11.19.23 Julianne Williams, Clarinet

Student Recital Series Sara M. Snell Music Theater

2023 – 2024 Season Sunday, November 19th at 3:45 PM

Julianne Williams, flute Keilor Kastella, piano El Bachiano (2017)

Raimundo Pineda (b. 1967)

Three Dances for Two Flutes (1993) I. Easy Going II. Moody III. Coffee Nerves, Prestissimo

Gary Schocker (b. 1959)

Caleigh Dutton, flute Sonata for Piccolo and Piano (2018) I. Allegro, Flowing II. Moderato, Dreamy III. Vivace, Driving, Playful

Amanda Harberg (b. 1973)

Three’s a Crowd (2018) I. Risoluto II. Moderato III. Allegro

Dario Argentesi (b. 1985)

Hannah Park, clarinet Kiley Foxhall, violin

Fantaisie Pastorale Hongroise, Op. 26 (1870) Saria’s Song (1998)

Franz Doppler (1821 – 1883) Koji Kondo (b. 1961) arr. Andrew Gorman

Melody Fai Yam Cheng, bass Virginia Mertson, piano Kam Balcom, drumset This piece is dedicated to my parents, Beverly and Matt Williams, without whom I would not be where I am today. I love you. <3 Julianne Williams is from the studio of Brian Dunbar.

This recital is presented to fulfill the senior recital requirement for the Bachelors in Music Performance.

Program Notes Julie’s Senior Recital | November 19, 2023 | 3:45pm | Snell Theater EL BACHIANO (RAIMUNDO PINEDA)

The Bachiano was written for the Venezuelan maestro Jose Antonio Naranjo, pillar of the flute school in my country. When I was a child, I was his pupil. He taught me to love, among other things, the traditional music and to make it an inseparable part of my identity as a musician and as a person. The first part of the piece is a Venezuelan national dance (Joropo) with Bach style, with melodic twists that makes us remember the great German genius.

Though it's possible to execute thinking about the tempoes of a baroque dance it's necessary to have in mind that the Joropo is a dance, in which the tempo must not be very slow. The central part is very calmer, like a melancholic fantasy, if it's wanted. This interlude slowly shows the Joropo up to leading it in the middle of accelerandos and spasms to the awaited refrain, where the music acquires a very much faster tempo in which the singers of the Venezuelan east improvise comparing their talent with the mandolin players and the performers of the "cuereta", type of accordion that it’s a leader voice in the oriental folk music of Venezuela. The virtuosos arpeggios test the ability of the improvisers and take the dancers to the paroxysm.

Program notes by Raimundo Pineda.

THREE DANCES FOR TWO FLUTES (GARY SCHOCKER) When I think of Gary Schocker, I think of my former private lesson teacher, Julie Donato, who is friends with Mr. Schocker and introduced me to some of his pieces. Mr. Schocker is an amazing flute composer with a distinct, slightly quirky style that is exemplified in this piece. The first movement, Easy Going, establishes the fun bass line in the piano part while the flutes have a conversation above it. The second movement, Moody, slows the previous bass line down and features beautiful harmonies in the flute parts. The third movement, Coffee Nerves, Prestissimo, is extremely fast and flies by in a flash of a fun and interlocking flute melody. Thank you to Caleigh for joining me on this piece!

SONATA FOR PICCOLO AND PIANO (AMANDA HARBERG)

The Sonata for Piccolo and Piano was a consortium commission spear-headed by Regina Helcher Yost and supported by twenty four distinguished piccoloists. It is in three movements: 1. Allegro, Flowing, 2. Moderato, Dreamy and 3. Vivace, Driving, Playful.

Helcher Yost and Harberg premiered the sonata at the Orlando National Flute Convention in 2018. The Sonata for Piccolo and Piano is dedicated to Jeffrey Yost.

Program notes by Amanda Harberg.

THREE’S A CROWD (DARIO ARGENTESI) Hannah, Kiley and I have remained best friends for years, even despite going to very different colleges (Hannah at Binghamton University for physics and Kiley at Ithaca College for violin performance). Despite its challenges (and many hours of driving and visiting for rehearsals), I chose this piece for us to play together here! I am so grateful that this was able to come together.

This piece has interesting harmonies with fun parts in every instrument, and from an email correspondence with Dario Argentesi, we discovered that we are the first group to publicly perform this piece, so I guess you could call this a world premiere!

FANTAISIE PASTORALE HONGROISE, OP. 26 (FRANZ DOPPLER) As you might be able to guess, “Fantaisie Pastorale Hongroise” translates to Hungarian Pastoral Fantasy. Franz Doppler, an Austrian flutist and composer, toured Europe with his brother Karl; it was on this tour that he met the great Hungarian pianist Franz Liszt. He also held a post at the Hungarian National Theater in 1841. These two experiences influenced his later compositions, including Fantaisie Pastorale Hongroise, which uses an opening fantasy reminiscent of Eastern European folk music and a later dance-driven melody that is also inspired by folk tunes.

I actually decided to play this piece in my senior recital during my freshman year at Crane. After hearing it played by a studio-mate and borrowing the sheet music to sightread, I loved the sound of it and, being a lover of the Romantic era, thought that it would be a great showstopper piece for my hour recital at Crane. I am so happy that my goal to play it my senior year became a reality!

SARIA’S SONG (KOJI KONDO, arr. ANDREW GORMAN) This piece is dedicated to my parents, Beverly and Matt Williams, who have done so much for me, both for my career and music and just in general. Without them, I would not be where or who I am today, and I am eternally grateful for all of the sacrifices they have made to help me succeed. I love you! <3 Saria’s Song is from the soundtrack of the video game The Legend of Zelda: Ocarina of Time.

This game was my entire childhood, and is regarded by some as one of the best video games of all time. It follows an elven hero, Link, on his quest to save the princess of Hyrule, Zelda, from

an evil demon king, Ganondorf; Link must complete his quest by traveling between his childhood and his late teenhood by way of a magical ocarina that his childhood best friend, Saria, gave him. This specific song is played in the Lost Woods, where Link and Saria would often meet, and was composed by Saria for Link to play on his ocarina whenever he wants to speak to her. I chose to play this piece as the last piece on my recital as this song was the first song I ever remember learning as a musician. My sister and I learned it by ear on my little Yamaha keyboard when I was only 4 or 5. By playing this piece, I want to bring my musical journey from childhood to college full circle – although I’m definitely not stopping here!

Thank you so much to Andrew Gorman for arranging this piece for jazz combo. He wrote it so that it begins and ends with the opening soundtrack of Ocarina of Time before going into a jazz rendition of the theme, sandwiching an improv section. I could not ask for a better arrangement to play, and I’m so grateful that he put so much time and effort into putting this together! Also, thank you to Melody, Ginny, and Kam for agreeing to play this with me – it came together beautifully!

Finally, thank you to everybody who came to support me today. I would not be here without your endless love, encouragement, support, and companionship.