Johannah Dickenson, Oboe Daryl Shay, Piano
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proudly presents the 2020-2021 Student Artist Series Johannah Dickenson, oboe Daryl Shay, piano with Danielle Peterson, flute Christine Smith, clarinet This Senior Recital is given in partial fulfillment of the requirements for the Bachelor of Music in Performance degree. March 27, 2021 7:30 p.m., Kitt Recital Hall Please turn off or silence all electronic devices. Unauthorized audio and video recordings are prohibited. Program Sonata for Oboe and Piano Bill Douglas I. Cantabile (b. 1944) II. Tenderly III. Singing, playful Johannah Dickenson, oboe Daryl Shay, piano Sonate Paul Hindemith I. Munter (1895-1963) II. Sehr langsam Johannah Dickenson, oboe Daryl Shay, piano ~ Intermission ~ Epitaph for Oboe and Piano Witold Lutoslawski (1913-1994) Johannah Dickenson, oboe Daryl Shay, piano L’horloge de flore Jean Françaix I. 3 heures (Galant de jour) (1912-1997) II. 5 heures (Cupidone Bleue) III. 10 heures (Cierge à grandes fleurs) IV. 12 heures (Nyctanthe du Malabar) V. 17 heures (Belle de nuit) VI. 19 heures (Géranium triste) VII. 21 heures (Sìlene noctiflore) Johannah Dickenson, oboe Daryl Shay, piano Danielle Peterson, flute Christine Smith, clarinet Program Notes by Johannah Dickenson (2021) BILL DOUGLAS (b. 1944) Sonata for Oboe and Piano Bill Douglas is an acclaimed performer and composer. A native Canadian, he was involved in music from a young age, joining a rock band with his two brothers that performed some of his earliest rock compositions. Douglas wrote jazz tunes in his teenage years before being formally trained in music composition in college. His contemporary music continues to have jazz and rock influences, as well as influences from Brazilian, African, and Indian music. Sonata for Oboe and Piano was written in 2004 for Allan Vogel, principal oboe of the Los Angeles Chamber Orchestra and oboe professor at University of Southern California. The first and third movements follow the standard bebop jazz form with a somewhat complex theme played in unison with the piano, followed by an improvisation on the chord progression of the theme, and finally a return to the theme with variations. In this case, however, the improvisation is written out for the performer. The first movement has a Latin feel and the third movement is influenced by West African rhythms. PAUL HINDEMITH (1895-1963) Sonate Paul Hindemith wrote his oboe sonata in 1938, in the midst of a rather eventful time in the composer’s life. His opera Mathis der Mahler premiered earlier that year. Hindemith was also working on a multi-volume theoretical work that detailed his new discoveries in tonality and musical organization, The Craft of Musical Composition. Shortly after the piece’s premier, Hindemith was forced to flee Germany for Switzerland to escape persecution from the Nazi party. The oboe sonata was written in a style that reflected Hindemith’s reactions to the Nazi party and the world in which he was living. This new tonal style shifted away from the Romantic pieces the Nazi party idolized and focused heavily on techniques that were new to music at the time: an avoidance of Romantic expressivity and a focus on musical procedures such as motivic development and polyphony in independent lines. The piece also utilizes Hindemith’s newly developed harmonic method of “harmonic fluctuation,” where consonant chords progress in combinations containing greater tension or dissonance. Chords resolve suddenly or by slowly moderating the tension until consonance is found. WITOLD LUTOSLAWSKI (1913-1994) Epitaph for Oboe and Piano Witold Lutoslawski wrote his Epitaph for Oboe and Piano in 1979. It was commissioned by oboist Janet Craxton to commemorate her husband, British composer Alan Richardson. Janet Craxton also premiered the piece with Ian Brown in 1980. The piece features two strongly contrasting ideas: a slowly rising scale-like theme and a scherzo. Four unique episodes (scherzos) are presented and separated by a simple refrain heard at the beginning of the piece (scale-like theme). Each episode gets increasingly adventurous and complex as the piece progresses while the refrain stays mostly the same. JEAN FRANÇAIX (1912-1997) L’horloge de flore Jean Françaix was an accomplished pianist and composer. He was born to a musical family and was involved in music from a young age. He wrote L’horloge de flore in 1959 on commission by John de Lancie, the principal oboist of the Philadelphia Orchestra at the time, and de Lancie premiered the piece on April 1, 1961. The piece features seven continuous movements, all inspired by different flowers found on a “flower clock” devised by Swedish botanist Carl von Linné. The clock’s purpose was to classify flowers by the various times of day at which they bloom. The seven flowers mentioned in this piece are as follows: Galant de jour (poisonberry), Cupidone bleue (blue catananche), Cierge à grandes fleurs (torch thistle), Nyctanthe du Malabar (Malabar jasmine), Belle de nuit (belladonna), Géranium triste (mourning geranium), and Silène noctiflore (night-flowering catchfly). Artist Profiles JOHANNAH DICKENSON (oboe) is a senior at Northern Arizona University, studying oboe performance under the instruction of Dr. Rebecca Kemper Scarnati. Before college, participated in honor bands of all levels as well as the Moreno Valley Wind Symphony. Dickenson has been in every major ensemble at NAU, including the NAU Wind Symphony and the NAU Symphony Orchestra, and has participated in chamber ensembles of all sizes. After graduation, Dickenson plans to continue her education at the graduate level. DARYL SHAY (piano) is an educator, accompanist, and performer in the Flagstaff community. His experience in piano, trumpet, and guitar includes classical, jazz, pop, and rock & roll. With over twenty-five years of experience, Shay has appeared in performances with the Flagstaff Symphony Orchestra, Flagstaff Musical Theatre, and NAU Theatre. Shay has taught music at Thomas Elementary School, Killip Elementary School, Mountain School, and Flagstaff Arts and Leadership Academy. Shay is currently asstaff accompanist at Northern Arizona University, teaches in the NAU Community Music and Dance Academy and Curry Summer Music Camp at NAU, and plays piano at Black Bart’s Steakhouse. DANIELLE PETERSON (flute) is currently a senior in her last semester as an undergraduate at Northern Arizona University, studying both flute performance, under the instruction of Dr. Emily Hoppe, and graphic design. Over her four years as a music major at NAU, she has performed as a principal flute in the Symphony Orchestra, Chamber Orchestra, Wind Symphony, and Symphonic Band, as well as performing in multiple woodwind chamber groups. In addition, she has performed in the NAU concerto competition for three years. Prior to her undergraduate studies, Peterson auditioned for and played in the Arizona Western Regional Band and passed Level 10 in both the Performance and Theory sections in the Royal Conservatory Certificate Program under the guidance of Sherry Finzer. After achieving her undergraduate degrees, Peterson is looking to pursue a graduate performance certificate at NAU, and eventually wishes to attend graduate school. Her concurrent goal is to become a private flute instructor. CHRISTINE SMITH (clarinet), originally from Mesa, AZ, is a senior Music Education major at Northern Arizona University. She has been a member of the Wind Symphony since enrolling in the university, and has also performed as a member in the Symphony Orchestra, Symphonic Band, and Woodwind Quintet. After graduating, Smith hopes to continue performing while pursuing her career in music education in the public schools. Acknowledgements I would like to thank: My studio teacher, Dr. Rebecca Kemper Scarnati, for her patience and dedication over the past four years. Through your instruction, I have improved so much over the last four years, and I would not be the musician I am today without you. My parents, Richard and Heather Dickenson, and my Aunt Jeri for their love and patience. Thank you for supporting my dreams and loving me regardless. The Loving Sisters of the Sigma Alpha Iota Delta Eta Chapter for their encouragement and support throughout my college journey. I would not have been able to get this far without all of you behind me. The Shipmans, and the rest of my extended family, for always being here. I am bless to be able to consider you all family. Your support means everything to me. My friends for encouraging me to keep going. Thank you for being by my side when life got hard. Daryl, Danielle, and Christine for playing on my recital. I greatly appreciate your musicality and dedication. Thank you for playing with me. .