Department of Music & Theatre

David Maslanka is well known for his works for Wind Bands and has created a unique sound that stands out from most wind composers, and his chamber works retain his innovative sound. Maslanka’s creative process is also unique, as he is a very spiritual man who meditates, listens and has visions for what to write. This produces music that is very honest and powerful. Eternal Garden, both the name of this piece and the final movement, reflects life on earth and details a path to peace. These ideas are communicated through the music, as the listener is taken through many moods and colors throughout, and ends in a very final, peaceful final note. In his own words,

“Life as we are doing it on this planet has begun to look suicidal. There has to be a different path. I was given images of widespread suffering and destruction. This music is about the transformation Bryce Sederburg of suffering. I have no illusion that a single piece of mine will end world suffering, but it opens the possibility of real peace in me as an individual. There is not a path to world peace; peace is the path, and it begins inside each person.” clarinet

with Michiyo Nakatani, piano Madison Helton, Michael Banwarth, piano Jena Nahnsen, clarinet Ben Gruman, cello

March 2, 2019 4:30 pm Martha-Ellen Tye Recital Hall Program Program Notes

Robert Schumann’s Drei Fantasiestücke, Op. 73 was originally Drei Fantasiestücke, Op. 73 (1810-1856) written for clarinet in 1849, but he indicated that these three I. Zart und mit Ausdruck pieces could be played on a cello. Similar in structure, the three Michiyo Nakatani, piano movements are all very lyrical and allow for freedom and expression throughout and are the essence of the romantic era. Rather than thinking of these pieces as solo with Trio in Eb Major, K. 498 (1756-1791) accompaniment, the Drei Fantasiestücke is an example of true I. Andante , with deep interaction from both the pianist Madison Helton, viola and the clarinet needed to make a great performance. Michael Banwarth, piano Before Mozart wrote the more famous Clarinet , this “Kegelstatt” trio was written in dedication to one of his students Konzertstücke, No. 2, Op. 114 Felix Mendelssohn (1809-1847) in 1786. This piece is one of the first examples of literature for Jena Nahnsen, clarinet Clarinet, Viola and Piano, a chamber group that has become quite Michiyo Nakatani, piano common as the tone of clarinets and viola are both rich and blend exceptionally well. This piece, along with Mozart’s Concerto and Quintet for clarinet helped the instrument become mainstream and encouraged future composers to continue Intermission writing pieces for the instrument. Written for the father-son duo of Heinrich and Carl Baermann, Mendelssohn composed two different concert pieces originally Trio in A Minor, Op. 114 Johannes Brahms (1833-1897) for clarinet and that are organized into three short I. Allegro movements. The first movement is an exciting opening followed IV. Allegro by a lyrical middle movement, and a fitting, soaring finale. Each Ben Gruman, Cello player has featured solos, but they are more often found with Michael Banwarth, Piano phrases that weave back and forth in this virtuosic piece.

The Trio in A minor was written in 1891, and we are very lucky that it was written at all. Brahms wrote his famous Eternal Garden David Maslanka (1943-2017) String Quartet in G Major in 1890 and declared that it would be IV. Eternal Garden his final work, saying he had exhausted all of his musical ideas. Michiyo Nakatani, Piano Fortunately for us, Brahms traveled to Meiningen, Germany in 1891 and heard clarinetist Richard Mühlfeld perform. Brahms was captivated by Mühlfeld’s sound and the two would become friends. Brahms wrote the A minor Trio for Mühlfeld, along with a clarinet quintet and two clarinet . This chamber piece has rich sounds and bold melodies that were inspired by Mühlfeld’s playing and reflect the height of the romantic music.