Hope Talton Senior Recital Program

NOTES

creates a reverb on the strings and gives an echo with multiple

overtones and harmonies. When writing this, a just imagined a
person climbing to the top of a mountain. When on a plane, a stared
out the window to catch a glimpse of all of the Rocky Mountains that
I was flying over. I tried to imagine the feeling of reaching the top of
the mountain, the joy, the hardships, but the ever-striving feeling to
get to the top and the feeling when finally reached. I can only
imagine the how surreal it actually feels and the view that you
see. The sounds are so wide open that you can hear an echo of the
melody throughout the piece. I always saw pictures of mountains,
but could never imagine the view from the top. I wanted to capture
what I thought it might be through in this trio.”
SENIOR RECITAL
Suite
Alec Wilder has become an icon for brass players in his HOPE TALTON
eccentric combinations of jazz, classical, and popular elements. He
has only fairly recently come out into the spotlight with his FRENCH HORN
appreciation of “underdog” instruments. His friendship with John
R. Barrows seems to influence his influential horn works and it is
said he wrote this piece for him specifically.
Suite starts off with a strong, virile first movement, “Danse
Quixotic”, and has a very intense playfulness between the horn and
piano. The second movement slows down and decompresses into a
somber blues feel. The third movement can be described as
“simply good clean fun”. Barrows told Charles Tibbets that he OCTOBER 7TH, 2018
never liked the ending of “Danse Quixotic” as Wilder had written
it, and instead of keeping the abrupt ending, he repeated the first PERFORMING ARTS CENTER
three measures.
RECITAL HALL
Hope Talton, Senior Horn Recital
assisted by Faith Debow, piano
Performing Arts Center Recital Hall
October 7th, 2018, 8:00 PM
PROGRAM
Suite Alec Wilder
I. Danse Quixotic (1778-1837)
II. Slow and Sweet
III. Song

Romance in E, Op. 67 Camille Saint-Saëns

(1835-1921)
Blue Soliloquy Steven Winteregg

(b. 1952)
INTERMISSION
Echoes Tyler Stampe

(1658-1709)
Katie Blalock, Alto Saxophone
Sonatas Cherubini
I. Larghetto (1939-1972)
II. Largo/Allegro Moderato
Bagatelle Herman Neuling

(1897-1967)
Presented in partial fulfillment of

requirements for the Bachelor of Music degree
NOTES NOTES
Blue Soliloquy
Blue Soliloquy was premiered by Richard Chenoweth on of some of the lowest notes in the pedal register. It highlights the
February 7th, 1999. Written by Steven Winteregg in honor of Paul technique and flexibility on the low horn and it occasionally
Chenoweth, a great supporter of horn and Richard Chenoweth’s interjects with a romantic grandness. The beginning horn call
father, Blue Soliloquy was funded by the International Horn returns frequently and in different contexts and settings and it
Society’s Meir Rimon Commissioning Fund. Winteregg is a tuba shows off with the fast articulations in the low register. Neuling’s
player who has contributed to the solo and chamber repertoire for Bagatelle is now considered a standard audition piece after it
French horn. appeared on the second horn audition for the Berlin Philharmonic
This piece is in an ABA format, having a sort of free tempo Orchestra.
in the A section and a “swing” feel in the B section. This jazzy
horn piece includes some extended techniques such as flutter Sonatas
tonguing, shaking, bending of pitches, and slides (written in the Sonata no. 1, Larghetto, is a fairly short and somewhat
piece as portamento, a string instrument technique). While it looks limited in terms of range. It was originally written for natural horn
very playable to the hornists eye, it is challenging enough to keep and is not performed as often as Sonata no. 2. The simplicity of
even the most advanced hornists interested. this movement is what makes it so difficult. It is very easy to
overlook the importance of making music when you are learning
Romance in E, Op. 67 an “easy piece”.
Composed in 1882(but not published until 1885), Romance Sonata no. 2, Largo/Allegro Moderato, seems a bit short,
in E for Horn and Piano was written during the Romantic Period. however, it is physically demanding. It includes several cadenza-
Camille Saint-Saëns was a French composer who dedicated this like passages that require flexibility in the mid to high range and
piece to Henri Chaussier (1854-1914) who created the Chaussier detail oriented phrasing. The light, classical style of this piece
horn, a hybrid between natural and valve horn. Camille Saint- proves difficult to achieve. This concise piece is deceptive and
Saëns is mostly known for his symphonic poems and for his opera ends up being quite taxing, demanding strength and control
Samson and Dalila. He was a pianist and studied the organ and throughout the entire sonata.
composition at the Paris Conservatory. Luigi Cherubini was a composer that was alive during the
Romance is in 6/8 meter and is in ternary form, meaning transition from Classicism to Romanticism. He was Beethoven’s
ABA. The A sections are contemplative and lyrical, while the B favorite contemporary composer. His ability to include polyphonic
section is contrasting with an upbeat, cheerful feel. This piece virtuosity with his classical stylistic polish and romantic sense of
requires a great deal of sensitivity and flexibility in the high drama in his music is what makes him such a extraordinary
register of the horn and improves endurance. composer.
Bagatelle Echoes
Herman Neuling was a fantastic low horn connoisseur who Tyler Stampe, a doctoral candidate at the University of
played at the Staatsoper Unter den Linden in Berlin and taught at Georgie, wrote the piece Echoes for study project for some graduate
the Izmir State Conservatory. students at Stephen F. Austin State University. Stampe wrote a few
Neuling’s neo-classical piece, Bagatelle for Low Horn and Piano, notes about what he was thinking as he composed the piece.
was published in 1956 and was considered quite flashy piece. The “Echoes is a study piece that experiments with sounds being
extreme register jumps characterize the piece, especially the usage played into a piano while the pianist holds the pedal down. This

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NOTES

creates a reverb on the strings and gives an echo with multiple

Romance in E, Op. 67 Camille Saint-Saëns

Blue Soliloquy Steven Winteregg

Echoes Tyler Stampe

Bagatelle Herman Neuling

Presented in partial fulfillment of

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