NotesThe University of Southern Mississippi

College of Arts and Sciences School of Music

presents

Doctoral Chamber Recital Brandon T. Jenkins, conductor

*Brandon T. Jenkins is a student of Dr. Catherine Rand

Marsh Auditorium Saturday, November 21, 2020

8:00pm

Wolfgang Amadeus Mozart: Serenade No. 12 in C Minor K. 388/384a

Mozart writes this Serenade in c minor in the fashion of Harmoniemusik. Harmonie is a German word that suggests the use of a small consort of wind instruments. This ensemble medium was first established in German speaking lands in the 18th Century. The instrumentation for such ensemble was similar to a contemporary chamber ensemble, however with several restrictions due to the availability of certain instruments, particularly the flute and clarinet.

The early Harmoniemusik consort primarily consisted of pairs of oboes, horns, and bassoons. After 1770, the clarinet made its debut and quickly inherited its rightful place amongst the consort. The role of Harmoniemusik was for employment at outdoor and recreational functions. Mozart scholar Daniel Gleeson suggests that although it has origins in outdoor functions and for military purposes, Harmoniemusik was a strong musical movement throughout Vienna, and in fact, Mozart encouraged his own students to arrange and compose works for such instrumentation.

According to Leopold Mozart, W. A. Mozart most likely wrote the Serenade in c minor, K. 388 in 1782. Scholars are unsure as to the influence behind the creation of this piece. The Serenade in c minor, however, is the third of three serenades Mozart wrote for Harmoniemusik. The surviving autographed score of this piece is dated 1782. Unfortunately, the final page of the original autograph is missing which affects the final twenty-three measures of the fourth movement. Mozart did make a String Quartet version of this serenade, which is numbered K. 406. The edition used in this study recreated the final twenty-three measures using the autograph version of the String Quartet.

The first and last movements are both marked and titled Allegro. The time signature in the first movement notes alla breve throughout its entirety. The primary theme in the first movement is accompanied with alternating loud and soft episodes that are between four and five measures in length. The transitional theme moves the tonal center from c minor into Eb Major with the melody mainly in the oboe. The bassoons move chromatically from Db to Bb which eventually provides cadence and direction to the new tonal center of Eb Major.

The second movement is in the relative major key of Eb. This movement is also constructed in sonata form. While there is an exposition, development, and recapitulation section, the development section is short unlike a typical development section in sonata form. This movement has a tempo marking of Andante, and additionally notes 3/8 meter throughout its entirety.

Wolfgang Amadeus Mozart: Serenade No. 12 in C Minor K. 388/384a

The third movement is titled and formatted after the menuetto or menuet and trio. This movement is composed in ABA’ form with the A section containing smaller segments of aba’ and the B’ section of cdc’ concluding with a return to the A’ section. The trio, in terms of melodic content, is primarily scored for the double reeds. The tempo remains steady and the overall affect in the trio is softer and light in nature. The C’ section includes a four-part canon starting with the second oboe followed by the first oboe, first bassoon, then second bassoon.

The fourth movement, as the title suggest, is composed in theme and variations. This movement , by and large, returns to the principle key of c minor. It is particularly interesting that Mozart uses two themes instead of just one. Each theme will be accompanied by nine variations. The variations will consist of a harmonic structural transition from c minor to C Major. Two of the themes that are introduced in this movement are presented in the relative major key of Eb.

The A and B themes are repeated in their first statement as well as in their first three variations. Proceeding the first statement, the A and B themes are presented twice with two consecutive variations of the B themes. The melody in the A and B themes is presented in the first oboe. The third variation is presented in the second oboe in unison with the first bassoon and seventh variation is stated in the second oboe.

Note by Brandon T. Jenkins

Notes Cont.Edgard Varése: Octandre

Octandre, is a French term for a living organism in eight parts. Given this compositional structure, the first movement contains eight sound masses. These sound masses relate to one another in varying forms, depending on distance from one another, the pitch content, and the combination of varying timbres. However, the pitch content does not refer only to the written frequencies played by performers, but also to the combination timbres from one sound mass to another.

The symmetry in Octandre is enhanced by the use of an instrumental solo at the beginning of each movement; oboe in the first, piccolo in the second and bassoon in the third. Although each of the movements are individual in character, there is a cross-population of ideas from one movement to another. For instance, the oboe solo at the beginning of the first movement provides many motives and intervals which are used throughout the structure of the whole work.

Within each movement are three sections that maintain similarity illuminated through the use of tetrachords and sound masses common to each section. There is significant amount of changes in tempi as well as meter alterations throughout each movement. The pitch content in this is derived from the four-note pitch collection contained within the limits of a minor third. The pitch class sets that are utilized are variations primarily on the {0,1,2,3} and {0,1,2,6} tetrachords.

Octandre is a linearly conceived work, with an almost complete absence of imitative polyphony. Although meter changes are frequent throughout, rhythmic variety is achieved more through the use of a variety of rhythmic patterns within a single measure than through the contrast between adjacent measures effected by changes of meter. Acceleration of tempi and rallentandi are hardly used as expressionistic devices.

Varese tends to use instruments from the same family on similar material in sections of less than tutti scoring. In addition, the scoring appears to be dependent more on the need to achieve certain sonorities from the instruments than on questions of pitch or dynamics. Dynamic contrast plays an important role in the orchestration, and color changes, such as flutter tonguing in the woodwinds and muted brass parts. Phrases and sections in Octandre are delineated in two general ways; by use of a comparatively long note at the cadence point or by change of pitch content; and by a change of tempo, rhythmic character, melodic content, or texture.

Note by Brandon T. Jenkins  

Notes Cont.

W. A. MOZART

Program

Brandon T. Jenkins, conductor

Octandre (1923/1980) Edgard Varèse (1883 – 1965) I. Assez lent II. Tres vif et nerveux III. Grave-Anime et jubilatoire

Serenade No. 12 in C Minor K. 388/384a (1782/1979) Wolfgang Amadeus Mozart (1756 – 1791) I. Allegro II. Andante III. Menuetto in Canone IV. Allegro

*In partial fulfillment of the D.M.A. in Wind Conducting requirements

NotesEdgard Varése: Octandre

Octandre was composed in three distinct movements, marked by tempi. Titling movements after a tempo marking is typical practice of idiomatic instrumental writing in Neo-Classicism. The first movement is performed with a separation between the second movement. To the contrary, Varése combines the second and third movement. This piece, performed in its entirety, is approximately seven minutes in length.

As the title suggests, Octandre is written for eight instruments: Flute (doubling piccolo); Oboe; Bassoon; Bb Soprano Clarinet (doubling Eb Soprano Clarinet); Horn in F; Trumpet (in C); Trombone; and String Bass. Octandre was premiered at the Vanderbilt Theater on January 13, 1924, in a concert presented by the International Composers’ Guild.

The first ten bars of Octandre are dominated by an Oboe solo which is mostly unaccompanied. The exposition of this oboe solo contains the material for the rest of the movement, the development and expansion of the solo makes these ideas more aurally comprehensible. The first three bars of the oboe solo are based entirely on the note grouping of Db — Gb. After its initial statement in the first measure, the note grouping is then subjected to two variations, one each in measure two and measure three.

It is widely known that Varése was also influenced by the style of Russian composer, pianist, and conductor, Igor Stravinsky. This beginning Oboe solo is quite reminiscent to that of the opening bars of the Rite of Spring. One can notice not only melodic similarities between the two works, but Varése also uses strikingly familiar ornamentations that can be found in the bassoon solo in the Rite of Spring. Unlike Stravinsky, Varése wrote extensively and sincerely in an effort to make his compositional techniques and theories known and understood not only by the academic community but the general public as well. His language dealing with sound masses was very clear, but the vernacular sometimes created a disconnect between himself and the public, which often times, cannot be transcribed in layman’s terms.

EDGARD VARÉSE

Personnel Brandon T. JenkinsBrandon T. Jenkins currently serves as Instructor of Music – Assistant Director of Bands at Jackson State University. His primary responsibilities are conducting the Symphonic Band, Brass Ensemble, Jazz Ensemble II, working with the World Renowned “Sonic Boom of the South” Marching Band, and teaching music appreciation.

A native Carolinian, Jenkins received his Bachelor of Science degree in Music Education from Winston-Salem State University (North Carolina) and a Master of Music degree in Wind Conducting from Messiah University (Mechanicsburg, PA). Mr. Jenkins is currently pursuing a Doctor of Musical Arts degree in Wind Conducting from the University of Southern Mississippi in Hattiesburg, MS where he studies with Dr. Catherine Rand. His former teachers include Dr. Michael Magruder (WSSU), Dr. Brad Genevro (UTEP), and Dr. William Stowman (MU). Prior to doctoral study, Mr. Jenkins taught band in the Florida public school system at Heritage High School (Brevard Public Schools).

During his tenure as Director of Bands at Heritage High School, the band nearly quadrupled in size and improved from "poor" to “superior" ratings at the Florida Bandmasters Association’s (FBA) Musical Performance Assessments (MPA). Mr. Jenkins expanded the band program tremendously to include a concert band, symphonic band, wind ensemble, marching band, and jazz bands. As a result of such success, Mr. Jenkins was a 2017 recipient of the Tom Bishop Award from the Florida Bandmasters Association. The intent of this award is to recognize an FBA member who has gone into a band program and turned the program around, making a huge positive difference in a relatively short period of time in the position of band director. In 2017, Mr. Jenkins was named Teacher of the Year for Heritage High School. Shortly after that recognition, in 2018, Jenkins was named Teacher of the Year for the entire Brevard Public School System. 

Mr. Jenkins maintains an active schedule as a guest conductor, clinician, adjudicator, and speaker throughout the southern states. His professional affiliations include the College Band Directors National Association (CBDNA), HBCU National Band Directors Consortium, National Association for Music Education (NAfME), Mississippi Bandmasters Association, Florida Music Educators Association (FMEA), and the Florida Bandmasters Association. Mr. Jenkins’ is also a member of Kappa Kappa Psi, National Honorary Band Fraternity.

Edgard Varése: Octandre

Piccolo/Flute Kayla Moyers, M.M.; Huntville, AL

Oboe Cesar Mateo Martinez Reyes, B.M.E.; San Pedro Sula, Honduras

Bassoon Paula Martinez Marrugo, M.M.; Cartagena, Colombia

Bb/Eb Clarinet Heather Gering, D.M.A.; Wichita, KS

Horn *Dr. Jacquelyn Adams, D.M.A.; Forth Worth, TX

Trumpet Ethan Farnsworth, M.M.; Lafayette, LA Trombone Caleb Owenby, M.M.; Ft. Walton Beach, FL

String Bass Ana Arosemena, M.M.; Panama, Panama

Wolfgang Amadeus Mozart: Serenade No. 12 in C Minor K.388/384a

Oboe Cesar Mateo Martinez Reyes, B.M.E.; San Pedro Sula, Honduras Kailey Norton, B.M.E.; Mary Esther, FL

Bassoon Paula Martinez Marrugo, M.M.; Cartagena, Colombia Jordan Vestal, B.M.; Madison, MS

Bb Clarinet Heather Gering, D.M.A.; Wichita, KS Savannah Tims, M.M.; Crestview, FL

Horn *Dr. Jacquelyn Adams, D.M.A.; Forth Worth, TX Selena Boyda, M.M.; Gulfport, MS

*Horn Professor, The University of Southern Mississippi