Interlude
a Graduate Recital by Gabriella Reyna
with Emilio De Leon, Meaghan Treviño, Valeria Hernandez, & members of the UTSA Percussion Studio
May 1, 2025 | 7:30pm | UTSA Recital Hall
interlude in·ter·lude
| /ˈin(t)ər ˌ lood/ noun a brief, musical passage inserted between sections of a larger piece; often serves as a transition, a break, or a moment of reflection within the larger work;
Program Interlude
a Graduate Recital by Gabriella Reyna
Ghost in the Machine
Sync
Amy Beth Kirsten
Gabriella Reyna
with Emilio De Leon
*soft premiere*
An Economy of Means, Mvt 2. Chorale
Robert Honstein
Spine
Michael Laurello with Emilio De Leon, Greg Felter, & Mark Sawyer ~break~
What Was I Made For
Billie Eilish
arr. Gabriella Reyna with Meaghan Treviño, Valeria Hernandez, Rebecca Palmer, Emma Fasano, Lisa Huerta, & Aleena Bermudez featuring Ruby Mireya Acosta
Ameline Eric Sammut
This recital is presented in partial fulfillment of the requirements for the Instrumental Performance Graduate Certificate.
Gabriella Reyna is a student of Paul Millette and Sherry Rubins.
Program Notes
Ghost in the Machine
“Ghost in the Machine” is a guided improv piece for snare drum with minimal musical instructions from the composer. The overall goal of the piece is to experiment with new and unfamiliar sounds on the snare drum by playing it a completely different way than “normal”. With only limited musical notation in the first few bars, highlighting the main theme of the piece, the composer’s instructions vary from “play all sides of muted triangle and snare head” to “…poco a poco Rit as if the machine is running out of steam”, throughout the remainder of the piece.
Personally, I tend to stay away from improv pieces, especially in a performance setting, because of how vulnerable they can be. However, after listening to Mike Compitello’s version of this piece a few times, I decided to embrace this challenge and make the piece my own. The more I thought about it, the more I realized how much this piece has reminded me of my time in San Antonio. I’ve had to embrace the unknown, be vulnerable and welcoming to the unfamiliar, and of course, as my dad used to say, “be willing to adapt”.
Sync
“Sync” is a duo I composed beginning in 2023. My goal for this piece was to tell a story of two people who know each other so incredibly well, that they feed off of each other’s energies, finish each other’s sentences, mimic each other’s mannerisms, and more. I thought the best way to achieve that would be to have the two performers share their instrument, in this case, a vibraphone, so that no matter what they played, they would ultimately be creating one shared sound. I also sought to achieve that feeling harmonically and rhythmically. For the majority of the piece, the two parts create tonal and blended harmonies. In the few instances where dissonance and “crunch” is experienced, the two parts always quickly find their way back to their “home” tonal center. This “technique” was inspired by Jacob Collier. Rhythmically, I looked more towards Steve Reich, who uses a lot of repetition and “splits” between parts to achieve a consistent overall composite rhythm. This is evident especially in the last section. Although the two parts are playing different rhythms, the overall rhythm that is heard throughout is sixteenth notes, stressing again that no matter what the other person is playing, the two parts connect and remain in sync.
I’m very proud of this composition and so excited to finally share it with the world! I’m also incredibly grateful to be premiering this alongside Emilio, my favorite person and duo partner, as we have learned that we too, are in sync.
An Economy of Means, Mvt. 2 Chorale
“An Economy of Means is a kind of companion piece to my trio An Index of Possibility In Index I used a wide range of materials—glass, metal, wood, ceramic, drums, toys, found objects—to create a large form that moved between distinctive worlds within a broad sonic palette. With An Economy of Means I’ve done the opposite, deliberately using one instrument, the vibraphone, and forcing myself to make the most out of limited resources. With a few simple preparations—tin foil, a manilla folder and judicious usage of the vibraphone’s natural properties, I tried to build something vast and varied, as broad and ambitious as the trio but in a narrower, more focused context. Set in six movements, the roughly thirty minute piece doesn’t have a specific narrative. Even so, I think there is always a sense of motion, of drifting from space to space, with little dramas unfolding along the way. An Economy of Means was commissioned by a consortium of alumni from the Chosen Vale Summer Percussion Seminar. I think the infectious spirit of friendship and collaboration so strongly felt at Chosen Vale found its way into this work, and for that I am extremely grateful.” - Robert Honstein
Program Notes (continued)
Spine
“A single line runs through most of the piece, and virtually all of the musical material is derived from it. This meta-line, performed by Percussion 1, serves as the “spine” of the music, both in structural terms (backbone), but also with respect to the line’s perceived control over the direction and progression of the music (central nervous system). The material played by the supporting members of the quartet colors and punctuates this main line. Over the course of the work, players drift in and out of agreement with one another, and occasionally the primary line loses its unique identity within the texture of the ensemble. I tried to impart an almost biological sense to the way motives grow, attempting to balance intuitive, almost improvisatory, types of development with more structured patterns and processes.” -Michael Laurello
“Spine” has been on my “performance bucket list” for many years now. I first heard about this piece during the first couple of years of my undergrad degree at Baylor University. At that point (and let’s face it, sometimes this is still the case), there weren’t a lot of female percussionists receiving a lot of recognition for the work they were doing. “Spine” was one of the first pieces that I personally watched where a female had a lead role. Being able to see that at such an early stage of my career was truly inspiring, and I’ve been wanting to perform the piece ever since. I’m so excited to FINALLY perform this piece, especially with Emilio, Greg, and Mark!
What Was I Made For
When I was in middle school and experiencing the All-Region audition process for the first time, I remember a judge telling me that he knew who I was during the blind audition, because he could hear my heels clicking on the floor when I walked up for my turn The following year, my dad told me I should perform the blind audition in socks, so no judge would know I was a girl I know now that he wanted to see if I would rank higher at the audition if the judges didn’t know I was a girl - and I did It was then that I realized how girls & women are viewed in our field I grew up surrounded by comments like “I didn’t expect such a little girl like you to have such a big sound”, “are you sure you can carry that drum?”, “women don’t have the physique to play snare drum”, and much more Throughout my career, I’ve been inspired and motivated by the women in our field who’ve been able to break their glass ceilings and pave a way for younger women like me It is my hope that as my career progresses, that I’m able to do the same for future generations
Our rendition of “What Was I Made For” is dedicated to the women who paved the way for us, and the girls striving to make their mark with us.
Ameline
I’ve been working on “Ameline” for about a year now and have enjoyed using it as a way to reflect on my time in San Antonio The last 5 years have come with new experiences and friendships that I never anticipated. I moved here with the goal of one day moving out of state to pursue my Master’s Degree, and was afraid to become “stuck” and never achieving that goal. As I now prepare to move to Pennsylvania and begin my Masters, I leave with so much more to say goodbye to.
This piece is dedicated to everyone who was a part of my time here in San Antonio - Southwest, Nichols, & Elrod Elementary students & staff, San Antonio Philharmonic & Mid-Texas Symphony musicians and coworkers, fellow Starbucks baristas, and the UTSA Percussion Studio - thank you, thank you, thank you.
From Gabbie
Thank you to my family for everything. I wouldn’t be where I am today if it wasn’t for you all. Thank you for supporting me, believing in me, and guiding me I never would have moved to San Antonio without your help, and I’m so grateful to have had these 5 years of living in the same city with you
Thank you, Dad, for never leaving my side. I know you’re with me, always.
Thank you to Sherry Rubins - I wouldn’t have had most of my experiences in San Antonio without your help and guidance. I’m forever grateful to you for welcoming me into the UTSA Percussion Studio.
To Paul Millette - thank you so much for helping me get my musical strength back. I wouldn’t have been able to get through 6 grad school auditions without your help!
To the UTSA Percussion Studio - thank you for accepting me into the studio, and helping me make the most of my short time here. I’m so grateful for your support throughout my audition process, and the opportunity to have learned from you over the last year and a half.
To Mark, Greg, Emilio, Val, Meaghan, Rebecca, Lisa, Emma, Aleena, & Gabe - thank you for helping me bring this recital to life! It’s an honor to perform and work alongside all of you
To Emilio - I’m so grateful for you, not just today, but everyday. Thank you for supporting me, encouraging me, and uplifting me everyday. I wouldn’t have made it through all of this without you, and I can’t wait to see where our next adventures take us.