my college recital repertoire

mark936 · Posted: Mon Jun 25, 2012 10:56 am Post subject: my college recital repertoire

My advisor disregarded most of my suggestions and wants the following for next Feb. senior recital.

Hindemith 3 mvts.
Arutunian
Purcell Sonata D or L. Mozart Concerto on Piccolo
Haydn or Hummel
opt. Carnival or Venice or Turrin's Caprice.

These are supposed to cover the different styles and periods. Sound about right?
I don't have to play by memory.

Anyone have the cartoon showing the time lapse of the Hindemith being performed and by the end only two people are in the audience?

Ekim Gram · Posted: Mon Jun 25, 2012 11:09 am Post subject:

Wow, that's a seriously heavy (and long!) program.

Also, why not throw something out of the ordinary into the mix?
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Fuzzy Dunlop · Veteran Member Joined: 25 Jun 2011 Posts: 186

Is your advisor a trumpet player?

Crazy Finn · Posted: Mon Jun 25, 2012 11:44 am Post subject:

Looks a bit ridiculous to me. My college trumpet prof would have never suggested such a heavy program.
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Larry Smithee · Heavyweight Member Joined: 11 Nov 2001 Posts: 3826

What, no Michael Haydn? Humph!

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Andy Del · Posted: Mon Jun 25, 2012 1:04 pm Post subject:

Assuming there is no written expectation about your recital, you should be able to program a coherent concert that will make sense to the audience. you cold provide us with whatever guidelines you have, to make it easier...

That said, the 'advised' program about as mainstream, potentially boring, yet really taxing program as one could imagine without being ridiculous! Your advisor has covered just one style - mainstream diatonic music even if it does cover the typical baroque, classical and 20th century dates.

By now, enough people have written to allow you to go back to your advisor and try to show them WHY they are out of line, So I won't go step by step why it's a limiting program...

I feel quite strongly that many schools / studios pay no attention to the issue of programming. For a recital - let's say a graduation recital - you need to perform and achieve certain things. These are much different to playing in a nursing home, or a church concert series, or a music club, or a contemporary music festival, etc. etc.

So to graduate, you need to show you can play REALLY well. Contrasting styles played with musicality and demonstrating you understand these styles. Show polished technique - don't pick pieces you can't play up to snuff. Show professionalism in your performance practices. Give the panel / jury no reason to criticise and every reason to give you a standing ovation!

If I was doing my time again (and I did royally screw up my programming) I would consider I need to show ability in the above with the following works:

An opening wow / pizzazz / technique piece.
A major sonata - show ability to create a unified work.
A fantasia type of work (Thome, Enesco, Pares, etc.) to show performing flair and verve
A baroque work to show sensitivity and understanding towards this style.
A closing work to get them leaving with a smile - it can be zippy, smaltzy, whatever shows YOU off.

If I was going to nominate works:

John Barnes Chance Credo
Pares Fantasy or Stanley Freidman Solus
Robert Sudaberg Chamber Music VI (?)
take a short break while a string group gets sorted out. If allowable, they can play a short piece...
Jeremiah Clarke Suite in D major
Percy Code At Sunset

This hints at my weaknesses, but I know I can pull it off given some preparation time...

Go back and fight!

cheers

Andy

p.s. For what it's worth, played well, the Hindemith can enthral an audience of grannies!
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dalmavs · Veteran Member Joined: 19 Jun 2008 Posts: 119

Is that the order your advisor suggested? Also, which Carnival? These make a huge difference.

I disagree that this is a ridiculous recital. If you practice and play smart this is a doable recital.

I can see why your advisor suggested these as they are all very standard rep. If you plan on grad school most of these could be used. If you are thinking of grad school I would suggest using those solos for a recital. But in the end your advisor will pass/fail you so make him/her happy.

On a side note, what did you suggest that was disregarded?

mark936 · Posted: Mon Jun 25, 2012 5:04 pm Post subject:

No this isn't the program order.

He was a trumpet player--phd in music history from Yale.

I mentioned that if I played all three Hindemith movements in the first half, they would all leave and not come back. However, I'm working on mvt II an III-- facinating bugle like intervals.

He said the dept wants at least one multi movement piece, longer pieces, not lots of short pieces. He didn't think Arutunian actually qualified as a multi mvt piece but he thinks the Hindemith is exactly what makes a good recital piece.

He wanted different time periods-- baroque, 19th century, pre-1945.

i.e. I mentioned the Corelli Sonata VIII and he preferred the Purcell due to the Corelli not being a trumpet piece originally.

The Arban's Carnival of Venice, which I haven't mastered after all these years. qualifies as a fantasy with tripletts and Clarke-like cadenzas.

I was thinking entertainment-- Carmen on Pic, Ave Maria on Flugel horn, maybe encore with " I can't get started." and opening with "Trumpeters Lullaby" or "Trumpeters prayer." and then Hindemith mvt I only.

I am thinking Haydn rather than Hummel just for melodic reasons.
Every trumpeter I know has done the Arutunian including a school concert a week ago so I didn't want to repeat but I like it.

Dept. requirement is 45 mins of playing, not including breaks but including piano movements.
He said after the four classics and the 45 mins. is satisfied then one jazz genre at the end after

I won't contest the advisor, I wish I was talented enough to memorize the pieces. It takes guess work out of it. Just four songs.

I'll listen to some of those suggestions.

thanks for input.

rushingtrpt · Posted: Mon Jun 25, 2012 5:57 pm Post subject:

Correct me if I am wrong, but I was looking at times for just the Hindemith, Haydn, and Arutunian, and that puts you right around 45 minutes of music not including breaks between movements on the first two. Yes, times will vary depending on how fast/slow you play each movement, but that still gets close to 45.
Haydn isn't necessarily taxing, but playing on Bb very well could be, and some Eb's would be just as miserable. Arban's Carnival might be too much at near 8 minutes long. However, the Del Staigers or the Clarke are both good options that are shorter. But no one said you HAVE to play all the variations...

Food for thought. Good luck!

dalmavs · Veteran Member Joined: 19 Jun 2008 Posts: 119

So he wants three time periods. Baroque, 19th century (1800-1900) and pre-1945? Also you said four classics but gave three time periods, what does the fourth piece need to be?

I understand the first two, but what is he looking for in, I am assuming 1900-1945, range? Yes Hindemith's Sonata was composed in 1939, so that counts, but besides cornet type solos I am drawing a blank as to what was written for trumpet/cornet then that would not be a transcription.

Also, Autunian was composed in 1950, so it is not 19th century. However, Carnival fits the 19th century, but thats optional.

If you need an easier baroque/picc piece to help the Hindemith what about the Viviani (sp) sonata's.

A not that often performed, or at least I have not seen it performed much, piece is the Amilcare Ponchielli Concerto. It is essentially a theme and variation piece from the romantic era.

Haydn and Hummel are pieces you need to know and play. So "melodic reasons" suggests to me that you have not spent time making this piece your own and need to work on it to make it more melodically appealing.

I do not know if you have the Hickman Pedagogy, but there is a nice list of solos in the back, but you can also google (or ask TH).

irith · Heavyweight Member Joined: 14 Sep 2008 Posts: 794

I probably wouldn't advise anyone to do that heavy of a program. The Hindemith and Arutunian are both pretty taxing pieces, and then with everything else...

The formula to me is:

-Something shorter and engaging to start off, 7-8 minutes max.
-Piccolo/baroque piece
-Haydn/Hummel/Neruda
-Multi-movement serious work (often more modern)

That's the bog-standard boring way of doing things, but hits all the bases and will get you enough length. The best recitals I've seen have been more interesting than that, however. Some ideas:

-Chamber pieces; duets, trios, brass quintet, etc. (if allowed)
-Original transcriptions
-Rarely heard pieces, whether modern or no.
-Unaccompanied pieces
-Use different horns as much as possible, for different tonal colors (cornet, flugel, etc. Even if it's not typically done on the instrument.)

Also, if you can do pieces that aren't just trumpet and piano, you'll add interest. That combination starts to get monotonous over the course of the recital. Overall, I really advocate doing things that aren't often done - stretch your boundaries, give the audience something they haven't heard before.
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crzytptman · Posted: Mon Jun 25, 2012 9:24 pm Post subject:

I didn't see any blues on that list. Any self respecting trumpeter should be able to throw down a few nasty choruses. And, why no 21st century music?
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trpthrld · Heavyweight Member Joined: 09 Mar 2007 Posts: 3328

gotta ask:

- what school are you going to?

- what degree are you trying to obtain?

- who is your advisor / private teacher?
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mark936 · Posted: Wed Jun 27, 2012 9:31 am Post subject:

1--A California State University

2--A Bachelors degree in General Music and a minor in Communications (Music Education doesn't require a minor) no performance degree is offered.

3--A tenured Professor. one of three who advises music majors; holds a Ph.D. in Musicology from Yale University, an M.M. in Trumpet from the University of Minnesota, and a B.M. (summa cum laude) from Saint Olaf College. he teaches music history (art-music surveys, period courses, opera, and American music) and music appreciation in the Music Major, General Education, and Honors curricula and directs a flourishing chamber music program.

aaron

Just my $0.02 about this program:

- Way too tiring
- Where is it written that recitals should cover as many styles and periods as possible? This search for "variety" has actually created one of the most unoriginal recital programs possible
- Why is your instructor picking all of your music for you?
- What is your problem with the Hindemith Sonata? It's not a happy piece, but it's not going to scare your audience away

From the tone of your posts it sounds a little bit like you might be blaming your teacher for creating this program. How much repertoire have you studied? Do you actively look for music and attend concerts? Do you listen to as much (trumpet) music as possible? With services like Naxos Music Library, you don't have many excuses for not being familiar with what's out there.

AJCarter

mark936 · Posted: Wed Jun 27, 2012 10:32 am Post subject:

I just wanted to share the works I'm probably going to do.

No blame, I just put in 45 mins on the Haydn and I'll see if I can get another lesson with Arturo to work on the Arutunian-- his favorite.

I listen to youtube and Pandora mostly, I agree, I won't have a problem finding good examples. i.e. I played along with youtube recordings of the Purcell Pic sonata- which I just did.

Hindemith-- maybe I'll being a cynical regarding mvt 2,3. the more I listen to it the more I like it.

Last year I performed the mvt 1 and I studied the online lesson of it by IIRC Chris Gekker?

I just ordered a poster of Alison Balsom holding her D(?) trumpet just to keep me motivated.

I just wanted to share what I'm working on.

thanks for all the input. What order would be interesting? only four pieces.

Haydn, Arutunian, Hindemith and Purcell Sonata . And if the 45 mins. time is met, maybe I can drop the Arutunian. just for arguments sake what order?

Haydn, Arutunian. intermission Purcell Hindemith. Wow, too many big pieces? Maybe drop some movements of the Haydn and maybe cut the long piano section in the Arutunian? I'm pretty serious about all three movements of the Hindemith.

Fuzzy Dunlop · Veteran Member Joined: 25 Jun 2011 Posts: 186

Mark, I would avoid referring to instrumental works, in this case concertos and sonatas, as "songs."

crzytptman · Posted: Wed Jun 27, 2012 11:37 am Post subject:

If they are not first and foremost "songs", they are not worthy of being concertos and sonatas. Just ask the 3 little birds . . .
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mark936 · Posted: Wed Jun 27, 2012 11:40 am Post subject:

noted-- edited. ty