Saturday, May 5, 2018 • 9:00 p.m ​ Julian Rymar: ​ Junior Recital DePaul Recital Hall 804 West Belden Avenue • Chicago Saturday, May 5, 2018 • 9:00 p.m. ​ DePaul Recital Hall Julian Rymar, clarinet Junior Recital Emily Bieker, flute Rebecca Shepro, bassoon Jacob Nelson, horn Beilin Han, piano PROGRAM Carl Maria von Weber (1786-1826) Clarinet Concerto No. 2 in E-flat Major, Op. 74 (1811) Allegro Romanze Polacca Beilin Han, piano Intermission Claude Debussy (1862-1918) Première Rhapsody (1909) Beilin Han, piano Julian Rymar • May 5, 2018 Program Vincenzo Gambaro (1772-1828) Quartet in D minor, Op. 4 No. 2 (1813) Allegro Brillante Menuetto vivace Finale agitato Emily Bieker, flute Rebecca Shepro, bassoon Jacob Nelson, horn Witold Lutosławski (1913-1994) Dance Preludes (1954) Allegro Molto Andantino Allegro giocoso Andante Allegro Molto Beilin Han, piano Julian Rymar is from the studio of Julie DeRoche. 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. Julian Rymar • May 5, 2018 PROGRAM NOTES Carl Maria von Weber (1786-1826) Clarinet Concerto No. 2 in E-flat Major, Op. 74 (1811) Duration: 23 minutes In the beginning of 1810, Weber found his reputation troubled with debt, sexual affair, and arrest after being framed for his father’s embezzlement of the Duke, brother of the king, who Weber served as private assistant to. Tired of Weber’s meddling in the court, the king sent orders for Weber to be pulled out mid-rehearsal of his new opera Silvana and put into jail. After ​ ​ the trial, Weber was required to pay off his debts over time and banished from Württemberg for misappropriation of funds despite his obvious innocence. He departed Württemberg on February 26th of 1810 and toured a number of German cities, performing to make ends meet. His meeting with clarinetist Heinrich Baermann of the court orchestra in Munich became the mark of a new chapter in Weber’s compositional career. His first solo clarinet work, Concertino in Eb Major, was written in 3 days and ​ ​ prepared by Baermann in the next 3 days to be performed on the projected concert in Munich on April 5th of 1811. Anticipating Weber’s arrival, the court of King Maximilian I of Bavaria bought 50 tickets and sold out the hall. The performance was a great success not only musically but for his reputation; Weber wrote to a friend saying, “Since I composed the Concertino for Bärmann the whole orchestra [in Munich] was been the very devil about demanding concertos from me.” The King of Bavaria, enthralled by Baermann’s playing, commissioned Weber to compose two more concerti that would be performed by Baermann. The two solo works were finished back to back in 1811, the first concerto performed not long after its completion. After a short continuance of his German tour, Weber returned to Munich for Baermann’s performance of the second concerto on November 25th of 1811. Weber and Baermann continued the tour together, performing the concertino and concertos among Weber’s other compositions. Baermann eventually gave up on the tour to return to Munich, but the popularity of his clarinet concertos and tour with Baermann were key in Weber’s success after his banishment from Württemberg. Critical and royal acclaim allowed for Weber to eventually Julian Rymar • May 5, 2018 Program Notes perform Silvana and to be able to write to friends saying, “I'm earning so ​ ​ much that I've something left over after paying my [debt].” Claude Debussy (1862-1918) Premiere Rhapsody (1909) Duration: 9 minutes In 1909, Claude Debussy was assigned to the Board of Directors for the Paris Conservatoire by Gabriel Fauré, where he was tasked with composing solo works for the year-end concours. In December of 1909, Debussy began work on two pieces for the clarinetists’ juries. His solo de concours included two works, the first being a short, 36-bar piece translated as, "Sight-reading piece for the 1910 concours." The second piece was his Première rhapsodie, a work that was given to participants of the concours just ​ 30 days prior. The piece was performed for the first 11 times on July 14th of 1910, the day of the competition. The very next day after sitting in on the performances, Debussy wrote to his editor to say, “The clarinet competition went extremely well and, to judge by the expressions on the faces of my colleagues, the rhapsody was a success.” The piece was officially premiered outside of the Conservatoire by clarinetist Prosper Mimart on January 16th of 1911 in the Salle Gaveau in Paris. Mimart’s musicality and expression inspired Debussy to revisit his Première rhapsodie, ​ ​ that fit of inspiration resulting in the orchestral accompaniment that was published later that same year. Vincenzo Gambaro (1772-1828) Quartet in D minor, Op. 4 No. 2 (1813) Duration: 10 minutes The name Vincenzo Gambaro can refer to as many as three different contemporaries: Vincenzo Gambaro, the composer and publisher, Giovanni Battista Gambaro, also known as Vincenzo, and Vincenzo Gambaro, born 1785. All three were likely born in Genoa, Italy, and the name is attached to work done in Trieste and Vienna. The name Gambaro is known to have transcribed works of Mozart, Beethoven, and Haydn in Vienna and at least one of the three settled in Paris by the end of his career. The Vincenzo Gambaro who certainly moved to Paris in 1808 opened a Julian Rymar • May 5, 2018 Program Notes publishing house which he also published his own compositions through. His compositions include a number of solo clarinet caprices and 3 Wind Quartets, Op.4. Opus 4 includes three quartets, Quartet in D minor is the second of those three. The quartets were composed for students of the Paris Conservatoire during Gambaro’s time in Paris. Witold Lutosławski (1913-1994) Dance Preludes (1954) Duration: 12 minutes In the years following World War II, Polish artists of all mediums flourished suddenly out of nowhere, but the new Communist regime demanded music that was palatable and folkloristic. Though challenging, many Polish artists, Lutosławski notable among them, found ways to conform without compromising their artistic goals. Lutosławski was approached by PWM Edition, a publishing house in Kraków, to write a cycle of easy pieces for violin and piano for secondary school students. Instead, Lutosławski explained, "Somehow this violin writing wasn't working out, even though I myself played the violin for an extended amount of time. In view of this, I decided to write pieces for the clarinet.” In 1954 he finished his Dance Preludes, a set of 5 short movements for solo ​ ​ clarinet and piano. As the name ‘prelude’ suggests, each movement is an etude-like sketch based on popular Polish folk dances, similar to a Bach prelude for a fugue. The piece was expanded for clarinet and string orchestra in 1955 and later for wind quintet and solo strings in 1959. Lutosławski stated this work was his ‘farewell to folklore,’ serving as the last work in his repertoire that would fit into his previous Neoclassic-folkloristic style. Notes by Julian Rymar. 804 West Belden Avenue Chicago, IL 60614 773.325.7260 music.depaul.edu.