Eastman School of Music - Score Yearbook (Rochester, NY)

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First Graduation COHCGN With Orchestra Program Concerto for organ and chamber orchestra, Opus 46, h No. 2 tKammermusik Nr. 73 PaulH1HdGm1fh Nicht zu schnell Sehr langsam und ganz ruhig Fuge john Turnbull, organ Concerto No. Z for oboe and orchestra Gordon Jacob Allegro Andante Allegro molto Faye Ellen Bailey, oboe Harlequin Concerto Armand Russell Burlesca Romance Encounter David Young, double bass Concerto for organ, string orchestra, kettledrums and Percussion Charles Chaynes Lent-mysterieuxp Allegro, Tempo pid agitato, Poco menog Lento, Allegro, Lento Tres lentg Risolutop Pifi lento Tres vif lscintillantlg Poco pid animato ftres incisiflg Poco meno Michael Corzine, organ 1' 16 The thought of standing out in front of an orchestra rather than hiding in the middle of one can cause very weak knees and butterflies in the stomach. However, I, along with other Performer's Certificate candi- dates, discovered that playing 21 solo with the orchestra was a lot more fun than we imagined it would be. Like the first time l drove a car, there was a differf ent sense of my importance because, for once, the conduc- tor and the entire orchestra were relating to me. The intef- action between performers.1S one of music's most rewarding elements and playing a concerto with orchestra helped reinf0fCe that idea for me. Faye Ellen Bailey Concerto Concert 11f3f71

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The Organ Concerto by Samuel Adler is, l believe, an important landmarlc among works tor organ and orchestra, Mr. Adler's work is a partita in five sections and is characterized by a twelve-tone technique, controlled-aleatoric passages, intricate rhythmic patterns, and other compositional devices that set the work well apart from most organ concertos which lean heavily toward the traditional. The impact of the introduction, the intricate variation for percussion, the momentum of the final sec- tion, and the proportions of the whole create an overwhelming experience. As a per- tormer who has dealt largely with traditional styles and rhythms, the greatest prob- lem for me in learning the work was becoming comfortable with the varying rhythmic patterns that today s orchestra players know thoroughly, Although it has numerous technical difficulties, the concerto is idiomatically quite suitable for the organ. I have great taith in the Organ Concerto and it is my hope that it will have many perform- ances in the tuture. i David Craighead Samuel Adler, Wayne Barlow, joseph Schwantner, Theordore Price. 4 's X n 4 9 . if QM