The Sunderman Conservatory of Music

At Gettysburg College
presents a

SENIOR RECITAL

Fall Into Your Senses

BROOKE MASKIN, Clarinet
with Dr. Scott Crowne, Piano,
and
the Hahmburg Quartet
Hera Molina, violin,
Maggie Halpin, violin,
Bridget Haines, viola,
and Sarah Adams, cello

SUNDAY, NOVEMBER 24, 2019 • 2:30PM

PAUL RECITAL HALL
SCHMUCKER MEMORIAL HALL
GETTYSBURG COLLEGE
 Program

Hommage a Z. Kodály.................................................................... Béla Kovács

(b.1937)

Clair Matin.....................................................................................Paul Jeanjean

(1874-1928)
Dr. Scott Crowne, Piano

Hommage a Aram Khachaturian.................................................. Béla Kovács

(b.1937)

Sonate pour la Clarinette avec accompagnement de 2 Violons, Alto &

Violoncelle......................................................................... Giacomo Meyerbeer
(1791-1864)
I. Allegro moderato

Hahmburg Quartet
Hera Molina, Violin
Maggie Halpin, Violin
Bridget Haines, Viola
Sarah Adams, Cello

Hommage a Manuel de Falla......................................................... Béla Kovács

(b.1937)

Three Preludes for Clarinet and Piano................................George Gershwin
(1898-1937)
II. Allegro ben ritmato e deciso
III. Andante con moto e poco rubato
IV. Allegro ben ritmato e deciso

Dr. Scott Crowne, Piano

This recital is in partial fulfillment of the requirements

for the Bachelor of Music Education degree.
Brooke is a student of Dr. Aaron Scott.
 Prologue

As the late and blustery November breeze swiftly shakes the last autumn leaves
from the trees, a creeping sense of hollowness begins to grow stronger. The
colorful foliage slowly wilts and with every step you take, a resounding crunch
responds, almost conversing with you and questioning your direction. Feeling
the warm sunshine on your face becomes rare as daytime narrows, and you can
nearly smell the crisp air, hinting at a potential flurry of snow. As we approach
the many holidays and celebrations that commence during the end of the year,
we are reminded that there is an overwhelming emotion of joy and gratitude
expressed through our time spent with loved ones.

Fall into Your Senses combines a play on words of the autumnal season as well
as taking a deep breath and actually immersing yourself within the emotional
senses tied to each piece on my recital program. One of the beauties of music
is that we can escape into another reality, another dimension of thought, of
expression, of awareness, simply by listening, moving, and using all of our
senses. Through preparing and pondering over my connection to each work, I
decided to pair a short lyrical phrase from a song that deeply touches my heart,
John Denver’s Annie’s Song (1974). Each line captures a different experience in
nature, helping to further illustrate every individual character and style. The
opening lyric is “you fill up my senses,” and this is exactly the gift that music has
given to me that I hope to share through my passion of teaching in my future
endeavors. Not only can you refer to music itself, but it also relates to everyone
who has helped me along my musical journey to reach this all-encompassing
moment here on stage. Without each of your support, encouragement, and
care, I certainly would not have the appreciation for music that I do today. Here
is my opportunity to express my admiration for you all through an artistic and
sensational performance. I hope you enjoy!
Hommage a Z. Kodály Béla Kovács (b.1937)
“like a walk in the rain”
Béla Kovács is a Hungarian clarinetist and composer whose well-crafted
musicianship has led him to perform works from traditional to contemporary
styles. Early in his career, Kovács attended and graduated from the Franz Liszt
Academy of music in Budapest, Hungary, studying under György Balassa,
an early nineteenth-century arranger and editor of clarinet works. He later
became a member of the Hungarian State Opera Orchestra at nineteen years
old while still attending the Liszt Academy. A notable performer, Kovács has
been the principal clarinetist of the Hungarian State Opera orchestra and the
Budapest Philharmonic Orchestra since 1956, nearly sixty-three years.
Education and pedagogy are deeply rooted within his studies, and when
composing his Hommages, Kovács notes that “the pieces were intended to be
etudes or studies which students may use as supplementary material to the
usual dry and mechanical – although indispensable – exercises.” (from the
notes within his Hommages). In his Hommage à Z. Kodály, there is a main
theme, or téma, presented with six variations preceding. Each variation
contains a vastly different personality and elegance.
Zoltan Kodály was also a Hungarian composer and ethnomusicologist who
created a teaching method called the Kodály Method which is widely used
around the world in elementary music education. As a Music Education Major,
the different variations represent the many ways that students learn and grown
both inside and outside of their classroom experiences. The variations suggest
the many ways that one can “walk in the rain,” whether it be slow and solemn
or skipping with glee.

Clair Matin Paul Jeanjean (1874-1928)

“like the mountains in springtime”
Born in France, Paul Jeanjean composed primarily for the clarinet, creating
various etudes and technical studies that would soon be standard pieces in the
clarinet repertoire. He studied under an important figure in the clarinet world,
a man named Chrysogone Cyrille Rose, who was another French clarinetist
and pedagogue during the 19th century. Rose also created an etude book that
is still widely used today for clarinetists to improve their technical elements.
Both Jeanjean and Rose studied and performed at the Paris Conservatoire,
specifically for the Grand Prix solo competition. It was common for the
Conservatoire to ask professional clarinetists to compose their own works to
function as studies for current and future students.
Contrary to the heaviness of German compositions, French works are meant to
sound graceful and light in nature. The ebb and flow of the beautiful and gentle
melodic phrase is complemented well by the piano accompaniment. This work
is split into two contrasting sections, where the first seems to end sweetly with
a fermata. However, Jeanjean fools the listener by continuing the piece past this
slight hesitation and bringing the clarinet back in with an expressive moving
triplet line. If you close your eyes and envision “the mountains in springtime,”
with birds chirping in delight, to the flowers beginning to blossom, Clair Matin
perfectly depicts this enchanting scenery.

Hommage a Aram Khachaturian Béla Kovács (b.1937)

“like a night in a forest”
Born in Tbilisi, Georgia, Aram Ilich Khachaturian (1903-1978) was an
Armenian composer whose many works were created based off of traditional
folk songs of Armenia, Russia, Turkey, and Georgia. He received his formal
musical training at the Gnesin State Musical and Pedagogical Institute in
Moscow, Russia. Khachaturian attended school during the same time as
famous composers Shostakovich and Prokofiev, and his compositional style
was always colorful and charismatic.
In Kovács’ Hommage a Aram Khachaturian, the beginning is slow and mys-
terious, inviting the listener to wonder what will come next. Eventually, the
piece spirals into an almost tarantella-like, allegro section with an energetic
rhythmic drive. Obscure, yet playful, Kovács writes an exceptional solo that
captures the appealing flair of Khachaturian. This movement could represent
how one travels alone “like a night in a forest,” tiptoeing through the brush as
to not wake the creatures of the evening, and eventually sprinting for dear life
to try and escape the chaos.

Sonate pour la Clarinette avec accompagnement de 2 Violons, Alto & Violoncelle

Allegro moderato Giacomo Meyerbeer (1791-1864)
“let me drown in your laughter”
Born into a Jewish family with the name Jakob Liebmann Meyer Beer, but
more formally known as Giacomo Meyerbeer, he was a German composer
who heavily focused on romantic opera. Studying composition in Berlin from
an early age, he became close friends with Carl Maria von Weber, another
famous German composer and musician. One of Meyerbeer’s musical
influences was Gioachino Rossini, an Italian opera composer, and some of his
first operas created were in the style of Rossini. Throughout his masterpieces,
his compositional style changed and blended depending on where he was
in Europe, transforming from a macabre, supernatural element to a more
traditional, opéra comique in France. Meyerbeer’s fame stemmed from his
ability to develop “big character scenes, his dramatic style of vocal writing,
and his original sense of orchestration.”1
The first movement of Meyerbeer’s Clarinet Quintet (1813) combines many
elements of opera in its style. Through using the same sixteenth-note motif,
various characters are presented in this dramatic, yet charming work. The
conversation between the principal clarinet and the string quartet presents an
exciting dialogue where every instrument has something different to exclaim.
The virtuosic nature of the clarinet part was quite impressive for the time that
this work was composed because during the early 1800s, the modern clarinet
only had thirteen keys. The comedic nature and “laughter” of Meyerbeer’s
Quintet almost functions as a way to poke fun at the absurdity of opera.

Hommage a Manuel de Falla Béla Kovács (b.1937)

“like a storm in the desert”
Noted as one of most acclaimed Spanish composers of the early twentieth
century, Manuel de Falla’s (1876-1946) music perfectly captures the spirit of
Spain. As a young boy, he played the piano and was taught by his mother.
Throughout his compositional studies, de Falla was influenced by distinguished
composers and orchestrators including Maurice Ravel, Claude Debussy, Felipe
Pedrell, and even Igor Stravinsky. Falla’s compositional style is quite eclectic
after traveling throughout Europe and learning from these notable composers,
being part Neo-Classicist and part Impressionist. Besides composing many
operas, ballets, concertos, and other musical works, he also won a composition
competition of the Real Academia de Bellas Artes for his one-act opera called
La vida breve (Life is Short).
In Kovács Hommage a Manuel de Falla, the clarinet alters its traditional playing
style to resonate more with the flashy flamenco guitar sound in terms of its quick
strumming patterns. The opening statement is powerful, yet contemplative,
implementing fast sixteenth-note passages and sustaining a pedal tone that
quickly builds into accented triplets. The dynamic contrast throughout this
movement is quite large, giving the character even more excitement and
energy “like a storm in the desert.” This fiery and vigorous unaccompanied
solo is a connection to my Spanish minor that I have worked hard to earn here
at Gettysburg, and I want to share my passion for the language and culture
through this piece.

1 The Editors of Encyclopaedia Britannica, “Giacomo Meyerbeer,” Encyclopædia Britannica

(Encyclopædia Britannica, inc., September 1, 2019), https://www.britannica.com/biography/
Giacomo-Meyerbeer)
Three Preludes for Clarinet and Piano George Gershwin (1898-1937)
Prelude I: “let me give my life to you”
Prelude II: “like a sleepy blue ocean”
Prelude III:“let me die in your arms”
Regarded as one of the most prolific American composers of the 20th century,
Jacob Gershvin, more commonly recognized as George Gershwin, was a
quintessential composer who tastefully combined elements of both the classical
style with popular music and jazz techniques. Born and raised in the Big Apple,
New York City was a bustling area filled with musicians from all over the
world. At an early age, he taught himself how to play the piano and eventually
took formal lessons. Dropping out of school at age fifteen, Gershwin worked
in Tin Pan Alley, a pinnacle location where music publishers and songwriters
were composing popular music. He worked and created piano rolls for pianists
performing in the various nightclubs as well as being a song plugger, playing
sheet music for potential music-publishing companies. Gershwin’s experience
as a song plugger greatly enhanced his improvisation and transposition skills,
leading him on the path to compositional and performance talent.
One of Gershwin’s most popular compositions is Rhapsody in Blue (1924), a
piece of music that was revolutionary during its premiere and continues to
defy the elemental mixing of the classical and jazz genres. According to my
parents, when I was still young enough to be in a crib, they would hear me
humming the entirety of Rhapsody in Blue all by myself because I was obsessed
with Disney’s Fantasia. Gershwin has always been and will continue to be one
of my greatest musical influences.
The Three Preludes were originally written for piano and performed at the
Roosevelt Hotel in New York City in 1926, dedicated to Gershwin’s musical
acquaintance Bill Daly. In the first prelude, there is a blues motive consisting
of five notes that is the structural basis for the entire movement. The use of
syncopated rhythms, percussive-like articulations, and using nearly the entire
range of the clarinet creates a flashy and thrilling opening, “giving life” to the
finale of my recital. In the second prelude, the slow and melancholy melody
subtly hints at the same melody from Gershwin’s Summertime (1934). The
rocking motion could represent “a sleepy blue ocean,” dark and filled with
the unknown, almost like a blues lullaby, yearning for slumber. In the third
prelude, the energy quickly shifts to a fast-paced melody in a contrasting minor
call and major response. This movement implements a few special techniques
that make the clarinet appeal to a more drastic, jazz sound and style. As the
concluding movement of my recital, the “dying in your arms” could represent
the closure and solemnness associated with contentment, however, with a
dynamic and lively twist.
 Upcoming Sunderman Conservatory Events

December 6 • 8pm Winter Choral Concert, Christ Chapel

For Information 717.337.6815

www.gettysburg.edu/sunderman or www.gettysburgmajestic.org

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members alike. Moreover, there are copyright issues to be considered. We ask that you not
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performing a senior recital.
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Conservatory faculty, and visiting professional artists.