featuring Madison Hardick, flute
First Place, 2017 Young Musicians’ Concerto Competition
Saturday, May 6 at 7:30 p.m.
Southwestern Baptist Theological Seminary
2001 West Seminary Drive, Fort Worth, TX
J. Russell Powell
Fanfare for New Beginnings
Hector Berlioz (1803-1869)
March to the Scaffold from Symphonie Fantastique
Nikolai Rimsky-Korsakov (1844-1908)
Composed in 1887, “Capriccio Espagnol” was inspired by a shore leave in Spain when Rimsky-Korsakov was a young naval officer 25 years earlier. In Russian, the work is officially called “Capriccio on Spanish Themes” but may have gotten its Western title by similarity to Tchaikovsky’s picturesque travelogue, “Capriccio Italien.” The work is in five sections beginning with a lively Asturian dawn song or “Alborada.” The “Variazioni” introduces a sleepy melody for solo horn, which is passed to other instruments and sections of the orchestra in a series of variations. The third section returns to the original “Alborada” with different instrumentation and key. A mighty brass fanfare announces the “Scene and Gypsy Song,” which continues with cadenzas for solo violin, flute, clarinet and harp before launching into a lively dance in 6/8 time marked “feroce.” The string writing is still remarkable for its guitarlike strumming and spiccato (bow skittering) flourishes. The music segues without pause into the final “Asturian Fandango,” a flirtatious courtship dance in 3/4 time. The Gypsy music reappears briefly before the Capriccio ends with a dizzying coda on the original “Alborada” theme.
Jacques Ibert (1890-1962)
Concerto pour Flûte et Orchestre
Madison Hardick, soloist
Jon Fortman (b. 1961)
A Hymn for Christopher Comer
“A Hymn for Christopher Comer” was submitted as one of many elements of Fortman’s final Capstone Project completed in partial fulfillment of the degree of Master of Liberal Studies at Southern Methodist University, which he received in 2016. In this project titled, “Daddy What Are Shadows Made Of?: Questions and Aspects of Childhood in Music Composition, Poetry, and Literature,” Fortman’s piece was included as an example of musical composition created in regard/response to the unfortunate aspect of childhood, that of death. Christopher Comer was a childhood friend of Fortman’s who died of heart failure at the age of seven in 1971.