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  1. Performance Calendar
  2. Graduate Recital

Daniel Hallett, Second Year Masters Marimba Recital

Venue

Watch Online at Home
Performed from Caroline H. Hume Concert Hall

Live Stream

Live Stream

Departments

Collaborators

Jack van Geem*, marimba
Jimmy Chan, Julie Choi, and Lynn Parkvibraphone

Joseph Schwantner (b. 1943)
Velocities

Johann Sebastian Bach (1685-1750)
Prelude No. 7 in E-flat Major, BWV 876
     from The Well-Tempered Clavier, Book II

Andrew Thomas (b. 1939)
Three Transformations
     I. Lord Cavendish Strikes the Right Note
Jack van Geem, marimba

Johann Sebastian Bach
Fugue No. 11 in F Major, BWV 856
     from The Well-Tempered Clavier, Book I

Andrew Thomas
Three Transformations
     II. Pedro and Olga Learn to Dance
Jack van Geem, marimba

Johann Sebastian Bach
English Suite No. 5 in E Minor, BWV 810
     VII. Gigue
Jack van Geem, marimba

Andrew Thomas
Three Transformations
     III. Rhumbarubio
Jack van Geem, marimba

- Intermission -

Maurice Ravel (1875-1947)
adapt. Daniel Hallett

Le Tombeau de Couperin
     I. Prélude
     II. Fugue
     III. Forlane
     IV. Rigaudon
     V. Menuet
     VI. Toccata
Jimmy Chan, Julie Choi, and Lynn Park, vibraphone
Jack van Geem, marimba

Claude Debussy (1862-1918)
La fille aux cheveux de lin
     
from Préludes, Livre I

* SFCM Faculty

Program Notes

Andrew Thomas
Three Transformations

I derived each of these three movements from works by J. S. Bach that I have recast and reconstructed in a new form and harmonic structure. I used every piece as the starting point for an homage to the original.

All three of Bach’s compositions are in triple meters. I rebarred each in duple (4/4) meter, thus forcing myself to rethink the harmonic rhythms. The music had to be plausible in the new time signature.

I originally composed the first movement, ‘Lord Cavendish’, for Marimba and Harpsichord. This score is dedicated to William Moersch and Charlotte Mattox for their wedding. The music in ‘Lord Cavendish’ is the closest to Bach’s original composition.

‘Pedro and Olga Learn to Dance’ was the message (in the 1960s) of a second story neon sign on Manhattan’s upper Westside. I have interpolated more of my own music into this work, also changing the original from major to minor.

I dedicate 'Rhumbarubio' to Nancy Zeltsman and Janice Potter. The structure is a kind of mad chorale-prelude with Bach’s music flickering ‘ghost-like’ in and out of a perpetually moving texture.

Here are the sources for the music:
Lord Cavendish: Prélude in E-flat Major from Book Two of the WTC.
Pedro and Olga: Fugue in F Major from Book One of the WTC.
Rhumbarubio: Gigue from the E Minor English Suite.

All three Transformations are dedicated to Madam Rubio, wherever she is. . . .

- Andrew Thomas
14 July 1998, Reykjavík

Maurice Ravel
Le Tombeau de Couperin

One can well see Maurice Ravel leaning on his bench, the loupe in his eye, inserting a note in one of his orchestra scores with the same care of a good worker fixing a ruby in the mechanism of a watch. That precision, that meticulousness, and that dexterity of hand are all to his honor.

- Émile Vuillermoz

About SFCM's Percussion Department

Percussion students study side-by-side with both current and former members of the San Francisco Symphony. Small studio sizes and talented, committed peers make SFCM percussion a hothouse for artistic growth. Each student gets the mentorship and performance opportunities they need to develop into successful professionals.

Departments and Faculty Involved with This Event

Percussion