|Tuesday, April 11th|
Talea Shupe, Walla Walla University
3:45 PM - 4:00 PM
“Aviary Suite” consists of three movements written for two flutes. Each movement is a character piece depicting one of three different birds. “Hunt of the Hawk” is a dissonant movement intended to describe a hawk hunting for its prey. The hawk begins its hunt stealthily, spots its prey, swoops to it and finally captures it. “Morning Swans,” a much slower, more melodic movement, depicts swans gently gliding across a pond in the early morning as the fog slowly lifts from the water. My suite concludes with “Hummingbirds,” a short, busy, intentionally entertaining movement depicting the rapid movements and patterns of hummingbirds. Before the performance of this piece, I will speak briefly about its conception and my working process to compose it.
Hunter Dunn, Whitman College
4:00 PM - 4:15 PM
"Nature Suite," a set of three character pieces, is written for flute and piano. The first movement, “Desert Night,” paints the stars of the remote American Southwest with a lilting theme passed from piano to flute before a modulating bridge. The second, “Storm at Sea,” is a loose passacaglia, a form characterized by a repeated “ground” bass line. It depicts a placid ocean soon flecked with raindrops that build into a violent tempest. The storm’s lifting is evoked through an old hymn. The title of the final movement, “Mountain Air,” is an intentional pun — air: a light, lyrical tune; air: the stuff we breathe — the former meant to convey the enervating chill of the latter at altitude. I tried to illustrate the awe felt standing at the mountain’s base, the seemingly endless journey up and the incomparable thrill of cresting the summit ridge.
Jeffrey Maher, Whitman College
4:15 PM - 4:30 PM
Composed last semester, "Sub Terra: Theme and Variations," uses music to explore subterranean environments. It is written for brass quintet: two B-flat trumpets, horn in F, tenor trombone and bass trombone. The piece is a theme and variations, as the title might suggest; it opens with a few central ideas, which are then developed, warped and re-imagined over the course of several unique sections. These sections take the audience through several tempos and styles, including atonal and jazz music, with each variation focusing on a different facet of the underground. All the while, the theme follows along, fragmenting and re-stitching itself back together, the relatively complex melodic structure worming its proverbial way into every nook and cranny of the piece. Before the performance, I will speak briefly about the origins of the piece and how it took shape during the composition process.