11.11.2023 SNR Hepler and Smith Program Notes

ABOUT THE ARTISTS Jacob Hepler, trumpet Jacob Hepler is a senior at the Wells School of Music, pursuing his undergraduate degree in music education. He is currently studying under the guidance of Robert Skoniczin, Dr. Jean-Christophe Dobrzelewski, and Brian Kuszyk.

In today's event, Jacob will be performing the Trumpet Concerto in E-Flat by Joseph Haydn, Libertango by Astor Piazzolla, and Contrapunctus IV by Johann Sebastian Bach. These pieces were thoughtfully selected to symbolize the culmination of Jacob's undergraduate studies. Each piece represents the evolution of the trumpet itself, starting with the Trumpet Concerto, where the instrument premiered its first diatonic scale.

Throughout his time at West Chester University, Jacob actively participated in the West Chester University Symphony Orchestra, Opera Orchestra, Wind Symphony, Trumpet Ensemble, and Brass Ensemble. He extends his sincerest gratitude to his family, friends, and mentors who have provided unwavering support and have played an integral role in shaping his musical journey during his undergraduate studies at the Wells School of Music.

Madison Smith, trumpet Madison Smith is a senior at the Wells School of Music at West Chester University majoring in music education. Under the direction of her accomplished mentors, Robert Skoniczin, Dr. JeanChristophe Dobrzelewski, and Brian Kuszyk, she has refined her musical talents over the last four years.

Madison has always been actively involved in the Wells School of Music throughout her time at West Chester. She is currently a Student Ambassador for the WSOM as well as the Social Media Intern for the school’s online social platforms. She also participated in numerous ensembles such as Wind Ensemble, Symphony Orchestra, Trumpet Ensemble, Brass Ensemble, and Jazz Ensembles. Madison has a great love for music and is excited to become an educator so that she can share her passion with her students.

Madison would like to express her deep appreciation for her amazing family, friends, teachers, and the WCU trumpet studio for always providing encouragement and support throughout her musical journey.

PROGRAM NOTES Légende, George Enescu (1881-1955) Enescu’s Légende, originally intended for violin and piano, was later adapted for trumpet and in doing so, it brought forth a fresh perspective on the work. Inviting both the performer and the audience to embark on a musical journey, the piece is filled with poignant melodies, virtuosic challenges, and a sense of longing.

Légende begins with a lyrical and evocative trumpet solo, immediately immersing the listener in its emotive world.

Enescu's use of thematic material is rich and the opening melody sets the mood for the melancholy yet intriguing attitude of the piece. The piano, serving as both accompaniment and a collaborative partner, provides a supportive backdrop for the trumpet's narrative.

As the piece progresses, the music oscillates between moments of technical bursts and passionate expression. The trumpet's range and versatility are on full display, with virtuosic passages demanding precision and artistry. The structure of the Légende enables the soloist to convey a range of emotions, from melancholic reflection to exuberant celebration.

Enescu’s Légende is a striking exploration of the trumpet's expressive capabilities, as well as a testament to the composer's profound understanding of the instrument's unique voice. It stands as a bridge between Enescu's Romanian roots and his cosmopolitan musical influences, resulting in a work consisting of enduring beauty and depth.

As the soloist undertakes Enescu’s interpretation of Légende, they invite the audience to join them on a musical journey of heartfelt expression and virtuosic brilliance, revealing the piece's timeless allure and emotional resonance.

“Meditation” from Thaïs, Jules Massenet (1842–1912) Thaïs, an opera composed by Jules Massenet, has been celebrated for its beautiful and emotive music. Within this opera, the "Meditation" stands out as a piece of instrumental music that has transcended the confines of the operatic stage to become a cherished standalone work. This exquisite piece has been arranged here for flugelhorn and piano, allowing the unique timbre of the flugelhorn to bring a fresh perspective to this poignant meditation.

Composed in 1894, the "Meditation" is a moment of profound reflection in the opera, a musical interlude that captures the essence of its protagonist's inner turmoil. Set in the Egyptian desert, the opera follows the journey of Thaïs, a courtesan who seeks spiritual redemption. The "Meditation" serves as a pivotal point in the narrative, where Thaïs' emotional transformation is conveyed through the soaring melody of the violin but in this case, the flugelhorn.

In this arrangement for flugelhorn, the piece retains its expressive depth and evocative power. The flugelhorn's warm and mellow tone embodies the meditation with a unique, soulful quality, creating an intimate and contemplative atmosphere. The piano accompaniment, delicate and supportive, enhances the emotional resonance of the piece. The "Meditation" is known for its lyrical melody, which the flugelhorn takes on with grace and sensitivity. As the piece unfolds, it navigates through various emotional landscapes, from moments of tranquil reflection to passionate feeling.

Jules Massenet's "Meditation" is a testament to the power of music to convey profound emotion and tell a story without words.

Solo de Concours, Théo Charlier (1868–1944) Theo Charlier's Solo de Concours stands as a shining gem within the repertoire of classical trumpet music. Directly translated to “competition solo”, the piece requires the performer to showcase not only their dazzling technical prowess but also their ability to convey deep emotion through the trumpet. Although composed in 1900, this piece continues to captivate audiences with its brilliance and technical virtuosity. Charlier's work is an intricate tapestry of lyrical melodies, dazzling runs, and intricate ornaments that challenge the musician to reach new heights of artistry. It has three distinct sections, each with its own unique theme and style.

The piece is structured in a traditional three-movement format, offering a diverse range of musical experiences. The opening Allegro presents a lively and spirited dialogue between the trumpet and the piano, highlighting the performer's agility and lyricism. Towards the back end of the first section, the piece showcases its technical challenges, such as a line consisting of quick arpeggiated diminished 7th chords that progresses to scalar patterns to end the movement.

The following Andante is a heartwarming, lyrical interlude, providing a contrast to the opening movement's vivacity.

The theme is presented in the beginning of the movement as well as at the end of the section but in a cup mute.

Cup mutes are often utilized in French music because of their round and present yet muffled timbre. Dynamic contrast is essential in this section, as well as control pertaining to the sound and intonation of the horn. The final movement, marked Allegro, returns to the energetic and playful character, demanding not only technical brilliance but also a keen sense of style and interpretation.

Solo de Concours has earned its place as a staple in the trumpet repertoire, cherished by performers and audiences alike. Its timeless beauty and the balance between technical brilliance and expressive depth make it a cherished showcase of the trumpet's versatility and lyric beauty.

Trumpet Concerto in E-Flat Major, Joseph Haydn (1732-1809)

Joseph Haydn's Trumpet Concerto in E-Flat Major, often referred to as the "Haydn Trumpet Concerto," is a cherished gem of the classical trumpet repertoire. Composed in 1796 during the later stages of Haydn's illustrious career, this concerto is a delightful example of his mastery in crafting engaging and joyful music.

Haydn's Trumpet Concerto was composed for his friend and fellow musician, Anton Weidinger, an innovative trumpet player known for developing the keyed trumpet. The key feature of Weidinger's trumpet was a set of keys that allowed for a more extensive range of notes and greater flexibility in playing. Haydn's concerto was specifically tailored to showcase the virtuosic capabilities of this new instrument.

The concerto is structured in three movements: Allegro: The opening movement is a lively and spirited Allegro. It presents the solo trumpet with a jubilant, fanfare-like theme that is both regal and playful. The orchestral accompaniment is graceful, creating a dialogue between the soloist and the ensemble.

Andante: The second movement, Andante, is a serene and lyrical contrast to the first movement. It features the trumpet's ability to express profound emotions and lyrical beauty. The orchestra provides a gentle, flowing backdrop as the trumpet weaves a beautiful, melodic tapestry.

Finale - Allegro: The final movement, marked Allegro, is a brilliant showcase of the trumpet's agility and the concerto's overall exuberance. It features playful themes and a lively pace, with the soloist and the orchestra engaging in a spirited musical conversation. The movement concludes with a dazzling display of virtuosity.

Haydn's Trumpet Concerto is a significant work not only for its musical beauty but also for its historical importance in the development of the trumpet as a solo instrument. It stands as a testament to Haydn's ability to adapt to new

musical technologies and his talent for creating music that continues to captivate audiences with its charm and elegance.

The concerto demands a high level of technical proficiency from the trumpet soloist. The performer must exhibit both agility and lyrical finesse, transitioning seamlessly between the contrasting moods of the three movements. The interaction between the soloist and the orchestra is a crucial element of the concerto, with both parties engaging in a delightful musical conversation.

Joseph Haydn's Trumpet Concerto in E-Flat Major is a timeless masterpiece that has retained its popularity and significance for over two centuries. It is a celebration of the trumpet's capabilities and Haydn's genius in crafting music that is both brilliant and emotionally engaging. When performed, it continues to inspire and enchant audiences, offering a glimpse into the rich history of classical music and the evolution of the trumpet as a solo instrument.

Libertango, Astor Piazzolla (1921-1992)

Astor Piazzolla's "Libertango" is a fiery and revolutionary composition that transcends the traditional boundaries of tango music. Born in Argentina in 1921, Piazzolla became a leading figure in the "nuevo tango" movement, challenging and redefining the genre in a way that brought it to new heights of artistic expression.

"Libertango," composed in 1974, is emblematic of Piazzolla's innovative approach to tango. It fuses the traditional elements of the genre with contemporary harmonies and rhythms, creating a dynamic and captivating sound. The title, a portmanteau of "libertad" (liberty) and "tango," encapsulates the piece's spirit of liberation from convention.

In this arrangement, the trumpet takes center stage, allowing this versatile instrument to breathe new life into the already vibrant "Libertango." The arrangement captures the essence of Piazzolla's nuevo tango and reinterprets it with a contemporary twist, highlighting the trumpet's ability to convey both lyrical beauty and fiery intensity.

Astor Piazzolla's "Libertango" has become a standard in the tango repertoire and is celebrated for its fusion of classical and jazz elements with the traditional tango form. Its universal appeal has led to numerous arrangements and interpretations by musicians worldwide.

Performing this arrangement demands not only technical precision but also a deep understanding of the tango's emotional nuances. This arrangement creates a dialogue between the trumpet and the other instruments, providing opportunities for musicians to explore their own interpretations of the piece while remaining faithful to its essence.

Astor Piazzolla's "Libertango" is a dynamic and audacious masterpiece, embodying the essence of liberation and passion. It is a reflection of Piazzolla's artistic courage and his commitment to pushing the boundaries of traditional tango music. As the music surges and sways, it invites the audience to experience the rich cultural tapestry of Argentina and the enduring power of musical innovation. "Libertango" stands as a testament to the transformative potential of art and its ability to transcend borders and conventions.

Contrapunctus IV, Johann Sebastian Bach (1685-1750) Johann Sebastian Bach's "Contrapunctus IV," originally part of his monumental work "The Art of Fugue" (Die Kunst der Fuge), is a shining example of Bach's unparalleled compositional prowess. This arrangement for brass quintet reimagines Bach's intricate contrapuntal masterpiece, taking listeners on a journey through the complexities of counterpoint and the sonic richness of brass instruments.

Composed during the final years of Bach's life, "The Art of Fugue" is a collection of highly structured, polyphonic works exploring the art of counterpoint. Each piece in this collection is a "contrapunctus," a term that reflects the intricate weaving of multiple independent voices, each harmonically interconnected in a complex dance of melody and rhythm.

Contrapunctus IV, presented in this arrangement for brass quintet, is a shining example of Bach's mastery of counterpoint. The work features a single theme that undergoes various transformations and developments, showcasing Bach's ingenuity in creating intricate musical textures.

Bach's Contrapunctus IV is a four-voice fugue. In this arrangement, each voice is performed by a different brass instrument, contributing to the texture and color of the piece. The exchange of the theme among the instruments is a testament to Bach's skill in crafting complex but melodically engaging music.

The piece unfolds through a series of episodes, with each voice entering in turn, creating a mesmerizing tapestry of sound. The music is both intellectual and emotionally resonant, as Bach's contrapuntal writing is infused with a deep sense of order and mathematical precision, which paradoxically results in an aesthetically pleasing and moving experience.

Performing Contrapunctus IV for brass quintet requires exceptional precision and communication among the musicians. Each instrument is responsible for a distinct voice, and the ensemble must maintain clarity and balance while navigating the intricate interplay of themes. The expressive potential of brass instruments, from the sonorous warmth of the French horn to the bright brilliance of the trumpet, adds depth and color to Bach's contrapuntal masterpiece.

Johann Sebastian Bach's Contrapunctus IV, presented here in a vibrant arrangement for brass quintet, stands as a testament to the enduring power of Bach's counterpoint and his ability to captivate audiences across centuries. It is a work of intellectual depth and emotional resonance, showcasing the intricate, interconnected voices of the brass instruments. Bach's exploration of harmony and melody continues to inspire and delight listeners, as the musical conversation unfolds with remarkable precision and beauty through the voices of brass. This arrangement invites us to revel in the timeless genius of Bach while celebrating the versatile and expressive nature of brass instruments.

ACKNOWLEDGEMENTS Jacob Hepler I extend my deepest gratitude to all those who have contributed to the success of my senior recital. It is with immense appreciation that I acknowledge the following individuals and groups for their unwavering support, guidance, and encouragement throughout this incredible journey. I would like to express my heartfelt thanks to my mentors Robert Skoniczin, Dr. Jean-Christophe Dobrzelewski, and Brian Kusyk, whose expertise, patience, and inspiration have been invaluable in shaping my musical growth. Your guidance has been a beacon of light guiding me through this musical odyssey. My profound appreciation goes to my family for their unyielding love, support, and understanding. Your endless encouragement and belief in my passion for music have been a constant source of strength. A special thanks to the faculty and staff of the Wells School of Music for providing a nurturing environment and resources that have allowed me to flourish and grow as a musician. To my friends and audience, thank you for your presence, enthusiasm, and unwavering support. Your encouragement has been a driving force behind my pursuit of musical excellence. Lastly, I want to express my gratitude to all those whose names might not appear here but whose contributions were nonetheless instrumental in the realization of this performance. Your support has been invaluable and deeply appreciated.

Madison Smith First, I would like to thank my mentors, Robert Skoniczin, Dr. Jean-Christophe Dobrzelewski, Brian Kusyk, and other music teachers throughout the years for every piece of knowledge, countless time, and immense passion for music you shared with me. You all are the reason why I aspire to be a music educator and make a difference in this world because you allowed me to discover the joy of music. Thank you to Sandor, my amazing accompanist and friend; I am privileged to have experienced your great musical talents throughout the years. To my loving family, your neverending support and encouragement for me to follow my dreams is immeasurable and I will never be able to express how much I appreciate you. You have always lifted me up through every hardship and celebrated every triumph and I would not have accomplished anything I have without you. I would also like to thank my best friends for always being there for me and creating unforgettable memories. Lastly, thank you to the Wells School of Music faculty and staff for the endless opportunities you have provided for me and allowing me to grow as a musician, educator, and person in a place that truly felt like home for the past four years.