A GRADUATE OBOE RECITAL JOSEPH MICHAEL TOMASSO SUPERVISORY COMMITTEE: LESLIE ODOM, CHAIR JONATHAN HELTON, MEMBER PAUL RICHARDS, MEMBER

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1 A GRADUATE OBOE RECITAL By JOSEPH MICHAEL TOMASSO SUPERVISORY COMMITTEE: LESLIE ODOM, CHAIR JONATHAN HELTON, MEMBER PAUL RICHARDS, MEMBER A PERFORMANCE IN LIEU OF THESIS PRESENTATED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2013

2 Summary of Performance in Lieu of Thesis Presented to the College of Fine Arts of the University of Florida In Partial Fulfillment of the Requirements for the Degree of Master of Music A GRADUATE OBOE RECITAL By Joseph Michael Tomasso November 2013 Chair: Leslie Odom Major: Music At 5:30 pm on 26 November 2013, the author performed a graduate recital of standard oboe repertoire, contemporary literature and operatic scores arranged for the English horn. Performed in the University of Florida Music Building Room 101 recital hall, this program demonstrated a high level of technical and artistic ability. The program consisted of Antonio Vivaldi s virtuosic Concerto in A Minor, Wolfgang Amadeus Mozart s Concerto in C Major, Paul Reade s film adaption Suite from Jane Eyre for Oboe and Piano and an arrangement from Bizet s pinnacle opera Carmen by Robert Elkjer. The musical selections showcased the development of the oboe from the baroque era to contemporary day. While each composition involved collaboration between the oboe and the piano, the first half of the recital was comprised of large concerti demanding vast dynamic contrasts. The second half of the recital involved more intimate works showcasing nuance in phrase, vibrato sensitivity, control of tone and delicate communication between the musicians on stage. In these respects the recital presented was a historically holistic and complete artistic experience for the performer and audience alike. 2

3 PROGRAM A Graduate Oboe Recital Joseph Michael Tomasso, oboe and English horn Tuesday, November 26, :00 pm MUB 101 Concerto in A Minor, RV 461 Antonio Vivaldi I. Allegro non molto ( ) II. Larghetto III. Allegro Concerto in C Major, K.314 Wolfgang Amadeus Mozart II. Adagio non troppo ( ) I. Allegro aperto INTERMISSION Suite from Jane Eyre for Oboe and Piano Paul Reade I. Prelude ( ) II. Jane and Rochester III. Blanche Ingram IV. Adéle V. On the Moors VI. Reconciliation Carmen Fantasy Georges Bizet I. Prelude to Act IV ( ) II. Seguidilla Ed. By Robert Elkjer V. Danse Boheme This recital is presented in partial fulfillment of the requirements for the degree Master of Music. Joseph Michael Tomasso is from the studio of Dr. Leslie Odom. 3

4 PROGRAM NOTES Antonio Vivaldi is widely known for contributing more than 400 concertos to the classical music repertoire. Originally written for his young female students at the Ospedale della Pieta in Venice Italy, these works attracted audiences throughout all of Europe at weekly engagements. Vivaldi s concertos championed a dramatic flair incorporating simple, sequential forms with demanding technical feats that later helped influence the structures leading to the classical concerto. Most often the Vivaldi concertos follow a three-movement pattern of an Allegro in the tonic, a slow movement in the dominant, ending with another Allegro firmly establishing the tonic. Simple techniques such as scale passages, arpeggios, and broken thirds achieve dramatic effects with Vivaldi s powerful and vital rhythmic sense driving the music. 1 equal importance to the faster movements. 2 Vivaldi is often credited as first composer to give slower movements The Concerto in A Minor poses significant challenges to the oboist s technique on both early and modern keyed oboes. Florid runs of sixteenth notes repeat sequentially for the vast majority of the first movement establishing both a sense of virtuosity and a regal nature. The second movement, lyrical in nature, allows a greater opportunity for the performer to insert ornamentations, breathing life into Vivaldi s simple, yet elegant melodies. The final movement spans the greatest emotional spectrum with elements of aggression and gaiety interwoven with great technical challenges typical of Vivaldi s writing. Mozart s Oboe Concerto in C Major, K. 314 has a tumultuous past straddling both the oboe repertoire in the key of C major and the flute repertoire in the key of D major. Although it was originally written for oboist Giuseppe Ferlendis in 1777, the work was championed and performed by oboist Friederich Ramm. The concerto was infrequently performed with records showing Anton Meyer of the Esterháza orchestra requesting a fresh set of parts in It was not until 1920 when Mozart Scholar Bernhard Paumgartner rediscovered the C Major Concerto in the Salzburg Mozarteum. Paumgartner immediately recognized the similarity with the D major flute concerto, surmising that the work was originally written for oboe, and then rearranged for flute to satisfy a commission for a Dutch flutist that had requested two flute concerti. In order to quickly satisfy the commission Mozart relabeled the C Major Oboe Concerto as a D Major Flute Concerto. The Oboe Concerto itself is in the classical style comprised 1 Lisa Marie Lawson, Sacramento Baroque Soloists. 2 Ibid. 4

5 of a fast, slow and fast movement. The first movement is a rather extensive and elaborate sonata allegro form composed distinct melodic figures that are woven together in typical Mozart style. Dramatic and operatic arpeggios punctuate the opening and closing of key sections. The second movement in F major is comprised of lyrical melody that relies heavily on short orchestral interjections as the solo line becomes more intricate and ornamented. Paul Reade, born in Lancashire England, studied at the Royal Academy of Music and later worked at the English National Opera as a repetiteur. Most notably known for his work in television, Reade s credits include, The Victorian Kitchen Garden, Ludwig, The Fumps, Crystal Tipps, Alistair, and Antiques Roadshow. In 1983 Paul Reade composed the incidental music for BBC TV s serial adaption of Charlotte Bronte s novel Jane Eyre. Two suites have been drawn from the original score. The suite for oboe and orchestra is extended to include the dramatic elements of the music in addition to the more lyrical episodes, which make up the Suite for oboe and piano. The six movements of this Suite follow the unfolding of the romance between Jane and Rochester and include portraits of Blance Ingram, whom Jane views as her Rival for Rochester s affections, and Adéle, Rochester s young daughter who is in Jane s charge. Carmen, a tragic opera in four acts, premiered at the Opéra Comique in 1875, three months before Bizet died. Despite great success in Germany the original run struggled to find an audience in Paris, often performing for less than half of a full house. Written in the Opéra Comique style the opera mixes together spoken word, aria, and lively dance numbers invoking both traditional French and implied Spanish sounds. The story details the downfall of solider Don José as he is manipulated and seduced by the Gypsy Carmen. Don José abandons his family and career in an attempt to secure Carmen s love but is quickly abandoned. In a fit of rage Don José ends Carmen s life over her love affair with Torreador Escamillo, becoming one of the first French Operas to show a characters death on stage. Thomas Stacey, English horn of the New York Philharmonic, commissioned this particular arrangement. Having many popular Carmen adaptions for other instruments the English horn version continues in similar fashion by embellishing melodic colors and demanding great technical prowess. The first movement alternates solo line with accompaniment with piano culminating in a virtuosic cadenza. The Seguidilla, presented in more florid than 5

6 version than in the opera, allows the soloist to bring both color and direction to the popular Spanish Theme. Closing with the Danse Boehme, the soloist is able to finish in true operatic style as the center of attention. BIOGRAPHICAL SKETCH 6

7 Joseph Michael Tomasso is a woodwind specialist having explored advanced in instruction in each of the woodwind family. He has performed throughout the United States, Canada, Jamaica, Italy, Germany, Austria and Scotland as both soloist and chamber musician. He is currently pursuing his Master of Music degree in Oboe Performance at the University of Florida where he studies with Dr. Leslie Odom. He holds the graduate teaching assistantship in Oboe where his primary responsibility concerns the instruction of oboe reed making. Joseph has participated in numerous competitions with great success including the Music Teachers National Association chamber music competition (State of Illinois Runner-Up in , State of North Carolina Runner-Up ) and the Associazione Giovanile Musicale (AGIMUS) International Music Competition of Padova (2011). Joseph was the first American to compete and win first prize and the second person in the 10-year history of the competition to take first prize in multiple categories (Citta di Padova Soloist Competition, Virtuoso Instrumentalist Competition). As a winner of these competitions Joseph was invited back to perform throughout Europe. In 2008 Joseph received a Master of Music in Multiple Woodwind Performance and Pedagogy from the University of North Carolina Greensboro. Primary instructors included Dr. M. Ashley Barret, Dr. Michael Burns, Dr. Steven Stusek, Dr. Susan Fancher, Dr. Sean Copeland and Dr. Deborah Ekgevist. While studying in North Carolina Joseph participated in the Graduate Woodwind Quintet, University Orchestra, Opera, Wind Ensemble and the Graduate Saxophone Quartet. Joseph was also named a runner-up in the University Concerto Competition. In addition to his performing responsibilities at the University, Joseph was a substitute member of the Greensboro Symphony on both oboe and English horn, a member of the Piedmont Wind Symphony, and woodwind instructor at Moore Music. In 2006 Joseph completed a Bachelor of Music Performance in saxophone with a secondary concentration in clarinet. Primary instructors included Professor Debra Richtmeyer, Dr. Nathan Nabb, Professor J. D Harris and Dr. Sarah Dye-Burke. During his undergraduate studies he participated in the University Wind Symphony, Symphonic Band, Philharmonia Orchestra, Repertoire Orchestra, New Music Ensemble, Graduate Saxophone Quartet, and the Undergraduate Quartet. His awards include being the recipient of the W. Clyde Young Musicians 7

8 Scholarship ( ), Band Division Scholarship ( ), and being named Most Outstanding Undergraduate Student (2005), an award reserved to one male and one female recipient in the school of music per academic year. Currently Joseph balances ensemble duties with the University Orchestra and Wind Symphony. In the fall of 2012 he was a runner up in the graduate division of the University Concerto Competition. He played with the Gainesville Chamber Orchestra since 2008, been an active substitute member of the Ocala Symphony Orchestra and the Space Coast Symphony. Joseph also maintains a healthy private studio in Gainesville through Great Southern Music. Prior to his studies at the University of Florida he served as a Visiting Lecturer in Saxophone at the University of Florida. 8