Sunday, April 15, 2018 • 4:00 p.m
Adam Shohet
Junior Recital
DePaul Recital Hall 804 West Belden Avenue • Chicago
Sunday, April 15, 2018 • 4:00 p.m DePaul Recital Hall
Adam Shohet, trumpet Junior Recital Fiona Chisholm, horn Nate Doucette, trombone Yoko Yamada, piano
PROGRAM
Francis Poulenc (1899-1963) Sonata for Horn, Trumpet, and Trombone (1922) I. Allegro Moderato II. Andante III. Rondeau
Fiona Chisholm, horn Nate Doucette, trombone
Carlos Pedrell (1878-1941) Vocalise-Etude (1929)
Yoko Yamada, piano
Jacques Ibert (1890-1962) Impromptu (1950)
Yoko Yamada, piano
Adam Shohet • April 15, 2018 Program
Maurice Ravel (1875-1937) Pièce en forme de Habanera (1907)
Yoko Yamada, piano
André Jolivet (1905-1974) Concertino for Trumpet (1948)
Yoko Yamada, piano
Adam Shohet is from the studio of Bill Denton. This recital is presented in partial fulfillment of the degree Bachelor of Music
As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you.
Adam Shohet • April 15, 2018
PROGRAM NOTES
Francis Poulenc (1899-1963) Sonata for Horn, Trumpet, and Trombone (1922) Duration: 10 minutes Francis Poulenc was a French composer and pianist. He took piano lessons from the age of five, and although his skills were apparent at a young age, his father insisted he follow a conventional school study rather than join a music conservatory. At the age of sixteen Poulenc met pianist Ricardo Viñes who, after the death of Poulenc’s parents, became the young man’s mentor. His parents had intended him to join the family pharmaceuticals business, but Viñes led him to begin composing and ultimately introduced him to Erik Satie, whose influence according to Poulenc was "immediate and wide, on both the spiritual and musical planes”.
The Sonata for Horn, Trumpet, and Trombone is the composer’s second extant work of chamber music and was written in 1922, just five years after his compositional debut. It features characteristic French music stylings, with quick changes between timbres, mood, and tempo, while retaining its unique lightness. The work is dedicated to Raymonde Linossier, who was a close friend of Poulenc’s throughout his young adult life.
Carlos Pedrell (1878-1941) Vocalise-Etude (1929) Duration: 2 minutes Carlos Pedrell was a Uruguayan composer, guitarist and educator. Born to a musical family (he was the nephew of Spanish guitarist and composer Felipe Pedrell), he began studying harmony in Montevideo before moving to Spain to study with his uncle. He then moved to Paris where he worked and studied under Vincent d’Indy at the Schola Cantorum de Paris, a private musical conservatory founded in 1894 as a rival of the Paris Conservatoire.
This Vocalise-Etude is short and sweet, but quite unique from a stylistic standpoint. Like Ravel’s Pièce en forme de Habanera is an example of a French composer writing in the Spanish style, this work is the result of a Spanish composer writing in the French vocal style. Originally written for voice and piano, it was transcribed for trumpet and piano by Ray Mase.
Adam Shohet • April 15, 2018 Program Notes
Jacques Ibert (1890-1962) Impromptu (1950) Duration: 2 minutes Jacques Ibert was a French composer and conductor. His mother was a gifted pianist and encouraged young Ibert’s musical interests; he began musical study at age four, first with the violin and then the piano. In 1910 he joined the Paris Conservatoire, where his studies were interrupted by World War I, in which he served as a French naval officer. Returning to the Conservatoire after the war, he resumed his studies and won the prestigious Prix de Rome in 1919. World War II was not kind to Ibert, as the now famous composer and conductor’s music was banned by the Vichy government in 1940. He lived in Switzerland before being invited back in 1944 and remained an important composer and musical administrator until his death.
This Impromptu is short and to the point, and highlights the eclectic nature of Ibert’s compositional style. Famous for his belief that “all systems are valid”, he blended compositional techniques from throughout history and around the world. In this piece we hear a typically French sound that is influenced by the sounds and harmonic language of early nineteenth century jazz.
Maurice Ravel (1875-1937) Pièce en forme de Habanera (1907) Duration: 3 minutes Maurice Ravel was a French composer, pianist, and conductor. He took piano lessons from the age of seven, and at twelve began studying harmony and counterpoint. He joined the Paris Conservatoire in 1889 initially as a pianist, but found his primary ambition to be a composer.
His Pièce en forme de Habanera was written as a vocal etude in 1907. Around the turn of the century, many French composers where looking to Spanish folk music for inspiration. Ravel’s connection was closer than most as his mother was Basque, and this music was part of her musical heritage. The work’s impressive technical challenges showed Ravel’s ability to compose for the human voice and the piece’s popularity led Ravel to transcribe the work for cello and piano. Since then, it has been transcribed for many instruments including violin, flute, clarinet, saxophone, and trumpet.
Adam Shohet • April 15, 2018 Program Notes
André Jolivet (1905-1974) Concertino for Trumpet (1948) Duration: 10 minutes André Jolivet was a French composer and musical philosopher. From a musical home, he began painting and studying the cello at the age of 14, before going to college to become a teacher. Luckily one of his own teachers felt he had a future in music, and introduced him to his first composition teacher. Upon hear Arnold Schoenberg’s music for the first time he became interested in atonality and continued to explore it throughout his career.
The Concertino for Trumpet is the first of two solo pieces for trumpet written by Jolivet. The piece was originally written for Ludwig Valiant and dedicated to Claude Delvincour, then director of the Paris Conservatoire, but upon receiving the score, Valiant found the piece too difficult to play. However, Jolivet heard about a promising young student at the Paris Conservatory and asked him if he could premiere it. The student agreed and premiered the piece, then recorded it soon after. This student was Maurice André. Jolivet described the Concertino as a ballet for the the trumpet and said of it:
“Throughout, the most different aspects of the trumpet are considered, ranging from the traditional triple tongue technique to the latest innovations of the jazz trumpeters. The piece consists of a varied theme in which the trumpet is step by step heroique, witty, martial, violent, lyrique, and dynamic. The work finishes with a diabolical variation which demands from the soloist extraordinary qualities of virtuosity.”
Notes by Adam Shohet.
804 West Belden Avenue Chicago, IL 60614 773.325.7260 music.depaul.edu