Tristan McMichael
Patricia Grimm, piano
Hannah Estrella and Ricardo Martinez, saxophones
Grace Coon, flute Lauren Huen, violin
Audacity Reeds
Sunday, September 29, 2024
7:30 pm
Recital Hall
SEPTEMBER 29, 2024, 7:30PM
Pequeña Czarda (1949, 2005)
Patricia Grimm, piano
Bassoon Sonata in G major, op. 168 (1921)
Allegro
Pedro Iturralde (1929–2020)
Camille Saint-Saëns (1835–1921)
Patricia Grimm, piano
Tequila Saxiana (Segundo Mareo) (2002)
Hannah Estrella, alto saxophone
Patricia Grimm, piano
Nota bene! (A Kleptomaniac Carousel) (2019)
Quarrel Circus
Jorge Calleja (b. 1971)
Dolf de Kinkelder (b. 1953)
Ricardo Martinez, baritone and soprano saxophones
After You (2019) After I Found You
Grace Coon, flute
Linda Kernohan (b. 1970)
Feu de Paille (1986)
Prélude et Gavotte
SEPTEMBER 29, 2024, 7:30PM
Pierre Max Dubois (1930–1995)
Lauren Huen, violin
Ricardo Martinez, coach
Refraction (2015)
Death Metal Chicken
Audacity Reeds
Jayden Laumeister, oboe
Kyle Chang, clarinet
David Biedenbender (b. 1984)
Andrew Seaver, bass clarinet
Jordan Wier, bassoon
Ricardo Martinez, coach
Memorias (Tríptico) (2004)
Lisbõa
Casablanca
Alger
Retour
Patricia Grimm, piano
Le Carnaval de Venise (1860, 1986)
Patricia Grimm, piano
Pedro Itturalde (1929–2020)
Jules Demersseman (1833–1866)
arr. F. L. Hemke
This recital is presented as a degree requirement for a Bachelor of Music in music education
Tristan McMichael is a senior music education major with a passion for teaching at all levels. He is an avid classical/contemporary saxophonist, chamber musician, and woodwind doubler. He regularly performs with Pacific Wind Bands, Audacity Reeds, and in other solo, chamber, and ensemble settings. McMichael studies saxophone with Ricardo Martinez and oboe with Kyle Bruckmann. At Pacific, he has also studied bassoon, clarinet, and flute. After graduation, McMichael plans to pursue a master’s degree in saxophone performance.
Iturralde: Pequeña Czarda
Pequeña Czarda, meaning “Little Dance,” was composed by Pedro Iturralde when he was 20 years old. The current version was orchestrated by his brother Javier. Iturralde was known as a Spanish saxophonist, teacher, and composer, and for being a pioneer of Spanish jazz music. Czardas, also spelled Csárdás, is a traditional Hungarian folk dance that was popularized by bands in Hungary as well as Moravia, Transylvania, Slovakia, Croatia, Burgenland, and Slovenia.
Tristan McMichael
Saint-Saëns: Bassoon Sonata in G major, op. 168
This sonata was one of Saint-Saëns's last compositions before his death and is often referred to as his final word. It is the last of only three sonatas that he wrote for wind instruments, the other two being for oboe and clarinet. His purpose for writing for these instruments was to expand their repertoire within this genre as he felt they were neglected at the time. The music mixes Saint-Saëns’s light-hearted style with some peaceful contemplation.
Tristan McMichael
Calleja: Tequila Saxiana (Segundo Mareo)
Tequila Saxiana came into existence after French saxophonist Nicolas Prost heard Calleja's saxophone quartet En ese Camino Empedrado and contacted Calleja to write for his trio. In an interview with Elizabeth Ceron Cardenas, Calleja stated that the piece is "A dizziness produced in the color of the toast with tequila at a Mexican party, changing but with recurring images, a conversation fractured by fleeting thoughts, a blurred memory, and a good company; the effects seek to be discreet in this composition by means of minimalist, Mexican, and rock colors that end the piece without a bad hangover."
Tristan McMichael
Kinkelder: Nota bene!
Quarrel: The Idea: two players play a nice and easy, deep and buzzing bass song. The motive in bar 33 ends on a minor second, and both players think that "the other one" made a mistake. The motive is repeated two times, which results in increasing irritation. Violent emotions are shown, leading to a furious quarrel in bar 44. In bar 56 the Bass player attempts at
PROGRAM NOTES
a reconciliation. At first the Bari player keeps on whining a bit, but at last the players get united again (low, dronesome fifths!), and start playing the opening theme again, living happily ever after. Circus: The instruments themselves are the circus-artists. This might be emphasized by theatrical effects (mimics, movements, etc.).
Dolf de Kinkelder
Kernohan:
After You
After You was commissioned by the Tower Duo (Erin Helgeson Torres, flute, and Michael René Torres, alto saxophone) for their program titled “Music on the Move.” While planning a piece to fit that theme, my first thought was to draw on different kinds of physical movement: walking, dancing, flying, etc. But as I explored ideas and envisioned them being played by these performers, who are a married couple, I began to think about the movements of interpersonal relationships over time, in both literal and metaphorical dimensions. My hope is that listeners will find the results relevant to many kinds of relationship: parents and children, siblings, friends – anyone you’ve loved who has influenced your path.
Linda Kernohan
Dubois: Feu de Paille
Dubois was a student of Darius Milhaud and wrote primarily for woodwind instruments, especially saxophone. Feu de Paille translates to "Flash in the Pan." The expression means "a sudden spasmodic effort that accomplishes nothing." This idea can be seen with the quickly changing motifs throughout the piece, ultimately leading to an anticlimactic ending.
Tristan McMichael
Biedenbender: Refraction
Refraction was commissioned by the Akropolis Reed Quintet. Refraction is split into three distinct movements, each inspired by different musical scores that have been bent and distorted by time, space, and my imagination, much like light is bent as it enters a medium of different density. The first movement comes from a short, ridiculous, and awesome YouTube video called "Death Metal Chicken," which features a chicken screaming over a death metal band (of course!).
David Biedenbender
Iturralde: Memorias (Tríptico)
Memorias (Tríptico) is a multi-movement jazz influenced piece with the first three movements being named after important cities across the world that have influences in jazz. Itturalde was a graduate of the Royal Conservatory of Music in Madrid, where he studied piano, clarinet, and harmony. He continued his musical endeavors by leading his jazz quartet at the W. Jazz Club where he experimented combining flamenco and jazz. In 1972, he began to study harmony and arranging at the Berklee College of Music in Boston. Through his career, he became known as a prevalent Spanish saxophonist and composer.
Tristan McMichael
Demersseman (arr. Hemke): Le Carnaval de Venise
Jules Demersseman was a French flutist and composer who was friends with Adolphe Sax, the creator of the saxophone. Because of this friendship, Demersseman wrote some of the first pieces ever written for the saxophone including his Fantasy for the Saxophone and Piano. His rendition of The Carnival of Venice was written for one of Sax’s students. Frederick Hemke, the arranger of this piece, was also extremely influential in the classical saxophone world, notably for being a proponent of the Bb tenor saxophone in a classical performance setting and for his "Hemke" reeds through the D'Addario company that started in 1982.
The Carnival of Venice is a multi-day, flashy celebration that is a tradition stemming from the Venetian's victory over the Patriarch of Aquileia, Ulrich II von Treven, in 1162 c.e. It ends on Shrove Tuesday, also known as Mardi Gras. The celebration was outlawed by the Holy Roman Emperor/ Emperor of Austria, Francis II in 1797, but made its return in 1979 when the Italian government brought it back. Today, people celebrate by wearing intricate masks and clothing, and attending the various events and parties surrounding the celebration. This rendition of The Carnival of Venice is based on a Neapolitan folk tune called O Mamma, Mamma Cara, much like the many renditions that stem from the 20 variations that Paganini wrote, originally for violin.
—Tristan McMichael
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