California Polytechnic State University San Luis Obispo Mario Ojeda violin A Senior Recital in Partial Fulfillment of the Requirements for a Bachelor of Arts in Music Susan Azaret Davies, accompanist April 23, 2016 Saturday at 3 p.m. Davidson Music Center Room 218 Sponsored by Cal Poly s Music Department and College of Liberal Arts
Program Senior Recital Mario Ojeda, violin Susan Azaret Davies, piano Praeludium and Allegro in the Style of Pugnani... Fritz Kreisler (1875-1962) Short Suite for Two Violins... John S. Glasier Allegro (1910-1985) Adagio Allegro Paul Severtson, violin Intermission Violin Concerto in E Minor, Op. 64... Felix Mendelssohn Allegro molto appassionato (1809-1847) Andante Allegretto non troppo Allegro molto vivace
Program Notes Praeludium and Allegro in the Style of Pugnani Fritz Kreisler At seven years old, a typical child would be attending elementary school, but at that age young Fritz Kreisler became the Vienna Conservatory s youngest student. During his stay at the conservatory, Kreisler studied the violin with Joseph Hellmesberger, Jr., and music theory with world-famous Austrian composer Anton Bruckner. Thanks to his elite instruction and talent, Kreisler was able to take home a gold medal in violin performance, triumphing over much older colleagues. Little did Kreisler know that this victory was only the beginning. At age twelve, he stopped taking violin lessons altogether, but his abilities continued to improve, earning a spot in the legendary Berlin Philharmonic in 1899. Then at the peak of his violin career, Kreisler s skill was recognized by his friend, famous English composer Sir Edward Elgar (Enigma Variations), who dedicated to Kreisler his Violin Concerto in B Minor, Op. 61. Kreisler then premiered the concerto in 1910 under Elgar s baton. Aside from being a beloved and skillful performer, Kreisler was also a remarkable composer. Though he did not start composing until well into his violin career, Kreisler wrote many popular pieces such as Liebesfreud, Tambourin Chinois, and Praeludium and Allegro in the Style of Pugnani. Surprisingly, despite its current popularity, the Praeludium and Allegro (1905) originated from an elaborate scam devised by the composer himself. Kreisler originally attributed the piece to Giulio Pugnani, who had been an eighteenth-century Italian composer and violinist. This piece was grouped with other manuscripts, claimed by Kreisler to be lost classical works (presumably to facilitate the music s quick exposure). The fraudulent pieces were well received by audiences all over Europe, and Kreisler waited until his sixtieth birthday in 1935 to admit the truth behind their composers. Part of the brilliance of the Praeludium and Allegro stems from its structure, which resembles a test of different skills that a violinist should be able to perform. The violinist immediately takes charge in the first section with full, forceful leaps. These leaps evolve into more elaborate melodic lines in the next passage, which introduces the notable fun, flashy nature of the whole piece. The initial leaps are played again verbatim, cuing the entrance into the second section. Virtuosity and energy dominate this part, which starts with none other than the main theme. After a brief elaboration of the theme with leaps and a barrage of double-stops bow strokes that sound two strings simultaneously the next passage features shifting a technique in which the violinist creeps down the fingerboard. Then, after the violin repeats the main theme, another leaping passage showcases trills, which are fast neighbor-note oscillations that are preeminent in the violin s public perception. Then, the next passage highlights finger-pattern memory with brisk leaps across different strings. Careful observers will see that the violin s highest-pitched string is played unfingered
every three notes. Without the pulse of the piano, this passage emphasizes a different rhythmic feeling. Rhythmic stability is regained in the last passage, testing the violinist s ability to tune not one, or two, but three notes simultaneously before slowing to a short but rich conclusion. Short Suite for Two Violins John S. Glasier While many promising composers attend prestigious schools to develop their composition skills, John Strong Glasier achieved a comparable level of expertise while in the University of Arizona s lesser-known master s program. Starting the violin and viola at ten in 1920, Glasier developed a lifetime bond with music, leading him to pursue composition in his adult years. Through this passion, he demonstrated the beauty of modern classical music vastly different from the lyrical Romantic-era works that most are accustomed to hearing. Glasier s career took him to various locations, including the University of Arkansas, where he taught composition, conducted the school s orchestra, and had a number of his compositions played. The rest of Glasier s career was spent in San Diego, where he moved in 1949. It was there in 1963 that he met and befriended violinist Paul Severtson, who now serves as a violin instructor at Cal Poly. Severtson, who played in the San Diego Symphony with Glasier, will perform the second violin part of Glasier s A Short Suite for 2 Violins. Composed between 1960 and 1964 here in California, the Short Suite for Two Violins has gone largely unplayed despite its compositional brilliance. As his structure, Glasier uses a traditional form: a suite. A suite is a collection of short movements that can be played one after another. These movements often are in the style of dances, but Glasier uses merely tempo terms, thereby indicating different speeds for each movement. While the piece is called a suite, Glasier adds his own twist by designating unconventional groupings of beats in each movement. Although it lacks a clear-cut form, the first movement (and the Suite as a whole) evokes a feeling of adventure with the help of its style. Glasier creates a characteristically American atmosphere, as conveyed by the use of open strings an effect that resembles American folk music. American composer Aaron Copland, who wrote lots of music illustrating the beautiful frontier of the American landscape, had introduced this technique. Glasier harnesses this style and creates musical sentences using modes, which are archaic scales not commonly used today. The first movement has a consistent forward motion, as if going on a journey or adventure. The Allegro (fast) tempo supports this imagery, but also conveys a dance-like quality. The first violin introduces the main theme of the movement and the two violins then exchange similar melodies and counter-melodies, as if having a conversation with each other. This conversation is facilitated throughout the movement (and the piece as a whole) with the violins synchronized rhythms before closing with a folksy plucking in the second violin.
Movement two is distinguished by steady rhythmic pulses, launched by the second violin. The pulses persist throughout the movement and are interchanged between the violins, which add a consistent accompaniment to the broad melodies. Glasier carefully takes advantage of the slow tempo to fuel the passion and add color to the violinists melodies. Some of the different colors of sound push forward and resolve to more stable ideas. Surprisingly enough, the movement ends with a D major chord. The last movement gives the illusion of two dancers responding to each other s moves. The first violin introduces the main theme, but keeps things interesting by rearranging the beat patterns, similar to movement one. Much like the Suite as a whole, the second violin often mirrors the first with counter-melodies. This melodic mirroring, along with the many other techniques that Glasier used, contributes to the overall beauty of the piece. Violin Concerto in E Minor, Op. 64 Felix Mendelssohn Like Mozart, Felix Mendelssohn was a prodigy and also like Mozart, Mendelssohn sustained his talent throughout his adult life, leaving a legacy of works beloved to this day. Born in 1809 in Hamburg, Germany, Mendelssohn s musical instruction began early. By age six, he was taking piano lessons and began composing a few years later. So good were his composition skills that in 1825, a sixteen-year-old Mendelssohn finished his Octet, Op. 20 a chamber work considered to be one of the most memorable octets ever written. A year after writing the Octet, he wrote the popular overture to A Midsummer Night s Dream. Mendelssohn received classical training in almost every aspect of his education, so it is not surprising that he cherished German Baroque composer and master of musical counterpoint, Johann Sebastian Bach. Bach s music unfortunately fell into obscurity after his death in 1750, but Mendelssohn singlehandedly revived Bach s stature through a performance of the St. Matthew Passion. Despite taking five years to put together, the results spoke for themselves: Bach s music was once again revered for its ingenuity. Mendelssohn s music reflects this ingenuity as seen in his Violin Concerto, Op. 64. Completed in 1844, Mendelssohn s Violin Concerto stands as one of the violin repertory s most famous concertos. When Mendelssohn was appointed as conductor of the Leipzig Gewandhaus Orchestra, he chose his childhood friend Ferdinand David to be his concertmaster. In an exchange of letters with David, Mendelssohn mentioned his plan to compose a violin concerto for him. The concerto then premiered in 1845 with David as the soloist. Thought to be a manifestation of their friendship, the concerto showcased David s immense talent. It became a favorite work of other elite violinists such as Joseph Joachim, who was a student of David and one of the greatest violinists of the twentieth century.
Mendelssohn had a passion for melody, and the Violin Concerto exemplifies that passion. Written in sonata form, a structure that introduces multiple main themes and manipulates them before restating them at the end, Mendelssohn s concerto wastes no time with an orchestral introduction but immediately cues the soloist s entrance (in today s performance, the pianist plays the role of the orchestra). The violinist opens with the intense and emotional first theme that enthralls many people. The passage continues into a relaxed and loving second theme. This theme seems even more passionate than the first mainly because of Mendelssohn s ingenious use of contrasts in tempo and mood. Large leaps also amplify the emotion. The climax of the movement occurs during the violin s swooping cadenza, a spot where the accompaniment stops and all the attention is on the soloist. After the cadenza, the orchestra reintroduces the main themes, played more briskly due to the increasing speed and urgency of the piece; the movement concludes with three heavy E minor chords. The concerto then takes a tender turn and alternates between happiness and sadness in movement two, reflected in a ternary form (ABA). After a calm introduction, the violin begins the A section with dynamic swells and an increasingly complex vibration that makes the melody sing. The B section, in contrast, is restless and depressing, and the piano does an exceptional job of prolonging this feeling with its constant pulse, giving the illusion of the second hand on a clock ticking away during a restless insomnia. Fortunately, the repetition of the A section restores happiness and stability. At the end of movement two, a short interlude begins in the original E minor key but slowly evolves into a happier E major, which hints at the mood of the last movement. The finale contains some of the most exciting melodies of the entire piece, with lots of energy being channeled from sheet music to the soloist. The movement is written in the same sonata form as movement one, and again features two prominent themes. The first theme is very quick, jolly, and playful, while the other tends to be more broad, robust, and majestic. These two main themes are each given time to shine before they are truncated and manipulated in the following passages. Then, the themes are both reintroduced in the original E major key, signaling the approaching end of the piece. The last section, called a coda (meaning tail ), brings the thrilling adventure to an end, and the soloist concludes the piece with one last virtuosic leap before the celebratory final chord.
Acknowledgments My Family: None of this would have been possible without your constant support. Thank you for always believing in me and supporting me both emotionally and financially. Much of the person I am today is thanks to growing up around all of you, and I will never forget everything you ve done to contribute to my dreams. Paul Severtson: Thank you for teaching me all the skills I need to be a successful violinist. I appreciate all of the extra time and effort you put into my lessons, and I m lucky to have had the honor of playing alongside you for many professional groups. I look forward to keeping you posted with my endeavors and putting my new skills to good use! Susan Azaret Davies: From the first day I met you when you accompanied me during my initial department audition, I knew we would be a great team. Thank you so much for always bringing your unique energy and optimism to our rehearsals. Mr. Caldera and Mr. Hagen: Words cannot even begin to express how thankful I am to both of you. My musical story will always begin with you, and I owe much of my musical abilities to your teachings throughout my middle- and high-school careers. Thank you for always supporting me every step of the way and never giving up on me. Dr. Arrivée: These four years under your baton have been the most musically fulfilling of my life. From playing in Bach in the Mission to facilitating quartet rehearsals, you have demonstrated what it is to be a devoted, caring, and well-rounded musician. Thank you for single-handedly kick-starting my professional career. I can t thank you enough for that. Dr. McLamore: In the short time I ve had you as a professor, I ve had the privilege of experiencing what it is like to be instructed by someone who truly cares about her students in every way. Thank you for always encouraging me to do my best and being there for me during the tough times. Writing my program notes under your tutelage was a tough, but rewarding experience, and I cannot thank you enough for being a part of that. Dr. Russell: There is no doubt in my mind that I wouldn t be as happy to be a musician without your presence in my life. From having long talks about life to pointing out interesting things in class, I have learned what it truly means to love music. You have earned a special place in my heart, and I will never forget the priceless life lessons I learned from you.
Mario M. E. Jaimes: My friend, we have been through thick and think together since 08. Every second we ve spent together has always been a blessing. I m so happy that you think of me like the brother you ve never had, and I can only hope that I can keep living up to that high standard. Your inspiration and support, whether it is in person or in spirit, will never be forgotten. Thank you for being a part of my life. Troy and James: Thanks for always being so friendly and inviting me over for jam sessions. I ll never forget the memories of playing trio sonatas with you two. You ve made my college experience a much more enjoyable one, and I m so proud of the both of you for how far you ve come. I can t wait to hear about your next moves. Never stop being awesome! Druci Reese and Michele Abba: Thank you for everything you do to keep the department running like clockwork every day. Such a task is not easy, and I am amazed that despite this, you both still come to campus with a smile every day. Thank you for helping make my college experience the best that it can be.