Saturday, May 26, 2018 • 9:00 p.m. ​

Michael Verbic

Senior Recital

DePaul Recital Hall 804 West Belden Avenue • Chicago

Saturday, May 26, 2018 • 9:00 p.m. ​ DePaul Recital Hall

Michael Verbic, Senior Recital Yukiko Fujimura, piano

PROGRAM

Oskar Böhme (1870-1938) Trumpet , Op. 18 (1930) I. Allegro Moderato

Yukiko Fujimura, piano

Kent Kennan (1913-2003) Sonata for Trumpet and Piano (1986) With strength and vigor Rather slowly with freedom Moderately fast, with energy

Yukiko Fujimura, piano

Intermission

Joseph Haydn (1732-1809) (1796) Allegro Andante Allegro

Yukiko Fujimura, piano

Michael Verbic • May 26, 2018 Program

Henry Purcell (1659-1695); arr. Michael Rondeau Sonata No. 1 in D Major (1680) Allegro Moderato Andante Maestoso Allegro ma non troppo

Yukiko Fujimura, piano

Michael Verbic is from the studio of Matthew Comerford. This recital is presented in partial fulfillment of the degree Bachelor of Music.

As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you.

Michael Verbic • May 26, 2018 ​

PROGRAM NOTES

Oskar Böhme (1870-1938) Trumpet Concerto, Op. 18 (1930) Duration: 7 minutes Of the 46 known compositions by Oskar Böhme, his trumpet concerto is one of his most famous pieces. Originally published in 1899 by Pyotr Jurgenson, it was written in the key of E minor to be performed on trumpet in A. However, these instruments fell out of favor which led to this piece being performed on B-flat trumpet transposed to F minor. The opening statement sets the tone for the rest of the piece. Like many Romantic violin solos, the prevalent bravura style is heard throughout the first movement. The heavy piano chords outline the main theme that the trumpet picks up after the fermata. After expanding upon the opening theme, the trumpet transitions into the cantabile section. The romanticism clearly comes through when you hear these melodic lines from the trumpet accompanied by smooth eighth notes in the piano. The trumpet continues this melodic material with fast scalar passages going up and down until the long anticipated final scale of the section is heard. The trumpet soars up to a B-flat with great expressive passion only to return to the main theme after a brief decline in tempo. After the transition is played by the piano, the trumpet comes in with arpeggiated figures which eventually lead to the main theme almost unravelling. The quick sixteenth note figures eventually descend downward until the piece reaches the original key it started in.

The main theme is played once more by the trumpet until it reaches the next poco meno section. As heard before, the romantic line is carried by the trumpet until it once again shoots upward in a quick scale to the second appassionato section. The tempo slows only to be picked up by the piano to bring back the main theme. Rather suddenly the trumpet triumphantly plays a short which quickly transitions into a very brisk technical passage outlining the main theme. With the tempo increasing and the rhythmic figures becoming faster, the listener can perceive the end of the movement approaching. After a few brief scalar passages, the trumpet goes back to another technical passage which is reminiscent of the old cornet solos. Once the passage is over the trumpet crescendo leads into the last quick scale to the climatic end of the first movement.

Michael Verbic • May 26, 2018 Program Notes

Kent Kennan (1913-2003) Sonata for Trumpet and Piano (1986) Duration: 15 minutes Kennan’s Sonata for Trumpet and Piano is one of the standard pieces for trumpet many collegiate trumpet students know. It challenges every trumpet player to not only play proudly with beautiful tone, but to also pay close attention to detail. This Sonata is riddled with various tempi, dynamics, phrases, and markings that are crucial for the execution of this piece. The opening trumpet line is very similar to the opening of the Hindemith Trumpet Sonata. This comes as no surprise because Kennan looked up to Hindemith throughout his whole life. The first movement lays down the foundation for the rest of the piece. The piano and trumpet enter together at the same strong dynamic. The first movement is marked “With Strength and Vigor” and is best heard in the numerous times the trumpet plays the main fanfare. The motive comes back on three different occasions and each one is slightly different in key center. Each fanfare section is followed by a slurred motive that is mainly eight notes. Once this is repeated three times the tempo rapidly picks up after a brief formatta. The trumpet comes in once again with a fanfare figure that carries through until the end.

Unlike the first movement, there are no fanfares to be heard in the second movement. This movement is comprised of many lyrical lines and a few mute changes. The opening starts off as a straight mute which transitions into an unmuted section. This section then transitions into another section played with a straight mute. After just a brief couple of measures, the trumpet player now switches to a harmon mute which closes out the movement.

The third movement can be characterized as the main theme combined with a very rhythmic feel. The opening theme is repeated a few times across this movement in different keys, but always maintaining the energetic character of this movement. The opening theme returns now performed at a very soft dynamic level to contrast with the opening. After the theme is played for a few measures, it quickly jumps back to forte and the trumpet leads the piece forward in a dramatic fashion. The trumpet continues to play at a loud dynamic gradually increasing in volume until the end of the piece. After a brief soft section in the last system of the piece, the trumpet brings the theme back a final time at a roaring fortissimo which carries through until the last two measures. The trumpet ends on a climactic C which crescendos as much as the trumpet player is capable of doing.

Michael Verbic • May 26, 2018 Program Notes

Joseph Haydn (1732-1809) Trumpet Concerto (1796) Duration: 15 minutes To this day, Haydn’s Trumpet Concerto remains a staple in the . It was one of the first for trumpet and helped propel it into the world as a solo instrument. Originally composed for the invented by Anton Weidinger, the concerto illustrates how trumpet players were now capable of playing chromatically throughout the range of the trumpet.

The first movement begins with the main theme of the piece. The piano merely sets the stage for the trumpet to take over. After a brief statement by the piano, it plays a dramatic fanfare figure to call in the trumpet to play. The trumpet repeats the main theme just played by the piano. This scalar figure is of course showing off the keyed trumpet’s capabilities, which is quickly followed by a chromatic line. The development section that follows is simply a restatement of the initial theme in the relative minor key. After the recapitulation, the trumpet begins playing fast arpeggios leading into the final rapid scalar passages heard earlier. To close out the movement, the trumpet plays a cadenza further demonstrating the performers artistry and technique which is followed by a short coda to close it out.

The second movement showcases the instrument’s lyrical capabilities. This movement can be heard as beautiful lullaby sung by the trumpet to the audience. After each occurrence of the theme, the piano takes over in an expressive manner. The roles of the trumpet and piano switch in this moment and the trumpet becomes the accompanist. The trumpet can be heard softly playing two chromatic measures. This repeats once more leading into the climax of the piece which is the trumpet playing an ascending scale followed by a descending scale which brings it back to the main theme. The movement closes out with another brief chromatic passage by the trumpet and a series of E-flats played with the piano.

The final movement is in sonata-rondo form. This movement is best described as very quick, buoyant, and fanfare-like. Similarly, to the first two movements, the piano lays down the main theme of this movement which is picked up by the trumpet. After playing the main theme there is a brief moment of short fanfare figures played by the trumpet to transition into the recapitulation. Similar to the first movement, there are a series of octave and arpeggiated leaps leading into the coda. After a brief coda, the trumpet plays the main theme once more slowly building towards the climactic fanfare at the end.

Michael Verbic • May 26, 2018 Program Notes

Henry Purcell (1659-1695); arr. Michael Rondeau Sonata No. 1 in D Major (1680) Duration: 5 minutes One of the many sonatas by Henry Purcell, Sonata No. 1 in D is one of my favorites. It was originally played on and accompanied by a small and creates the perfect atmosphere for outdoor music. The first movement is marked Allegro pomposo which simply means fast with a pompous approach. The trumpet comes in proudly stating the main theme and ends with a brilliant trill. After a brief interruption by the piano, the trumpet reenters outlining the main theme until it returns in shorter passages eventually ending on the same trill as the beginning.

The second movement is only played by the piano which allows the trumpet player a brief amount of rest. This movement is very thought-provoking because of the amount of space and lack of sound coming from the piano. The piano can be heard playing a few arpeggios along with a series of quarter notes before and after. This occurs continuously until the end of the movement which has the piano playing quarter note trills until it plays the same trill as stated by the trumpet at the beginning which leads to the final chord.

The final movement is marked in 3/8 which is easily felt in one. This gives it a very light and bouncy feel. The trumpet plays the opening theme repeatedly and each time is interrupted by short fanfare figures by the piano. After the main theme is finished in the trumpet, the piano picks it up for a few measures until the trumpet takes over once more. Once the main theme is played again, the piano and trumpet trade fanfare figures until the final fanfare is played by the trumpet, which descends to the final chord of the piece.

Notes by Michael Verbic.

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