Program:

The University of Georgia
Hugh Hodgson School of Music
presents a graduate recital

Bret Pimentel, woodwinds
Anatoly Sheludyakov, piano
Monday, November 3, 2008 6:30 pm, Edge Recital Hall

Sonate for Flute and Piano
Francis Poulenc (1899-1963)
I. Allegro malinconico
II. Cantilena
III. Presto giocoso

Six Metamorphoses after Ovid for solo oboe, op. 49
Benjamin Britten (1913-1976)
I. Pan, who played upon the reed pipe which was Syrinx, his beloved.
II. Phaeton, who rode upon the chariot of the sun for one day and was hurled into the river Padus by a thunderbolt.
III. Niobe, who, lamenting the death of her fourteen children, was turned into a mountain.
IV. Bacchus, at whose feasts is heard the noise of gaggling women’s tattling tongues and shouting out of boys.
V. Narcissus, who fell in love with his own image and became a flower.
VI. Arethusa, who, flying from the love of Alpheus the river god, was turned into a fountain.

Romances for oboe and piano, op. 94
Robert Schumann (1810-1856)
I. Nicht schnell
III. Nicht schnell

Élégie for soprano saxophone and piano
Jindrich Feld (1925-2007)

Concertino da Camera for alto saxophone and piano
Jacques Ibert
I. Allegro con moto (1890-1962)
II. Larghetto – Animato molto

This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts in Woodwind Performance. Mr. Pimentel is a student of Dr. Dwight Manning, Ms. Angela Jones-Reus and Dr. Kenneth Fischer.

The capitalization, etc., gets a little inconsistent when you have three different professors proofreading.

Originally there was to be a Bach flute sonata (E-flat) as well, but the program got too long. Dr. Manning was anxious to cut the second of the Schumann Romances, too, since it’s such an endurance problem. I would have preferred to play the complete piece, but it’s already enough of a feat to play flute, oboe, and two saxophones within an hour.

I’m following my usual pattern of flute first (since it has the most fragile embouchure), oboe next (since I’ll need some remaining endurance to keep it under control), and then saxophone (since it’s still, in a way, my comfort zone, and I’ll hopefully be able to finish the recital strong). For a pit gig, of course, I would have to play these instruments and others in whatever order the book required, so it seems a little bit like cheating to organize the recital by embouchure requirements rather than by artistically-motivated programming decisions. But I do need to sound my best on each instrument, and I hope to end up with some good recordings to send out for job applications. Someday I’ll have the flute chops (and the devil-may-care attitude of a tenured professor?) to program it last if I want to.

Once the recital is done, all that remains school-wise is to write my “doctoral document,” which is essentially a little dissertation.