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SCHOOL OF MUSIC ADAM LIPPOLD, HORN Amy Crane, Piano Studio of Dr. Grace Kang April 10,2011 12:30 P.M. Lee Chapel, Elisabeth Hall Wolfgang Amadeus Mozart (1756-1791) Horn Concerto in E-flat Major, K. 417 Allegro Andante Rondo: Allego Jean Michel Damase (b. 1928) Berceuse, Opus 19 Bernhard Heiden (1910-2000) Sonata for Horn and Piano Moderato Tempo di minuetto Rondo: Allegretto Franz Strauss (1822-1905) Nocturne, Opus 7 Carl Nielsen (1865-1931) Canto serioso Eugene Bozza (1905-1991) Enforet, Opus 40 This recital is given in partial fulfillment of the Degree Bachelor of Music Education. Out of courtesy to all, please follow these requests. Turn off all cellular phones, beepers, and other electronic devices. Do not leave or enter the hall while music is being performed. Do not operate flash photography during the performance. Any recording must be authorized by the performer and the School of Music. STETSON UNIVERSITY Wolfgang Amadeus Mozart (b. Salzburg, 25 January 1756—d. Vienna, 5 December 1791) is considered one of the most prolific and influential composers of all ( time. Mozart wrote in every genre of his time, composing many symphonies, operas, concertos, solo piano works, and chamber music. The four horn concertos were written during the last ten years of Mozart's life. Three of the horn concertos follow the same form (fast-slow-fast rondo) and are in the same key (E-flat). All are dedicated to the same player, Joseph Ignaz Leutgeb (Leitgeb). The Horn Concerto No. 2, K. 417, was completed on 27 May 1783 with the dedication. "Wolfgang Amade Mozart took pity on Leitgeb—ass, ox, and fool—in Vienna, the 27l of May 1783 " (Leitgeb was the butt of many of Mozart's jokes, as seen in the scores of his horn concertos). The first movement is an example of sonata form and gives the horn player many opportunities to show of their virtuosity and musicahty The second movement is a short Andante that would showcase Leutgeb's cantabile, mellow, and singing tone (for which he was famous). The third movement is a fast and fun Rondo with coda that recalls the galloping of horses and excitement of the hunt. Jean-Michel Damase (b. Bordeaux 27 January 1928) is a French composer who, like Mozart, was musicually prodigious as a child. At age 13, he began studying with Alfred Cortot at the Pans Conservaty and won the Premier Prix in piano two years later Soon after, Damase began studying composition with Henri Biisser In 1947, Damase won Premier Prix at the Conservatory for his wind quintet and the Grand Prix de Rome for his cantata Et la belle se reveilla. The Berceuse, Op. 19, is a simple, tonal lullaby written in 1951 Composed in a compound ternary form, the Berceuse opens with a melody played by the horn played against soft piano chords, similar to a Satie Gymnopedie. After this initial melody, two more melodies are introduced and developed. After these melodies have been developed through modulation, the initial melody is heard again, as if to show the listener how the subsequent melodies were derived from the initial melody The piece can be seen and heard as an arc, both in terms of its melody and its dynamics (piano building to forte and then returning to piano with the initial melody Bernhard Heiden (b. Frankfurt, 24 August 1910—d. Bloommgton, IN, 30 April 2000) was a German-American composer, famous for being the chair of the composition department at Indiana University-Bloommgton from 1948-1981 Much of Heiden's music is similar to that of his of his principal composition teacher, Paul Hindemith. Heiden's music is marked by contrapuntal clarity, a strong sense of rhythm, and subdued a Neo-Classical/Neo-Romantic tonal palette. Heiden's Horn Sonata was written in 1939 for the principal horn of the Detroit Orchestra, Theodore Seder, the same year that Hindemith wrote his Horn Sonata. Heiden's sonata, like Hindemith's, is cast in three movements, though Heiden creates distinctly different moods. The first movement (Moderato) pits a quiet horn melody over a "moody" piano accompaniment. Heiden uses subtle counterpoint to go back and forth from soft and loud, ending the movement with the main theme played at a rousing/orte. The second movement is not a conventional slow movement, nor is it slow at all. Instead, Heiden writes a Minuet in an ABA form. The initial melody is lyrical, insistent, and chant-like rising higher and higher each time it is repeated. The B section has the horn and piano involved in an asymmetrical argument. The third movement is a quick and lively mixed meter Rondo. In it, the horn and piano play some (according to Heiden) "lively Greek dance rhythms" that the composer heard at "a Detroit Greek restaurant" (letter by the composer to hornist Caswell Neal). The movement ends excitedly with the main melody played vivace. Franz Strauss (b. Parkstein, Bavaria, 26 February 1822—d. Munich, 31 May 1905) is well known among horn players as a composer of many great solo works for horn and the foremost German horn virtuoso of his day To everyone else, he is known as the father of composer Richard Strauss. The elder Strauss was the principal horn in the Munich Court Orchestra for almost fifty years and performed in the Munich premieres of Richard Wagner's Tristan und Isolde, Die Meistersinger, Das Rheingold, and Die Walkiire. Strauss was a musical conservative (similar to Brahms and Schumann) and abhorred the music of Wagner The Nocturno, Op. 7, is perhaps the well known of Franz Strauss' horn compositions and was written in 1864. Composed in ABA form with a coda, this piece exploits the lyrical and warm tone quality of the horn. After a simple yet expansive lyrical section, Strauss introduces a fortissimo section marked piu animato e marcato. This section highlights the horn's inherent power After this bold section, the piano and horn relax back mto the initial lyrical melody A calm and peaceful coda brings the piece to a conclusion. Carl Nielsen (b. Norre Lyndelse, Fyn, 9 June 1865—d. Copenhagen, 3 October 1931) is regarded as Denmark's greatest composer Nielsen is well known for his six symphonies, wind quintet, and concertos for flute, violin, and clarinet. He wrote nationalistic romantic music and enjoyed a great deal of success after his first symphony was performed, much like Finnish composer Jean Sibelius. ( The Canto serioso for horn and piano was composed in 1913 This "serious song" is a short lyrical work that could easily be derived from a Danish folk melody The work is composed in a short ABA form with a coda that introduces previously unheard material. One feature of this work is the cantabile style written in the low register of the horn. This is a short work of simple and subtle beauty Eugene Bozza (b. Nice, France, 4 April 1905—d. Valenciennes, France, 28 September 1991) was one of the foremost French composers of chamber music for winds in the 20th century Bozza, like all the above composers, was musically talented from an early age. He studied with, like Damase, Henri Biisser at the Pans Conservatory where he won the premier prix for violm, conducting, and composition, and also the Prix de Rome with his cantata La legende de Roukmdni. Though Bozza lived in the 20th century, his music is considered Neo-Romantic or Neo-Classical. Bozza's music is defined by special attention to melody, structure, and the instrument capabilities/limits of the instrument. Bozza wrote at least four compositions for horn and piano (Chant Lontain, En Irlande, Sur Les Cimes, and En Foret) En Foret, Op. 40, was written in 1941 as sort of "test" piece for graduate horn students at the Paris Conservatory In it, Bozza tests the horn players ability for lip trills, stopped horn, muted horn, rapid finger work, and range (encompassing almost three and a half octaves). Bozza also employs many different sections to conjure up images of the forest (opening theme), the hunt (via St. Hubert's hunting call, as from Respighi's Feste Romane), and a Roman Catholic Mass (Victimae paschali laudes Sequence). En Foret stands as a virtuosic showcase for the horn player I and has become a standard in the horn repertoire. .

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