Brenda Reynoso
Brenda Reynoso
Wednesday, April 4, 2024
UTSA Recital Hall
Emilio De Leon Graduate Recital
Clarinet Concerto No. 2 in F minor
I. Allegro
II. Andante Pastorale
III. Allegretto
7:30pm
7:30 p.m.
Program
Bernhard H. Crusell (1775-1838)
Dr. Jeong-Eun Lee, pianist
After Dave Molk with Valeria Hernandez, Rebecca Palmer, & Adam Jackson
Cantilène
Fernande Decruck (1896-1954)
Dr. Jeong-Eun Lee, pianist
Variations Sur un Théme de Scriabine (I, II, III, IV, VI)
~Intermission~
Tupelo (I,II,III)
Promenade (Walking the Dog)
Jessica Lara, violin I
Monica Carlos, violin II
Alexandre Tansman
George Gershwin (1898-1937)
Keith Aleo
Arr. Sebastian Manz
Astor Piazzolla’s Verano Porteno arr. Pius Cheung
Sydney Castillo, viola
Isaiah Valdez, cello
Heriberto Ayma, bass
Big Hair Air Guitar
Memorias (tríptico)
I. Lisbõa
II. Casablanca
Tryptic Boom
III. Alger
Tonya Pacetti-Perkins, piano
Casey Cangelosi
Pedro Iturralde (1929-2020)
Chad Floyd
Dr. Jeong-Eun Lee, pianist
Sholem-Alekhem, Rov Feidman!
No Music on a Dead Planet (I,II)
Dr. Jeong-Eun Lee, pianist
Béla Kovács (1937-2021)
JaRon Brown
This recital is presented in partial fulfillment of the requirements for the Master of Music Performance Pedagogy degree.
Emilio De Leon is a student of Sherry Rubins and Paul Millette.
Program Notes
After
”Originally written as part of More Time For Coffee (a black box production), After is pure EDM bliss, except that it’s entirely acoustic.” -Dave Molk
I decided to include this piece in the program after a friend in the TAMIU percussion studio, named Juan, performed this piece in his senior recital. While helping him set up for a rehearsal one day, we decided to set an environment that would replicate that of NPR’s Tiny Desk Concerts. Since experiencing that setting, it motivated me to simulate that in my recital as well.
Variations Sur un Théme
“The Polish composer, Alexandre Tansman, having been introduced to Andrés Segovia during his stay in Paris in 1921, was persuaded to write for the guitar. Variations on a Theme of Scriabin, dedicated to Segovia, was written in 1972. The theme, Prelude, Op. 16, No. 4, in E flat minor (for piano), was arranged by Segovia in B minor for guitar (publ. Celesta Publishing Co., New York, 1945).”
I chose to perform this piece after viewing Ji Su Jung’s marimba version on Youtube. I was inspired to take on the challenge of performing and interpreting this piece, not as a percussionist, but as a classical guitarist.
Tupelo
“I’ve always been fascinated by polyrhythms; teaching them, playing them, and seeing them in music. I find myself tapping them out on my legs as I’m walking somewhere; 2 against 3, then 3 against 2, the same rhythm with a different feel. There’s nothing like a polyrhythm that grooves! The name Tupelo comes from a type of tree that grows in swamps in my native home of Florida.” -Keith Aleo
This piece served as a great tool in familiarizing myself with accessory percussion instruments, that are typically used to embellish within a large ensemble due to their unique timbres. This piece allows these accessory instruments to be the melodic voices and main focus.
Program Notes (continued)
Verano Porteno
“Verano Porteno (Buenos Aires Summer) is part of a set of four tango compositions by Astor Piazzolla called Estaciones Porteñas or The Four Seasons of Buenos Aires. My arrangement for solo marimba originally began as a transcription of Piazolla’s own recording with his quintet. However, the more I delved into Piazzolla’s recordings of his own music, the more I realized that being one person with limited experience with the tango genre, I will never be able to compare up to the original. Therefore, I decided to take more of an arrangement approach, taking the original theme of the piece and improvising with it on the marimba until I found something comfortable.”
- Pius CheungI chose to perform this piece as I wanted to take on the physical challenges that surfaced during the beginning stages of learning it. Performing this piece has been a long-term goal of mine, since my time in the TAMIU Percussion Studio.
Big Hair Air Guitar
“This piece is not a joke, but should be taken too seriously either.”
-Casey CangelosiI chose this piece for the amusement I felt when coming across a video of Casey playing along with the score while scrolling on social media. I have never considered myself a drumset player, nor did I assume I have the limb dexterity of one, so I sought to challenge myself both mentally and physically with this piece, and have a bit of good ol’ fashion fun while learning it.
Tryptic Boom
I decided to learn this piece, due to my recent obsession with snare drum and electronics. Over the past couple of years, I started listening to different artists while warming up on snare drum, to sometimes subtract myself from the traditional way of warming up with a metronome. Music ranging from artists like Chon, Action Bronson, Santana, the Free nationals, and even Meshuggah, have influenced my way of approaching the concert snare drum. This piece has small variations of drumming that I found to be amusing to learn and play, and allows me to learn to interpret those styles, respectfully.
Program Notes (continued)
No Music on a Dead Planet
Commissioned by the Green Vibes Project (2022), "No Music on a Dead Planet" was written in favor of the most current series four of composer collaborations with Green Vibes. The Green Vibes Project's sole mission is to inspire environmental awareness, discussion, education, and community, through the performance and commissioning of new music. Respectfully, their vision includes a musical universe where not only musicians, but music lovers and audiences, understand the impact they have on the environment and how they can make a difference in it as such. This piece is most importantly dedicated to the Music Declares Emergency. This organization, which launched in July 2019, set out to promote the power of music to face the necessary cultural changes to ultimately create a greener, fairer and better future for us all. Music Declares Emergency aims to represent all areas of the music industry completely irrespectively of genres, role, gender, race, sexuality or status and thus, deeply rooted and led by individuals who share a deep concern for the climate and ecological emergency we currently face. “With all respects, it has been an absolute pleasure creating a musical work that reflects these most caring and profound ideas in relation to our environment. In association with the Green Vibes Project, this piece is a fictional illustration of an experience of the possibilities of inhabiting a dead world with presumably no music. It is a tale of a lone astronaut responding to a distress ghost call from an unknown and unidentified being in search of help for the shortcomings of a post-apocalyptic universe.” -JaRon
BrownI chose to perform this piece, after watching the premiere performance of it by percussionist and Green House Vibes member, Chase Banks. I immediately was drawn to the piece for the sci-fi effects and grooves within the movements. I also have found a liking to discovering pieces that incorporate Electro-acoustic effects on a concert stage. It has been such a thrilling experience taking a step away from the ‘traditional’ literature that is composed for percussion instruments, and to perform an interesting and complex piece like “No Music on a Dead Planet.”
