Student Composers
Concert #1
Monday, February 12, 2007
7:30 pm
Recital Hall, School of Music
Program
Duet for 2 Clarinets no. 1 Sean Pollock
Sonia Archer-Capuzzo, clarinet
Jonathan Salter, clarinet
How to Seduce Sean Gallagher
Michael Schietzelt, trumpet
Jessical Glime, soprano
Lindsey McConville, soprano
Sidney Dixon, alto
Piano Sketch no. 3, “Haunting” Tim Daoust
Sarah Evans, piano
Day 7 from The Creation Alex Beard
Alex Beard, piano
Jonas Davidson, flute
Josh Horlitz, violin
Sarah Bearden, cello
Intermission
The End of the Rope Lindsey Parsons
Lindsey Parsons, viola
digital media
Le Destin Raté Tim Daoust
Yana Romanova, flute
Caitie Leming, viola
Anne Stewart, bass clarinet
Sweet Dreams Jeffrey Lewis
A Gliss on the Lips
Mike Larkin
Caleb Smith
Matt Hanson
Drew Creech
Sextet for String Quartet, Horn, and Clarinet Philip Kassel
Michael Cummings, violin
Megan Morris, violin
Caitie Leming, viola
Joel Wenger, cello
Mary Pritchett, Boudreault, horn
Holly Kortze, clarinet
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The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
Duet for 2 Clarinets No. 1 (Sean Pollock)
I started composing this piece over Christmas break of last year. It is an expanded version
of thematic material from a much shorter miniature piece which I had composed. This piece is
largely influenced by many of the modern twentieth-century clarinet works which I have listened to
and played as a clarinetist at UNCG. Paul Hindemith’s Sonata for Clarinet and Piano (1939)
immediately comes to mind as being the most influential. Duet for 2 Clarinets No. 1 is largely a
rhythmical piece, restless and overactive in character. It is much more dissonant and edgy than
pieces I have previously composed, particularly with its frequent use of tritone intervals, but I like
the new palette of colors I’ve found.
How to Seduce (Sean Gallagher)
How to Seduce is a piece written for a female voice trio and a male trumpet player. The
piece follows three witches as they go through the process of seducing an honorable and
innocent man and his trumpet.
Piano Sketch No. 3, “Haunting” (Tim Daoust)
Haunting states a simple melody and then mimics it in an atonal style several times before
restating it and dying away. The pianist uses the pedal to sustain every note during each
separate phrase o that the sound grows as the melody creeps further away from the familiar in
much the same way that our fears grow when unattended by reason.
Day 7 from The Creation (Alex Beard)
This is the final movement in a much larger worked commissioned by the prestigious
Emmaus Quartet. Composed as a musical representation of the Creation account as found in the
book of Genesis, chapters one and two, the piece is comprised of eight movements: a “formless
and empty” prelude, followed by seven “days” (movements) that gradually solidify numerous
musical ideas from the preceding material and form a single “hymn” motive.
Day 7 is the climax and finale to the entire work, and motives from all the preceding
movements weave their ways in and out of the single unifying theme (the “hymn” theme) that’s
been hinted at and gradually developed throughout the piece. This final movement is one of
celebration of the completion and goodness of the Creation—before mankind fell and sin entered
the world, when everything was perfect.
The quartet’s regular pianist, Jeremy Heisey, was unable to attend tonight, so I will be
substituting on the piano.
Le Destin Raté (Tim Daoust)
Le Destin Raté is a trio for three instruments with dissimilar timbres and in which each
melodic line, though able to stand alone, is part of amore intricate and complex whole. The
original solo line by the bass clarinet is augmented by a syncopated line in the viola that is
echoed and occasionally ornamented by the flute. As each line moves forward, counterpoint
increases until eventually no instrument is playing in rhythmic unison with any of the others.
Suddenly they all come together, albeit briefly, and eventually fall back apart. Le Destin Raté is
translated “Failed Destiny.”
Sextet (Philip Kassel)
When I started writing the Sextet, I was really interested in the mysterious sounds of
common tone chord progressions so the piece it’s self is like one large progression. It spans three
different keys and the only thing that connects any of the keys is a common tone. It begins in E
minor, with the cello offering the first exclamation of the main melody. This melody, beginning with
a perfect fourth followed by a minor third, is continually passed throughout the ensemble; it
always begins the same way, but seldom ends the same as the previous statement. From here
the piece moves to A minor and then eventually to C minor, with bits and pieces of the opening
melody always in the mixture. There is a period of instability towards the end in a powerful theme
in the viola, clarinet, and horn where the key bounces back and forth between e minor and c
minor. The music comes to resolution at the end when it shifts back into e minor with a final
recurrence of the opening cello line.
EGB - ACE - CEbG
