Music Department California Polytechnic State University

Ųauren ƽasynczuk ‡saxophone ‡

A Senior Recital in Partial Ful!llment of the Requirements for a Bachelor of Arts in Music

Susan Azaret Davies, accompanist

June 3, 2012

Sunday at 3 p.m

Mt. Carmel Lutheran Church

Sponsored by the Cal Poly Music Department and College of Liberal Arts Program

Lauren Wasynczuk, saxophone Susan Azaret Davies, piano

Concerto in D minor ...... Alessandro Marcello (1669-1747) Andante e spiccato Adagio Presto

Ku Ku ...... Barry Cockcro" (b. 1972)

– Intermission –

Tableaux de Provence ...... Paule Maurice (1910-1967) I. Farandole des jeunes !lles IV. Des Alyscamps l’âme soupire V. Le cabridan

Fantasia ...... Heitor Villa-Lobos (1887-1959) III. Très animé Program Notes

Alessandro Marcello – Concerto in D minor Venetian nobleman Alessandro Marcello practiced music as a dile#ante$a “delighter” in the art$rather than as one who pursued it for a living. Despite his younger brother Benede#o being a more famous composer, Alessandro Marcello inspired many musicians, including Johann Sebastian Bach. Marcello’s most celebrated and beloved composition, Concerto for Oboe and Strings in D minor, is a work that has transitioned well to !t the soprano saxophone. Alessandro was the son of Venetian nobility and showed early signs of musical talent, which he inherited from his mother’s side of the family. He was born in Venice on August 24, 1669, and was buried at the family estate at Paviola, Italy, on June 19, 1747. During his childhood, he played several di%erent instruments, sang, and became interested in composing. As a composer, Alessandro Marcello had a full understanding of the late Venetian Baroque concerto style. In 1740, he published a collection of violin solos and wind concertos entitled La Cetra (for two &utes, oboe, bassoon, strings and continuo). Long before La Cetra, though, Marcello created his Concerto in D minor for oboe, strings, and basso continuo. He wrote it in 1717 for the Arcadian Academy, a group that consisted of weekly gatherings of artist-dile#antes. Marcello’s work later a#racted the a#ention of Johann Sebastian Bach, who made it famous in an embellished transcription for solo harpsichord$but misidenti!ed it by pu#ing it in a collection titled XVI Concerti nach A. Vivaldi. Confusing the situation further, Alessandro Marcello’s works were published under the pseudonym “Eterio Stinfalico” (Marcello’s name in the Arcadian Academy), which is one of the reasons why he wasn’t credited with writing Concerto in D minor until the mid-twentieth century. Instead, Alessandro’s brother, Benede#o, who was dubbed the “Pindar of composers” and the “Michelangelo of music,” was long assumed to be the “Marcello” who had wri#en this concerto. Moreover, few copyright laws existed in the eighteenth century, so sometimes composers claimed authorship of works they had not wri#en, or famous composers were a#ached to inauthentic works. Marcello’s Concerto in D minor closely resembles the type of concerto we know from the standard concert repertoire. It is scored for a single solo instrument (the oboe), accompanied by an orchestra. In this performance, the soprano saxophone replaces the oboe and the piano substitutes for the orchestra. Like most three- movement concertos, the framework of Marcello’s Concerto in D minor is structured with fast outer movements surrounding a slow “cantabile” (lyrical) central movement. 'e !rst movement suggests a grand mood because of its moderately fast tempo and stately thematic material, which is presented by the soprano saxophone. As the movement progresses, the theme is varied, creating more direction and interest. 'e somber mood of the second movement aspires to genuine pathos and is the best-known movement from Marcello’s Concerto. 'e piano opens the solemn movement by performing so" and delicate eighth notes. 'e soprano saxophone’s slow tempo during the opening ascending melodic line illustrates grief and nostalgia. Furthermore, the movement incorporates musical embellishments and rubato (making the established pulse &exible by accelerating and slowing down the tempo), which emphasize the yearning melody. Bringing the work to a conclusion is a virtuosic and spirited gigue (a quick and lively dance), which features an engaging interplay between the soprano saxophone and piano. 'e soloist introduces the cheerful movement with bouncy and light rhythms; the piano answers in a similar fashion. Both the soprano saxophone and piano perform a call-and-response throughout the movement, and at the end of the Concerto, a slight slowing of the tempo brings the work to a glorious conclusion.

Barry Cockcro! – Ku Ku 'e word Ku Ku can mean “chicken” in Swahili, “crazy,” and a type of clock made in the Black Forest$and all of these interpretations can relate to Barry Cockcro"’s Ku Ku because the work is designed to transport the listener to a chicken coop inhabited by a schizophrenic chicken. Born in 1972, Barry Cockcro" is a notable Australian saxophonist who is sponsored by Selmer and RICO International. Cockcro" studied music in Australia for !ve years and in Bordeaux, France, for two years. He currently teaches at the University of Melbourne and the Victorian College of the Arts. Cockcro" has traveled to a myriad of countries and has been featured in international festivals as a soloist in both chamber and large ensemble se#ings. Cockcro" o"en collaborates with his friend and pianist, Adam Pinto, in a duo called Rompduo. 'ey are best known in Australia, but have undertaken many international tours. In addition to being a highly acclaimed saxophonist, Barry Cockcro" is naturally gi"ed as a composer. Cockcro"’s fresh and innovative compositions have helped increase the repertoire for the saxophone. He has over 140 published works, all of which are available from Reed Music. While in France, one of the last pieces Cockcro" performed was Sequenza VIIb for soprano saxophone by Luciano Berio, a work that incorporates challenging multiphonics (a virtuosic way of producing multiple notes simultaneously). A friend of Cockcro" commented that Cockcro" sounded like a chicken when he heard Cockcro" experimenting with these multiphonics. 'is image led Cockcro" to expand on his friend’s idea; he added a multiphonic section to Ku Ku, combining it with funky beat- box-type rhythms. Like Luciano Berio’s Sequenza VIIb, Ku Ku utilizes non-traditional sounds and techniques, so listeners need to bring willing ears and an open mind. In describing Ku Ku, Cockcro" says, “'ere are happy hens, ones that live on an organic farm, that have worms to eat and lay lots of eggs. 'e air is fresh and the handsome rooster caters for all their needs. 'ere are other kinds of chickens, ones that may have lost their mind, or their head! Each day they do the same thing, they live in li#le boxes, cluck, cluck . . . cluck, cluck.” Ku Ku begins delicately with an ascending lyrical line. One can imagine a rising sun greeting the chicken. Short musical ideas are repeated, with slight rhythmic and melodic variation. 'e beginning of each short musical idea presents two stressed eighth notes that create a “ticking” sound and the overall contour of each phrase is like a pendulum swinging back and forth on a cuckoo clock. As the piece builds in momentum, the chicken starts to lose its head, which is illustrated by slap-tonguing and multiphonics. By the end of the work, so" slap-tonguing illustrates the chicken ‘fading away,’ but a humorous ending is in store.

Paule Maurice – Tableaux de Provence Who doesn’t like receiving a postcard from a friend or loved one? French female composer and respected educator Paule Maurice composed Tableaux de Provence as her “postcard.” 'e piece consists of a series of musical portraits that depict picturesque scenes and capture the spirit of her homeland Provence, a region in southern France. Before Maurice’s lifetime, female composers seldom had success when entering the traditionally male !eld of art music. Maurice was a rare and brave woman who broke the norm. Born in Paris on September 29, 1910, Maurice studied at the Conservatoire National Supérieur de Musique de Paris, where she won !rst prize in composition and harmony. Not only was she skilled as a composer, but she also was appointed Professor of Sight-Reading at the Paris Conservatoire. Maurice taught many well-known composers and conductors, some of whom won the coveted Prix de Rome and a"er their studies also became professors themselves. Two years before her death in Paris on August 18, 1967, Maurice was appointed as Professor of Analysis and Harmony at L’École Normale de Musique. Although she only wrote a few works, Paule Maurice was an active composer who achieved national recognition for her outstanding compositions. Her most famous piece for saxophone is Tableaux de Provence. It was wri#en for alto saxophone and orchestra, but another version exists for alto saxophone and a reduction for piano, which is the version most o"en played by saxophonists. 'e work was composed during 1954–9 and was dedicated to saxophone virtuoso Marcel Mule, whom many call the “Father of Classical Saxophone.” Its premiere was given on December 9, 1958, by French saxophone virtuoso Jean-Marie Londeix and the Orchestre Symphonique Brestois, directed by Pierre Lantier, Maurice’s husband. Tableaux de Provence, a suite consisting of !ve impressionistic movements, employs idiomatic characteristics of the saxophone to convey the imagery of the !ve movements, three of which will be performed today. Movement I “Farandole des jeunes !lles” (Farandole [Dance] of the Young Girls) is a lively and brisk movement. 'e farandole is a national dance of Provence in which large groups of people join hands and make their way through the village streets in a line; at times, a circle or a spiral is formed. Accompanying the dancers is a leader playing a pipe and tabor (a small drum). Maurice uses rhythm to evoke the Provençal style. 'e saxophone, representing the young girls, has the most rhythmic interest because of its playful and bouncy character. 'e piano represents the image of the pipe and tabor leader with its light and supple accompaniment. Dynamics also help convey the Provençal style. 'e saxophone begins the movement so"ly, illustrating the young girls dancing from afar. 'e dynamic begins to grow louder, implying that the girls are ge#ing closer to the listener. By the end of the movement, the gradual decrease in dynamic depicts the girls’ departure. Movement IV “Des Alyscamps l’âme soupire” ('e Soul Sighs for the Alyscamps) was wri#en over a period of two days. It evokes the recent passing of one of the composer’s friends, and is the only melancholy and funereal part of the suite. 'e Alyscamps, a Roman cemetery located outside the city of Arles, is one of the most famous cemeteries of the ancient world. Maurice was &ooded with grief and sorrow upon learning of the death of one of her husband’s cousins, who was like a brother to them. 'e saxophone sings a heart-throbbing, nostalgic, and sighing melody that emulates one grieving through its varied use of vibrato. 'e piano performs an ascending bass line that suggests walking toward the graveyard of the Alyscamps with much di)culty. 'e overall range of both instruments is relatively small, but at the climax in the middle of the movement, the saxophone sings in its altissimo range. 'is part of the movement symbolizes a cry to the heavens, mourning the loss of a loved one. Movement V “Le cabridan” ('e Bumblebee) is a French version of “Flight of the Bumblebee.” “Le cabridan,” to quote the composer herself, is “a great, buzzing, &ying creature, turning and bustling, that poises on the &owers, then, watching his chance, &ees his narrow valley.” 'e contour, shi"ing dynamics, and the fast, supple rhythms convey the bumblebee’s twists and turns. 'e introduction is so" when the bumblebee is more distant. As the dynamic builds, the bumblebee &ies closer to the listener; the saxophonist is supported by the piano, performing sprightly and rapid rhythms. A short solo feature called a cadenza brie&y interrupts the continuous motion of the movement. 'e virtuosic cadenza depicts the bumblebee resting on the beautiful &owers of Provence, but then continuing its &ight. Although the rhythm and strong dynamic in the ending measures show eagerness, the last measure’s dynamic grows so"er and tapers away as the bee departs.

Heitor Villa-Lobos – Fantasia, (mvt. 3, “Très animé”) No one expects to see a saxophone within a traditional orchestra. However, Brazilian composer Heitor Villa-Lobos made the soprano saxophone the most conspicuous intruder in the orchestra in his most famous composition Fantasia. 'is virtuosic work stands as the cornerstone of the soprano saxophone repertoire because of its innovative combination of Brazilian rhythms with classical harmony. Born March 5, 1887, in the Laranjeiras (Orange Groves) section of Rio de Janeiro, Heitor Villa-Lobos is now recognized throughout the world for his creative blend of Brazilian folk music with Western classical music. Growing up, Villa-Lobos showed signs of musical talent at an early age, studying the clarinet, guitar, and cello. However, Villa-Lobos also explored his homeland’s popular musical culture. Villa-Lobos was especially drawn to choro, a speci!c form of urban popular music of Rio de Janeiro, which helped him develop his nationalistic style. Between 1907 and 1908, Villa-Lobos a#ended the National Institute of Music for a few months, but le" because he preferred his own approach to studying Brazilian folk and popular music. Villa-Lobos’ career prospered internationally when he befriended the world- renowned and acclaimed pianist, Arthur Rubinstein, who helped launch Villa-Lobos’ recognition as a composer. In addition to being an accomplished composer, Villa- Lobos was a strong advocate for music education, working to improve the poor educational state of his native land. At the time of his death at age 72, on November 17, 1959, Villa-Lobos le" behind an impressive musical legacy. He had wri#en about 1,000 pieces of music, including chamber works, opera, larger vocal arrangements, band pieces, and orchestral compositions. 'e saxophone is used widely in his works, and the instrument can be found in over !"y of his compositions. In 1948, Villa-Lobos composed Fantasia for Soprano Saxophone, 3 Horns and String Orchestra, and dedicated it to Marcel Mule. Mule never performed the work because he wasn’t particularly enthused by it. In an e%ort to !nd a replacement, Villa-Lobos approached saxophonist and friend, Waldemar Szpilman, who asked to play the piece on tenor sax because he didn’t own a soprano sax; he also wanted to have the key transposed down a step. (His saxophone lacked some of today’s modern features, which prevented him from playing altissimo notes.) Villa-Lobos agreed to his requests, and Fantasia successfully premiered in 1951 in Rio de Janeiro with the new title, Fantasia for Soprano or Tenor Saxophone and Chamber Orchestra. 'e Fantasia’s character is truly Brazilian. It is light with unexpected rhythmic accents, called syncopation. 'e work represents the choro because it is saturated with prominent elements including virtuosity, syncopation, a rhythmic ostinato (a repetitive musical pa#ern), and wide melodic leaps. Like traditional choros, the Fantasia is simple in form. 'e Fantasia’s structure consists of a lively and animated !rst movement (Animé), contrasted with a lyrical and passionate second movement (Lent), and it concludes with a vivacious third movement (Très animé), which is the movement to be performed today. Like the choro, the “Très animé” is rhythmically active and largely improvisatory- sounding, which suits the movement’s energetic and spirited character. Villa- Lobos’ incorporation of Brazilian and other Latin American dance rhythms !ts the movement’s exuberant mood. 'e piano establishes the driving rhythmic pa#ern in the “Très animé” and supports the vibrant and virtuosic passages performed by the soprano sax. Toward the conclusion of the movement, both instruments build to a vigorous and dramatic ending, in which the soprano sax performs an ascending &ourish on the !nal chord that is le" unresolved. Acknowledgments Susan – Your consistent guidance and encouragement have helped me push myself to work even harder as a musician. 'ank you for being so &exible and willing to assist me in any way. Your ability to play anything astounds me and everything you perform is done with such impeccable musicianship. I feel incredibly lucky to have the privilege to work with such a talented and gi"ed pianist.

Dr. McLamore – It has been an honor to work with you. Words can’t go far enough to express my gratitude for your expertise and help especially with my program notes. Your careful and thorough a#ention to detail has served me well. I’ve learned a lot about myself from working with you, and your encouragement and support has continued to give me strength to !nish my education at Cal Poly strong.

Dr. Arrivée – 'ank you for being a tremendous con!dant and supporting me throughout my time at Cal Poly. I appreciate your incredible insight about the world of orchestral conducting and thank you for providing me with the great opportunities to conduct and perform with the Cal Poly Symphony. Your advice and suggestions will continue to support and guide me throughout my future endeavors.

J –Since the very beginning of my journey at Cal Poly, you have been a very strong supporter of me. 'ank you for giving me many wonderful conducting experiences and for passing on the tools I needed to become a more well- rounded musician. You have been an inspiration to work with and someone I am proud to call a mentor and friend.

Robert – Working with you my !rst three years gave me a great foundation as a saxophonist. Your friendship and guidance has meant so much to me and without your mentoring and in&uence, I would not be the musician I am today.

Brian – During my senior year, thank you for your meticulousness with my playing and for helping me to develop consistency.

Kevin – I greatly appreciate you encouraging me to draw on personal experiences to help emulate the music. 'ank you for your support and help particularly with preparing me for graduate school auditions.

Lisa – For my last quarter at Cal Poly, I am truly grateful to you for expanding my playing outside of the musical box and allowing more of my true self to shine though in the music.

Gabrielle – 'ank you for teaching me how to emulate the palate of colors the oboe can create. 'e breathing exercises you taught me have been especially useful in Marcello’s Concerto and they have been put to great use with my other repertoire.

Professor Woodru" – 'ank you for your keen eyes and invaluable comments and suggestions with my playing and conducting. You inspire me to work even harder and improve as a musician.

Dr. McMahan – 'ank you for your continued support, willingness to assist me whenever I needed anything, and giving me enriching opportunities to conduct and teach. Everything you’ve done to help me musically has made me a stronger musician and I am exceedingly grateful.

Druci and Michele – You are the dynamic duo of the Music Department and you both helped make my life at Cal Poly so much easier. 'ank you for your kindness and support!

Music Department faculty – You welcomed me into the Music Department before I was even a part of the family. It has been an honor and privilege to learn from your incredible knowledge and expertise and work with you all.

Cal Poly Saxophone Ensemble – You are all such gems and each and every one of you has contributed to the ensemble in a positive way. It has been such a pleasure to work with you and thank you for making my job great!

San Luis Obispo Wind Orchestra – From the get go, you welcomed me with open arms and you helped create a supportive and friendly environment, which has made me feel so comfortable and appreciated. It has been a tremendous privilege to get to know you and work with you all. I wish you all continued success and I look forward to following the exciting concerts and events you have planned!

Mom, Dad, and Monica – Your constant devotion, encouragement, patience, help, and love keeps me focused, prevents me from giving up, and builds me up when I am discouraged. I love you with all of my heart and thank you for shaping me into the person I am today.