Graduate recital in instrumental conducting

Includes recorded audio files in WAV and MP3 formats, 64:04 in lengthThe Graduate Recital in Conducting for Brian Onderdonk consisted of two performances of major works in the symphonic repertoire, presented on different concert dates. The first performance took place on 1 October 2004 and the second performance took place on 3 December 2004. The piece conducted on the October concert was the L 'Arlesienne Suite No. 1 by Georges Bizet, and the piece conducted in December was the Symphony No.3, Op. 55 by Ludwig van Beethoven. Both performances were held in the Performing Arts Center at California State University, Northridge and were both part of the regular concert season for the CSUN Symphony Orchestra under the direction of Dr. John Roscigno. The music from the L 'Arlesienne suites actually originates from an incidental score Bizet composed for a play of the same name by French author Alphonse Daudet. The play itself turned out to be a complete failure, but the colorful score was recognized for its unique genius and Bizet arranged several of the more popular numbers from the show into an orchestral suite that is performed today by orchestras on concert stages worldwide. The story of L 'Arlesienne consists of a collection of short stories inspired by life in the countryside, and it therefore comes as little surprise that each movement from the orchestral suite vividly evokes a unique pastoral atmosphere. The L 'Arlesienne Suite No. 1 begins with a Prelude that consists of a striding march theme based off of an 18th century carol known as "Marche des Rois" or "March of the King." This theme, which holds true to its regal name, goes through four variations before giving way to a haunting melody played by the saxophone. The movement then ends with an impassioned love theme led by the violins, concluding on a yearning final cadence. The second movement is a robust Minuet which actually more closely resembles a rustic waltz, and imbues a real sense of peasants dancing and merrymaking through its use of fifths richly scored in the strings and constant repetition of the rhythmic opening dance motive. (See more in text.