Student Recital Series 2024 – 2025 Season
Sara M. Snell Music Theater Sunday, May 4th at 1:15 PM
Nathaniel Cobb, saxophone
Dr. Tracy Lipke-Perry, piano
Mountain Roads (1997)
I. Overture
II. Chorale: Wo soll ich fliehen
V.Aria
David Maslanka (1943 – 2017)
No Show Quartet
Ryan Dunia, alto saxophone
Kevin Malone, tenor saxophone
Kennedy Royal, baritone saxophone
Tosca Fantasy (1900)
Giacomo Puccini (1858 – 1924)
Arr. Ralph Herman
Brief Pause
Concerto forAlto Saxophone and Orchestra (2008)
David Maslanka
I. Song: “Fire In The Earth” (1943 – 2017)
V. Song: “Mortal, Have You Seen This?”
ComeAs YouAre (2020)
I. Lift My Eyes
III. Strength of My Life
IV. Lift My Hands
Nathaniel Cobb is from the studio of Dr. Casey Grev.
This program is presented to fulfill the senior recital requirement for the Bachelor of Music degree in Performance.
Steven Banks (b. 1993)
PROGRAM NOTES
Mountain Roads David Maslanka
The music of Mountain Roads is a very personal statement. I feel very deeply about every bit of it. The musical plan of it follows the model a Baroque cantata, and style and content reflect my years of study of the Bach chorales, and of Bach in general. Obviously there are no words in my “cantata” but the music revolves entirely around two chorale melodies. The main one is “Alle menschen mussen sterben” (All men must die) and the second is “Wo soll ich fliehen” (Where shall I run to?).
Movements I, III, IV, V, and VI are all a large evolutionary process on “Alle menschen mussen sterben”. “Wo soll ich fliehen” appears in part in the first movement, and is given it’s full exposition in II. The actual melody of “Alle menschen mussen sterben” does not appear until the four variations of the chorale that end the sixth movement.
The title Mountain Roads comes from a dream that I had while writing this piece. In it I was part of a work crew making new roads in high mountain country. It was springtime, the weather was clear, sunny and comfortable, although there was still snow on the ground. The effect of the place was exhilarating as only mountain wilderness can be. It seemed to me that the dream was a beautiful metaphor for new life and new spiritual opening.
The paradox embodied in this exuberant and uplifting music lies in the title of the main chorale “All men must die”, and further reinforced by the second chorale “Where shall I run to?”. The first title suggests the inevitability of death, but is neither morbid nor about mass destruction. The idea of death is not so much about final end as about change. The process of growth is constantly about “dying” to one way of thinking or feeling, and opening to another.After all is said and done, there is the fact of physical death. The awareness of that fact points up our deep attachment to all the forms of this life. It makes experience of all things both deeply sweet and deeply sad. It also suggests the inevitable release of all the forms that we know, and the movement toward whatever exists beyond form.
Program Note by David Maslanka
Tosca Fantasy Giacomo Puccini
Born in 1858 in the Grand Duchy of Tuscany (which would join the kingdom of Italy very early in his lifetime), Giacomo Puccini was a well-known Italian composer, primarily known for his operas. Tosca Fantasy takes many of the most famous songs from Tosca, an opera by Puccini that was adapted from a play he saw of the same name in 1889 Tosca is a gripping tale of love, sacrifice, and political intrigue. Set against the backdrop of Rome, the opera follows the devoted singer Floria Tosca, whose world is torn apart by the ambitions of the tyrannical police chief, Scarpia. Tosca struggles to protect her lover, Cavaradossi, from Scarpia’s brutality, and the opera unfolds across 3 acts with passion, betrayal, and ultimately, tragedy The four themes included in this arrangement forAlto Saxophone and Piano include “Recorndita armonia”, (Recondite harmony), “Ah! Finalmente!”, (Oh! Finally!), “Vissi d’arte”, (I lived for art), and lastly, “E lucevan le stelle”, (And the stars shone)
Concerto forAlto Saxophone and Orchestra
Program Note by Nathaniel Cobb
David Maslanka
This concerto turned out to be a good deal larger than I would reasonably want.As I got into the composing, the ideas became insistent: none of them would be left out! The format of Songs and Interludes arises from my other recent works for saxophones (“Mountain Roads” for saxophone quartet and “Song Book” for alto saxophone and marimba) and suggests a music that is more intimate than symphonic. There is a strong spiritual overtone with quotes from Bach Chorales, and from my own works “Hell’s Gate” and “Mass.”Astory is hinted at which has the Crucifixion right smack in the middle – the climax of the third movement quotes the “Crucifixus” from the “Mass.” I don’t know what the story is, only that it wants to be music, and not words.
I. Song: “Fire in the Earth”
Walking through a Montana field on a brilliant late fall day, three images came in rapid succession: a distant row of red plant stems caught by the morning sun, snow on the surrounding high mountains, green grass at my feet. The following poetic image came:
Fire in the earth
Snow in the heavens
New green grass in the middle of November
This is a quiet, emotional music – sometimes not so quiet – contained by a very simple song form.
V. Song: “Mortal, have you seen this?”
In the Book of Ezekiel, the prophet has a vision of a man “whose appearance shone like bronze.” The “Bronze Man” shows him the Holy City. He then leads him into a deep and very wide river that cannot be crossed, and says “Mortal, have you seen this?” Where the river enters the sea the water becomes fresh; everything will live where the river goes; trees along the river will not wither, their fruit will be for food, their leaves for healing.
This movement is an echo of the third. It opens and closes with what has been called the “coronation” music from my composition “Hell’s Gate” – in this case played very softly and inwardly.
Program Note by David
Maslanka
ComeAs YouAre
Steven Banks
For several years, I have wanted to write a piece that was dedicated to my immediate family (my mother and three sisters) and the influence of my upbringing on my understanding of music and life in general. When preparing the program for my Young Concert Artists debut recital, it dawned on me that there would be no better time than this to share a work that bears such personal significance.
It seemed obvious to me that this piece needed to take influence fromAfrican-American church music in some way. When I think back to my childhood, and especially the beginnings of my journey in music, the church is at the center of so much. We were regular church-goers, my grandfather was a pastor in theAfrican Methodist Episcopal (A.M.E.) church, and the church provided us with an incredible community that was very important to my family in the good times and the bad. The church also taught me about the transformative and awesome power of music.
In an effort to honor both my family and the church, I decided to write a four-movement work in which each movement would be dedicated to a different family member and take inspiration from their favorite Negro spiritual or sacred song. My mother chose I Still Have Joy. My three sisters, Kharma, Jennifer, andAshley, chose His Eye is On the Sparrow, My Lord, What a Morning, and Wade in the Water, respectively.Additionally, I chose to write this piece for tenor saxophone as it was the instrument that I specialized on for my first few years of playing. My church family will largely remember me as playing hymns on the tenor saxophone during our services.
At its core, ComeAs YouAre is an expanded arrangement or setting of these four songs.As a more direct reference to the music played in the church that I grew up going to, the song Total Praise, which is typically sung by a choir, serves as a sort of connective tissue throughout the entire piece. The titles of each movement come from lyrics from Total Praise. The text of each song is vital in understanding the expressive nature of each movement. However, the form and melodic content of each song have been either been expanded, rearranged, or manipulated in a way that is meant to make the message clear when played on instruments that, obviously, can not convey the actual words. Below, I’ve listed the movement titles along with the song that they draw inspiration from.
I. Lift My Eyes (My Lord, WhatAMorning)
II. Times of the Storm (Wade in the Water)
III. Strength of My Life (His Eye Is On the Sparrow)
IV. Lift My Hands (I Still Have Joy)
When interpreted through the lens of classical music, these movements are configured in a way that is intended to align with a slightly deviant four-movement sonata form that composers like Schumann, Rachmaninoff, Shostakovich, and many others used in several of their works. In this form, the first movement is an allegro, the second movement is a scherzo or dance, the third movement is an
adagio, and the last movement is another fast one, perhaps with a dance feel or including a theme and variations. ComeAs You Are was conceived of with this in mind, but is not rigidly connected to it.
Through the lens ofAfrican-American sacred music, the first two movements, Lift My Eyes and Times of the Storm, are inspired by traditional Negro spirituals. It is important to note that spirituals often contained text that was Biblical on the surface, yet deeply personal or communicative in intention. My Lord, WhatA Morning and Wade in the Water are no exceptions to this tradition. In this spirit, I aimed to strike a balance between the surface-level meaning of these spirituals and what they might have meant for the people that sang them. There may seem to be striking dichotomies in character that are reflective of these varied meanings. The second two movements, Strength of My Life and Lift My Hands, are inspired by songs that are more common in religious practices today. In these, I have tried to make a musical depiction of the lyrics in a way that conveys the message of each song from my perspective.
As I wrote this piece, I realized that one of its purposes was to bring together different facets of my own life experience. As a classical musician, the vast majority of my colleagues have little knowledge or understanding of Black culture or how it influences my musicmaking.As a Black man from North Carolina, many of my family and friends don’t have a true sense of what I do and love as a classical performer and composer. I have also spent an incredible amount of time and energy on keeping these worlds separate and trying to show up in each as if the other didn’t exist. This “two-ness” is akin to a concept called double consciousness that W.E.B. Dubois introduced at the turn of the 20th century in his book The Souls of Black Folk. He outlines this concept, roughly, as having two simultaneous identities. One of these might be described as uniquelyAmerican, while the other is uniquely Black.
This has been further complicated by the saxophone, an instrument that was invented to be a member of the symphony orchestra, but that now is almost singularly associated with jazz and popular music. Even within the classical saxophone community, there is a bit of a divide about whether to dedicate the instrument to experimental new music or to merge it with the mainstream world of concert music. I often find myself at the intersection of being “too ____ for ____ and too ______ for the opposite.”
In many ways, I have experienced all of these aspects of myself finally beginning to merge.As a composer, I strive to let my internal musical voice be “ok” and to follow it where it wanders, trusting that this amalgamation of experiences is leading me in a direction that is uniquely mine and informed by my various interests and identities. ComeAs YouAre is a significant landmark on this journey to musical individuation.
Program Note by Steven Banks
