Graduate recital in voice

Includes recorded audio files in WAV and MP3 formats, 70:50 in length.Solo literature for trumpet belongs almost entirely to the baroque and modern periods. The program selected is divided equally between these two diverse style periods, with the intention of engaging at least one monumental work from each period. In this case, the Second Brandenberg Concerto by J.S. Bach and Aaron Copland???s Quiet City were chosen as focal points. To balance the remainder of the program, the recital opened with the Concerto in D Major by Tomaso Albinoni. The bulk of Albinoni???s compositional output is written for the vocal medium, specifically opera. The work is in four movements, the first and third of which demonstrate the composer???s familiarity with lyric, vocally-conceived passages. The second and fourth movements are marked Allegro and are more characteristic of the prevailing florid writing for instrumental concerti in Italy in the early eighteenth century. Fantasy and Fugue in A minor by J.S. Bach was chosen to provide the performer with a necessary period of preparation for the Brandenberg Concerto. Recent scholarship has proven almost beyond a doubt that Bach wrote his Second Brandeberg Concerto for solo violin, flute, oboe, and horn rather than trumpet. Regardless of this new evidence, the piece has found its way into the mainstream of trumpet solo literature, and provides a formidable challenge to those willing to perform it. Beginning the second half of the program was Copland???s Quiet City. The piece is designated as ???incidental music??? for English horn, trumpet, and string orchestra. The writing for the solo trumpet is unusual in its use of ???special effects??? in the opening and closing passages, and contains some of the most moving harmonic moments in the solo trumpet repertoire. The Suite for Five Trumpets by Ronald Lo Presti provided an ideal closing piece. In the tradition of modern trumpet ensemble pieces, the first and last movements are boisterous, florid fanfares full of dynamic and metric contrasts. The second movement is the ???calm between storms,??? where the melodious possibilities of the ensemble are explored quite effectively