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Mi sueño by Edward Kilenyi, Sr. (1884-1968)


American schools of music have seen an increased interest in Spanish art songs. Vocal students entering college are likely to have been exposed to Spanish in their language studies. Since Spanish and Italian share so much in common, it makes sense to utilize Spanish art songs along side beginning Italian. Students are perhaps not as likely to be intimidated by a language they may frequently hear in daily life. Therefore, Spanish is a good transition language for many nervous new voice students. If the instructor takes time to show the similarities to and differences from Italian, then the student can feel more comfortable singing in Italian and then moving on to other common art song languages. Fortunately, collections of Spanish art songs are now com- ing into print. One such collection is Favorite Spanish Art Songs, edited by Richard Walters. The collection of songs was aimed primarily for American singers, so the Spanish IPA pronunciations more closely match the Spanish of Latin American than of Spain. Mi sueño is a Mexican folk song arranged by the Hungarian composer/violinist, Edward Kilenyi, Sr. (1884-1968). Kilenyi studied music in Hungary and under Mascangi in Rome. He became an American citizen in 1915. He is probably remembered mostly for his teaching and his work in Hollywood movie music. Kilenyi's most notable composition student was George Gershwin. Two of Kelenyi's Mexican folk songs are included in the collection. Mi sueño is translated as My dream. In the song, the singer begs for forgiveness and a second chance at love, lest he die. Jeff Gilbreath (baritone) and Jennifer Canfield (piano), Auburn University


Elegy for Mippy II by Leonard Bernstein Elegy for Mippy II has obvious footing in both the classical and jazz styles. Composed around 1950, it was written during the early stages of the third stream movement. It is a very short work; only 27 measures long but is filled with complicated rhythms, a wide ranging use of dynamics, and jazz styling. It is not a technically demanding work but requires a trombonist that has devel- oped sufficient skills in range, legato articulation, musicality, and tenor clef reading. It is a favorite for undergraduate senior recitals and professional recitals, and would be a challenging piece for an advanced high school student. Bernstein indicates on the part; "the trombonist should accompany himself by tapping one foot, mezzo forte, four to the bar." While instructors gener- ally tell students not to tap their foot while playing, take advantage of this opportunity. This is not an easy thing to accomplish with the syncopation and changing divisions of the beat. Although written in 12/8, Mippy II mixes in several sections with beats divided by two and four, and a section in a double time swing feel. Mippy II is a good selection for students that have a solid high B-flat but not the endurance to perform longer works. Excluding the pedal B-flat at the end, the range is two and a half octaves, and the tessitura is in the middle register. There are two instances where the low B-flat can be played in a flat third posi- tion using the valve. Doug Bristol (trombone), Alabama State University


Frozen Toes 'n Nose 'n Freezin' Knees by Don Bowyer


This piece, for soprano, trombone, and piano, is based on whole tone scales, making it an excellent introduction to that sound. Additionally, the piece has a light jazz feel, though it is fully notated, and provides a chamber setting for students to explore. Don Bowyer (trombone), Karen Young (soprano),and Margery Whatley (piano),University of Alabama in Huntsville


Etude in B Major; Op. 6, No. 9 and Etude in C Major; Op. 6, No. 10 by Clair Omar Musser Clair Musser's Etudes are some of the very first works written for marimba that required the use of four mallets - no small achievement for some 70 years ago. Musser was one of the primary catalysts for bringing the concert marimba into awareness as a solo instrument. Written during Musser's tenure at Northwestern University, these pieces deal with specific technical prob- lems on the instrument. Some of the challenges include balancing one mallet (or voice) in one hand against two in the other, bringing out a moving voice in one mallet while the other three remain on the same notes, executing contrary motion, and all of this at a fast tempo. Perhaps greater than any of these technical concerns, however, is the pedagogical importance of these pieces from a historical perspective. The fact that solo literature for the marimba did not come into existence until the mid-twentieth century puts the percussionist at a disadvantage to the centuries of piano and violin literature that forms the standards of those studios, giving these pieces even greater importance. Clair Musser is also the father of the primary multiple-mallet grip in use by more than three-quarters of marimbists to this day. In addition, the "Musser" brand name appears on many concert and march- ing keyboard instruments throughout the world. Gene Fambrough (percussion), University of Alabama at Birmingham


Intrada by Otto Ketting


One of the most important performing genres that all college students should become comfortable with is that of unaccompa- nied solo literature. Frequently this presents many new concepts to which students have not been previously exposed and it quickly stretches the bounds of their musical interpretation. Therefore, I like to present such literature in the freshman or soph- omore year depending on the general level of ability of the student. Intrada by Otto Ketting is a fine entry-level work in the unac- companied genre. It is un-metered, requiring interpretive use of rhythm, note values, and tempo while not demanding extended and non-traditional aspects of technique. After gaining a basic mastery of this work, the student is well prepared to go on to more extensive works of unaccompanied solo literature. Skip Snead (horn), University of Alabama


Continued... February 2007 ala breve 41


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