I really connected with it, like it was a perfect musical explanation of all the feelings I felt when they passed away. With this piece, I wanted to take a few moments to honor them.
I dedicate this work to Annette Sullivan (1940-2024) and Richard “RP” Hilbert (1945-2024)
This piece is in 3 primary sections (ABC), with the longest and most recognizable at the beginning. Big Ais inABA’, with the smaller B section slow, lyrical and contrasting with the smallerAsections. As the piece goes on through the bigger B and C sections, the tempo continues to quicken, starting with that slow smaller B section and working the way up until the end, where there is a fantastic burst of notes.
This piece holds a special place in my heart. With this piece, I passed my levelA primary performance exam here. The semester I first played my piece was the semester I learned how much work that it sometimes takes to prepare a piece and the feeling of accomplishment after a solo performance goes well.