A new Internet friend shared this gem with me (click for slightly larger):
At this point it’s gotten hard for me to imagine doing a full recital on a single instrument. I enjoy getting to play several, and audiences seem to enjoy the variety. And since this was my first faculty recital at my new gig, I wanted each of my students to hear me perform something from the core repertoire of their instrument.
I would like, ultimately, to be able to put together a full recital of woodwind pieces without making any special concessions for the fact that I am playing multiple instruments. In this case I did play it a little on the safe side: I chose a program that was not overwhelmingly technical, and I programmed something short of an hour’s worth of music so that I could take a few extra minutes between pieces.
One note-to-self for next time: I experienced a few onstage symptoms of not being thoroughly warmed up on each instrument (water in oboe toneholes, low note response issues on bassoon). I purposefully avoided playing too much on the day of the recital, but I think I can find a better balance the next time around.
Bret Pimentel, woodwinds
Kumiko Shimizu, piano
Department of Music
Delta State University College of Arts and Sciences
Recital Hall, Bologna Performing Arts Center
Monday, February 15, 2010
Sonate for oboe and piano
Paul Hindemith (1895-1963)
- Sehr langsam – Lebhaft
Sonata for clarinet and piano
Leonard Bernstein (1918-1990)
- Andantino – Vivace e leggerio
Rhapsody for bassoon
Willson Osborne (1906-1979)
Concerto for alto saxophone
Pierre Max Dubois (1930-1995)
- Lento espressivo – Allegro
Hindemith’s father, Robert, was a manual laborer and amateur zither player, who, despite a necessarily tight budget, saw that Paul and his siblings received musical training. Robert Hindemith raised his children with strict discipline, especially in terms of their music education. He took them to the local opera house, often on foot, and quizzed them on the way home, rewarding unsatisfactory answers with spankings. Later, Herr Hindemith organized his children into the Frankfurt Children’s Trio. Guy Rickards suggests that it was “despite” this “exploitative” upbringing that Paul and his brother Rudolf both went on to successful musical careers.