Graduate recital in conducting

Includes recorded audio files in WAV and MP3 formats, 17:29 in length.The graduate project of Brian Richard Coyle consisted of the\ud public performance of Night Soliloquy by Kent Kennan and Liturgical\ud Music for Band, Op. 33 by Martin Mailman. Both were performed. with\ud the CSUN Wind Symphony in the University Student Union.\ud Night Soliloquy by Kent Kennan is a homophonic work scored for\ud solo flute and Wind Ensemble. The instrumentation is slightly modified with two trombones, two french horns, the addition of a piano, and the lack of a saxophone section. Structurally, the piece is\ud written in the classic Sonata Allegro form. The theme enters immediately with the flute layered over a bi-tonal (Eb Ab-B-D) dissonance in\ud the clarinets. As the texture becomes increasingly dense, so too does\ud the intensity and complexity of the solo. TI1e solo line of the flute\ud utilizes the entire range of the instrument, while the rhythmic\ud intricacies greatly enhance the integrity of the line. Throughout\ud the work, more emphasis is placed on the coloristic tendencies of the\ud entire harmonic scheme than on the individual chordal structures.\ud Climactically, the pinnacle is reached mid-way through the development with a metric shift from 2/4 to 3/4. As the meter returns to 2/4,\ud the flute embarks on a rapid cadenza. The recapitulation occurs when\ud the ensemble re-enters and the flute restates the initial theme. The\ud composition comes to a close as the piano and glockenspiel mirror one\ud another through the codetta and cadence with a singular pizzicato F#\ud in the string bass.\ud Liturgical Music for Band, Op.33 by Martin Mailman consisted of\ud four movements; Introit, Kyrie, Gloria, and Alleluia. Each movement\ud represents a section of the Roman catholic Mass. The Introit (Allegro\ud moderato, ma con spirito), representing the first item of the Proper of\ud the Mass, begins with a brilliant unison in the upper woodwinds, horns,\ud chimes, and glockenspiel. The unison quickly gives way to the entire\ud ensemble playing a thickly textured restatement of the theme. Structurally,\ud the movement is based on a seven note cell: (descending M 3rd,\ud ascending M 3rd, descending M 7th, ascending M 6th, descending m 3rd,\ud descending M 3rd, ascending M 6th). This cell is mutated throughout\ud by the use of augmentation and diminution. Within the development\ud section, the subtle melodic material is frequently fragmented by contrasting\ud rhythmic interjections in the low brass. As the thematic\ud seven note cell re-enters, the harmonic intensity and textural density\ud increases, thus moving the ensemble majestically to its final cadence\ud in C Major.\ud Kyrie (Adagio) , the first item of the Ordinary of the Mass, is\ud represented here by a solemn movement in 3/4. This fugal work is constructed\ud on a great arc which reaches over the movement???s entirety.\ud The initial statement of the melodic material begins with the clarinets.\ud The theme is imitated six bars later in the oboes and saxophones at\ud the interval of a fifth and later in the flute and piccolo at the interval\ud of a minor seventh. The texture gradually thickens as the\ud thematic material enters. Midway through the arc, the entire ensemble\ud is orchestrated. A gradual decrease in intensity brings the movement\ud to its end with a simple restatement of the theme. (See more in text