AUDREY CONKLIN CLARINET and BASS CLARINET 367 Dupree Drive ● Huntsville, AL 35806 ● (570) 647-6238 ● [email protected]

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AUDREY CONKLIN CLARINET and BASS CLARINET 367 Dupree Drive ● Huntsville, AL 35806 ● (570) 647-6238 ● Aec5294@Gmail.Com

AUDREY CONKLIN CLARINET AND BASS CLARINET 367 Dupree Drive ● Huntsville, AL 35806 ● (570) 647-6238 ● [email protected] PERFORMANCE EXPERIENCE Penn State Philharmonic Orchestra Principal Clarinet, Second Clarinet, Bass Clarinet 2014-2015 Senior Degree Recital Clarinet and Bass Clarinet April 2015 Penn State Opera Theater Puccini: La Bohème March 2015 Brahms Chamber Music Recital Clarinet, Cello, and Piano April 2015 Penn State Symphonic Wind Ensemble Rotating Principal Clarinet, Bass Clarinet 2012-2015 “Lights Out” Clarinet Quartet 2011-2014 Junior Degree Recital Clarinet March 2013 Penn State Symphonic Band Rotating Principal Clarinet 2010-2012 State College Summer Orchestra Principal Clarinet 2012-2013 Penn State Clarinet Choir Rotating Bb Clarinet, Bass Clarinet 2010-2015 Penn State Marching Blue Band Clarinet Section Leader 2011-2013 TEACHING AND LEADERSHIP EXPERIENCE Private Clarinet Teacher, 2014 – Present • Teach Junior and Senior High School students of all levels • Individualize lesson plans tailored to each students’ unique goals University Baptist and Brethren Church, Aug 2013 – May 2015 Director of Children’s Music • Rehearsed and conducted Children’s Choir • Taught musical and vocal fundamentals • Promoted program growth National Association for Music Educators, Aug 2012 – May 2013 Penn State University Chapter Treasurer Wallenpaupack Area High School, 2009-2010 Marching Buckhorn Band Drum Major EDUCATION Pennsylvania State University, University Park, PA Bachelor of Clarinet Performance – BM, May 2015 (Degree Pending) Additional coursework in Clarinet Pedagogy and Music Education CONFERENCE ATTENDANCE Pennsylvania Music Educators Association Annual Conference Hershey, Pennsylvania 2015, 2013, 2012, and 2011 Penn State University Single Reed Summit State College, Pennsylvania 2016 and 2012 MASTERCLASS HIGHLIGHTS Larry Guy Former Principal Clarinetist of Metropolitan Opera Guild Orchestra, Performed 2015 David Shifrin Chamber Music at Lincoln Center and Prof. of Clarinet at Yale, 2014 Charles West Former President of International Clarinet Association, Performed 2014 Wenzel Fuchs Principal Clarinetist of Berlin Philharmonic, 2014 Ron Samuels Second Clarinetist of Pittsburgh Symphony Orchestra, Performed 2012 William Kelly Clarinetist at United States Navy Band, 2011.

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Artist Series – Gilbert Kalish Program Notes
ARTIST SERIES – GILBERT KALISH PROGRAM GEORGE CRUMB (b. 1929) Three Early Songs for Voice and Piano (1947) Night Let It Be Forgotten Wind Elegy Tony Arnold, soprano • Gilbert Kalish, piano FRANZ SCHUBERT (1797-1828) “Der Hirt auf dem Felsen” for Soprano, Clarinet, and Piano, D. 965, Op. 129 (1828) Lisette Oropesa, soprano • David Shifrin, clarinet • Gilbert Kalish, piano JOHANNES BRAHMS (1833-1897) Quartet No. 3 in C minor for Piano, Violin, Viola, and Cello, Op. 60 (1855-56, 1874) Allegro non troppo Scherzo: Allegro Andante Finale: Allegro comodo Gilbert Kalish, piano • Nicolas Dautricourt, violin • Paul Neubauer, viola • Torleif Thedéen, cello NOTES ON THE PROGRAM Three Early Songs for Voice and Piano (1947) George Crumb (b. CHarleston, WV, 1929) Crumb wrote these songs in 1947, the year he graduated high school and entered Mason College in his native Charleston, West Virginia. His now-wife of 70 years, Elizabeth May Brown, was the first to sing them and they are dedicated to her. They are wholly unlike the works that Crumb eventually became famous for—their sound is more early 20th century art song than the unique and otherworldly sound palette he would later develop. Crumb explained that in West Virginia at that time, Debussy was “almost an ultra-modern.” These songs, with delightful melodies and floating harmonies, show that young Crumb, even before finding his mature style, still had a gift for music that is understated yet emotionally powerful. Crumb suppressed the vast majority of his student compositions but he’s allowed performance of these songs. “Most of the music I wrote before the early sixties (when I finally found my own voice) now Chamber Music Society of Lincoln Center causes me intense discomfort,” he writes, “although I make an exception for a few songs which I composed when I was 17 or 18.… these little pieces stayed in my memory and when, some years ago, Jan DeGaetani expressed an interest in seeing them (with a view to possible performance if she liked them), I made a few slight revisions and even decided to have them published.
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School of Music 2016–2017
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Music 2016–2017 School of Music 2016–2017 BULLETIN OF YALE UNIVERSITY Series 112 Number 7 July 25, 2016 BULLETIN OF YALE UNIVERSITY Series 112 Number 7 July 25, 2016 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Goff-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849.
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The Chamber Music Society at Yale Chamber Music Competition Winners Tuesday, May 1, 2007 at 8:00 P.M
The Yale School of Music Robert Blocker, Acting Dean presents The Chamber Music Society at Yale Chamber Music Competition Winners TUESDAY, MAY 1, 2007 MORSE RECITAL HALL IN SPRAGUE HALL the chamber music society at yale Chamber Music Competition Winners Tuesday, May 1, 2007 at 8:00 p.m. Morse Recital Hall in Sprague Memorial Hall Trio in E-flat major,k . 498, “Kegelstatt” Wolfgang Amadeus Mozart Andante (1756-1791) Menuetto Rondo Romie de Guise-Langlois, clarinet Margot Schwartz, violin Wei-Jen Yuan, piano Triskelion Bruce Adolphe Allegro (b. 1955) Andante (with a ghostly quality) Allegro Joel Brennan and Olivia Malin, trumpet Jocelyn Crawford, horn Joshua Cullum, trombone Stephanie Fairbairn, tuba intermission Quartet in D minor, d. 810, “Death and the Maiden” Franz Schubert Allegro (1797-1828) Andante con moto Scherzo: Allegro molto − Trio Presto The Alianza Quartet Sarita Kwok and Lauren Basney, violin Ah-Young Sung, viola Dmitri Atapine, cello As a courtesy to the performers and to other audience members — Please silence cell phones and pagers Please do not leave the auditorium during selections No flash photography No sound or video recording of any kind 2 0 0 6- 2 0 0 7 s e a s o n Program Notes Mozart: Trio in E-flat,k . 498, “Kegelstatt” The strange subtitle (Kegelstatt or “Skittles”) alone gives this work a unique place in Mozart’s vast chamber music output. Add to that its unusual combination of instru- ments and you have a very original composition indeed. The story behind the work’s origins is that Mozart wrote this in 1786 while playing skittles (an old game similar to bowling) with his friend, the clarinetist Anton Stadler.
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Artist Series: David Shifrin Program Notes on the Program
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MUSICIAN BIOGRAPHIES Bernard Mindich Bernard Lisa-Marie Mazzucco
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LIVE from LINCOLN CENTER October 14, 2001 5:00 P.M. on PBS the Chamber Music Society of Linconln Center an EVENING of BEETHOVEN
LIVE FROM LINCOLN CENTER October 14, 2001 5:00 p.m. on PBS The Chamber Music Society of Linconln Center AN EVENING OF BEETHOVEN Artist members and guests of the Chamber Music Society of Lincoln Center continue the 25th anniversary season of Live From Lincoln Center telecasts with an all-Beethoven program on Sunday afternoon, October 14, from 5 to 7 PM. As are most of the Chamber Music Society concerts in New York City, this one will be played in Alice Tully Hall. Two early and comparative rarities—the B Flat Trio, Opus 11 for Clarinet, Cello and Piano and the C Major Quintet for Strings, Opus 29—frame one of music's most enduring masterpieces, the A Major Sonata for Violin and Piano, Opus 47, known as the "Kreutzer" Sonata. In 1792 Beethoven decided to pull up stakes from his native Bonn and settle permanently in Vienna, a city where he had some years earlier spent happy days. Vienna was then the capitol of the musical world and it exerted a magnet-like pull on aspiring composers and performers. Still little-known at the time (he was in his mid-thirties) he had to find a way to make a mark in Vienna and make it quickly. Cannily he figured that his prowess as a pianist and improviser might be the best way to accomplish this; thus many of his earliest works were written as vehicles for himself to perform and "wow" the public. By the time of his Opus 11 Sonata for Clarinet, Cello and Piano of 1798 he had already written 7 Piano Sonatas, 2 Sonatas for Cello and Piano and a Sonata for Piano 4 Hands.
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Commencement Concert 2019
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Listen to Discoveries from the Fleisher Collection on WRTI 90.1 FM Philadelphia Or Online at Wrti.Org
Listen to Discoveries from the Fleisher Collection on WRTI 90.1 FM Philadelphia or online at wrti.org Saturday, September 6th, 2003, 5:00-6:00 p.m. • Ellen Taaffe Zwilich (b.1939). Concerto for Piano (1986). Florida State University Orchestra, Michael Stern, Joseph Kalichstein, Koch 7537. 24:59 • Wolfgang Amadeus Mozart (1756-1791). Concerto for Clarinet and Orchestra, III. Allegro. Mostly Mozart Orchestra, Gerard Schwartz, David Shifrin, Delos 3020. 9:13 • Interview with Ellen Taaffe Zwilich and Donald Spieth, Music Director of the Lehigh Valley Chamber Orchestra On this month’s program we are delighted not only to hear the beautiful and expressive Piano Concerto of Ellen Taaffe Zwilich, but to speak to the composer as well. As examples of the public and critical esteem in which she is held, we need only mention that she was named the 1999 Musical America Composer of the Year, and of course in 1983 she received the Pulitzer Prize in Music, the first woman ever to be so recognized. Donald Spieth has programmed Zwilich’s new Clarinet Concerto for the September 12th and 13th concerts of the Lehigh Valley Chamber Orchestra, performed by the soloist for whom it was written, David Shifrin. Also on the program will be Mozart’s Clarinet Concerto, and today we’ll hear just a bit of it, the Rondo finale. Listen for the lovely sound of Shifrin’s clarinet, which is actually an extended “basset” clarinet (with extra low notes). Mozart composed this work for this longer instrument, and scholars have only recently reconstructed the work and rediscovered this unusual forerunner to the modern clarinet.
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