Presents

Acknowledgements Conrad Cecil Rosillas

Nicolas Jr.
Rev. Fr. Jose Ma. B. Tinoko, O.P., JCD trombone
Regent Student of
Assoc. Prof. Herminigildo G. Ranera, Ph. D.
Asst. Prof. Antonio P. Africa, Ph. D.
Acting Dean In a

Asst. Prof. Peter John Marie L. Porticos Graduation Recital

Faculty Secretary
In partial fulfillment of the requirements
for the degree of

Bachelor of Music, Major in Music Education

Trombone Emphasis

with
Heliodoro Fiel III, Assisting Artist
UST Wind Orchestra
Jedrick Itugot, Conductor
UST Symphony Orchestra
Assoc. Prof. Herminigildo G. Ranera, Ph. D.,
Conductor

Tuesday, May 9, 2017, 10:00 AM

Recital Hall 1
5th floor, Albertus Magnus Building
University of Santo Tomas
Espaa, Manila

University of Santo Tomas

Conservatory of Music
_____________________________________
This serves as an invitation
 Programme
___________________________________________________________________________

I. Sonata in F Major Benedetto Marcello

Transcribed by Allen Ostrander (1686 - 1739)
Adagio
Allegro
Largo
Allegro

Heliodoro Fiel III, Assisting Artist

II. Concertino, Op. 4 Ferdinand David

(1810 - 1873)
Allegro Maestoso
Andante Marcia Funebre
Allegro Maestoso

UST Symphony Orchestra

Assoc. Prof. Herminigildo G. Ranera, Ph. D., Conductor

__________________ Intermission _________________

III. Subadobe Fredrik Hogberg

(1971 - )
Dolce Lamentabile
Jazzy
Pop style

IV. Trombone Concerto Satoshi Yagisawa

(1975 - )

Allegro Con Brio

Grandioso
Con Brio
Allegro Con Brio

UST Wind Orchestra

 Jedrick Itugot, Conductor
SONATA FOR CLARINET AND PIANO IN E-FLAT MAJOR, Op.
167
Camille Saint-Saens
The prolific output of Camille Saint-Saens is due in no
small part to the simple fact that he outlived many of his
contemporaries. By the late 1910s, however, the years had taken
their toll; his still busy performance and conducting schedule
became hampered by paralysis in his left hand. Physical maladies
failed to inhibit Saint-Saens creativity, and the Clarinet Sonata of
1921 (the last year of the composers long life) stands as a
testament to this sheer force of will.
Saint-Saens unabashed Classicism is evident in his
adoption of the Classical four-movement sonata cycle for this
work, rather than the more typically Romantic three-movement
design. The first movement (marked Allegretto) features a broad
clarinet melody set atop flowing piano arpeggios. Though brief in
comparison to many opening movements, the long and effortless
clarinet lines give the sense that a journey has truly taken place
by the time we reach the end.
A Scherzo marked Allegro animato follows. It epitomizes
the clarity and elegance often sought by Saint-Saens, yet at the
same time it features some delightfully coloristic touches. The
pianos accompaniment practically floats on air at times. Equally
elegant is the following Lento, though now it is cast in a somber,
almost dirge-like setting. The finale (Molto allegro) follows without
pause, as if to suddenly break free from the reserved Lento. This
most virtuosic portion of the sonata exploits many of the
acrobatics for which the clarinet is so well-suited. To conclude,
however, we return to the slower and more elegant material of the
first movement and come full circle in a most satisfying fashion.
CANZONETTA
Gabriel Pierne
Gabriel Piern, French composer and successor to his
teacher Cesar Franck as organist at Sainte-Clotilde Cathedral in
Paris, was a master musical craftsman, and his skill is as apparent
in ear candy such as the Canzonetta for clarinet and piano, Op. 19
(probably composed sometime during the final decade of the
nineteenth century), as it is in his more weighty, "serious" organ
and dramatic music. The Canzonetta is dedicated "to [his] friend
Charles Turban."
CLARINET CONCERTO IN A MAJOR, K. 622
Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart's death two months after
completing this concerto left it as his final piece for orchestral
instruments, and a testament to a long-standing friendship. Both
it and his earlier Clarinet Quintet in A, K. 581 (1789) were written
to celebrate the genius of the virtuoso clarinetist, Anton Stadler
(1753 - 1812). The clarinet's distinctive sound can communicate
high mirth at one moment and melancholy the next. Mozart loved
the instrument and was one of the first composers to include it in
the standard orchestral configuration of his symphonic works. It
was Anton Stadler, however, who inspired Mozart to think of the
clarinet as more than merely a voice in the texture of orchestral
sound.
For his concerto, Mozart chose an orchestral ensemble of
flutes instead of more penetrating oboes, no brass instruments
except for two horns, and a full complement of strings, to make it
possible to hear the soloist distinctly above the ensemble.
The first movement begins with flowing melodies that
exploit the clarinet's rich tone in an atmosphere of gracious
lyricism. It continues as the clarinet breaks free from the
orchestral sound, and Mozart takes full advantage of the artist's
technical command and the instrument's range with exciting,
almost gymnastic leaps from the highest to the lowest notes
possible. Another layer of contrast is added with a quick change
to the minor mode and a melancholy melody.
 The Adagio second movement is undoubtedly one of
Mozart's most sublime slow movements, as the clarinet spins a
tale of deep lonliness and loss. Mozart had the ability to embody
the sadness that may be found within beauty, and to make his
music a profound expression of the transitory nature of life. This
movement displays the exquisite singing quality of the clarinet and
the musicality of the clarinetist. A reviewer wrote Stadler in 1784,
Never should I have thought that a clarinet could be so capable
of imitating a human voice so closely as it was imitated by thee.
Verily, thy instrument has so soft and lovely a tone that nobody
who has a heart can resist it.
The finale is a mercurial rondo that captures the chirpy,
comical quality of the comedic clarinet. The opening rondo theme
is presented by the clarinet, establishing an atmosphere of levity.
Mozart contrasts the rondo theme with other melodies that are
harmonically adventurous and unexpectedly moving. This
movement again exploits the technical virtuosity of the clarinetist.
Mozart's Clarinet Concerto represents the height of the
composer's creative powers. Spurred on by the delight of writing
for his close friend, he instilled the concerto with a distinctive
personality and established for future generations of composers
the clarinet's character as a solo instrument.
CONCERT PIECE NO. 1
Felix Mendelssohn
Felix Mendelssohn(-Barthody), composer, was born on
February 3, 1809 in Hamburg, Germany and died on November 4,
1847 in Leipzig, Germany. Despite his relatively short life,
Mendelssohn composed a large amount of music including
Concertos (3 for Piano, 2 for two Pianos, 1 for Violin & Piano, and
2 for Violin - the second one being the famous Violin Concerto in E
Minor); several Overtures; 13 Sinfonia (String Symphonies) and 5
Symphonies.
He met Clarinet virtuoso Heinrich Baermann (1784-1847)
in 1829 and became good friends. Both Concert Piece No. 1 in F
Minor (Op. 113) & Concert Piece No. 2 in D Minor (Op. 114) were
composed for Clarinet, Basset Horn (in F) and Piano in December
1832 and first performed in January 1833 with Baermann on
Clarinet, his son Carl (1811-1885) on Basset Horn and
Mendelssohn on Piano.
He orchestrated Concert Piece No. 1 later that year but never did
get around to orchestrating Concert Piece No. 2. It was
eventually orchestrated by Carl Baermann, now thought to be
Heinrichs Bassoonist brother Carl (1782-1842), rather than his
son.