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The University of Iowa

Student Recital

Gilbert Garza, saxophone

Casey Dierlam, piano
Saturday, May 5, 2018 at 7:30 PM Voxman Music Building – VOX 2451 Welch


As in Stained Light Leonard Mark Lewis


Worksong Christian Lauba

(b. 1952)

Melting Dream Takashi Yoshimatsu


Klonos Piet Swerts


Sonata for Alto Saxophone and Piano David Maslanka

I. Moderate
II. Very Expressive
III. Very Fast

This program is being presented by Gilbert Garza in partial fulfillment of the requirements for the Doctor of Musical
Arts degree in Performance and Pedagogy in the College of Liberal Arts.

As in Stained Light (2003) Leonard Mark Lewis

(b. 1973)

Leonard Mark Lewis is a composer, conductor and pianist specializing in new music. Dr. Lewis, a
member of B.M.I., is the recipient of awards from ASCAP (Morton Gould Young Composer Award),
B.M.I., Columbia University (Bearns Prize), Voices of Change (Russell Horn Young Composers
Award), Frank Tichelli and MACRO. Lewis has received performances at the World Saxophone
Congress in St. Andrews Scotland, Germany, London, New York City, Wroclaw, Poland to name a
few. His music is published by Dorn, Manhattan Beach, Southern and Haggelstein. Lewis’
composition teachers were Carlisle Floyd, Dan Welcher and Robert Nelson. Lewis has served on the
faculty at the University of Missouri-Columbia and Cy-Fair College (Chair and Associate Professor
of Music). He was recently a guest pianist at the Gratchenfestival in Amsterdam. He is currently
Associate Professor of Composition/Theory at Winthrop University.

As in Stained Light was premiered with the composer as the piano accompanist in March of 2002
during the North American Saxophone Alliance Biennial Conference in Denton, Texas,
and subsequently was recorded on Crystal Records CD657. The piece is minimalist in nature and
derives its material from a major second motive, D# and E#. The ethereal coda at the end is the
section for which the piece’s title is derived. Lewis visualizes this as if the entire piece of music is
being projected through a piece of stained glass.

Worksong (2010) Christian Lauba

(b. 1952)

Christian Lauba is a French composer, born in Sfax (Tunisia) in 1952. He studied piano with
Suzanne Marty and composition at the Conservatoire de Bordeaux in the class of Michel Fusté-
Lambezat. In 1994, he was awarded the first prize in the Berlin International Composition
Competition (Institut für neue Musik). His compositions often incorporate the music of his
native North Africa as well as Japanese influences. His saxophone works such as Worksong and
Jungle are known for their extreme difficulty.

Worksong is his 15th Etude and is for the mastery of sidekeys and register breaks. The piece opens
with a quiet introduction followed by a rhythmic episode with melodic use of mulitphonics. The
piece then erupts into a chaotic frenzy of technical passages that incorporate slap tongue and
mulitphonics simultaneously. The work concludes with a recapitulation of the opening material.

Melting Dream (1987) Takashi Yoshimatsu

(b. 1953)
Takashi Yoshimatsu was born in Tokyo and studied at Keio University (Department of Technology).
He taught himself composition, joined jazz and rock groups, and studied under Teizo Matsumura for
a short while. The majority of his work is triadic and contains simple, repeated progressions, or in
some cases pandiatonicism. Other popular saxophone works by this composer are his Fuzzy Bird
Sonata and Cyberbird Concerto.
Melting Dream is an interlude originally for piano and violin taken from the piano quartet Alrisha
(1987). On the quiet of calm yet constant piano chords, the saxophone weaves a mournful melody
that uses its full range and various tone colors.

Klonos (2007) Piet Swerts

(b. 1960)

Piet Swerts is a Belgian composer, conductor and pianist of international acclaim. He has a large
catalogue of more than 240 works includes stage, orchestral, chamber, choral, vocal, and piano
works. Dr. Swerts studied from 1974-89 at the Leuven College of Arts (LUCA) Campus Lemmens in
Leuven, where he obtained ten first prizes, and, for the first time in the history of the same institute,
the special Prize Lemmens Tinel for composition and piano with great distinction. Among his
teachers were Alan Weiss(USA) and Robert Groslot. Since1982, he has been Professor of
Composition, Piano and Analysis at the same institute, now Department of Drama and Music
associated with the Catholic University of Leuven. He has been invited as guest professor in the
Sweelinck Conservatory, Amsterdam, Netherlands, in the Department of Electronic Music at the
University of Huddersfield, GB, the Polytechnic Institute in Castelo Branco, Portugal, as well as in
the Polytechnic Institute North Karelia, Conservatory of Joensuu, Finland, and theConservatory of
Barcelona, Spain.

The Greek word Klonos stands for an intense muscle spasm or contraction, such as found
in the heart. This is a picture that Swerts associates with the movements that some saxophone
players make when they are in the midst of playing a fiery passage, like an intense jazz solo. The
work is a dashing fantasy with a modest, though intense, middle section, and ends with a reprise
of great virtuosity.

Sonata for Alto Saxophone and Piano (1988) David Maslanka


David Maslanka was born in New Bedford, Massachusetts in 1943. He attended the Oberlin College
Conservatory where he studied composition with Joseph Wood. He spent a year at the Mozarteum in
Salzburg, Austria, and did masters and doctoral study in composition at Michigan State University
where his principal teacher was H. Owen Reed.

Maslanka’s music for winds has become especially well known. Among his more than 150 works are
over 50 pieces for wind ensemble, including eight symphonies, seventeen concertos, a Mass, and
many concert pieces. His chamber music includes four wind quintets, five saxophone quartets, and
many works for solo instrument and piano. In addition, he has written a variety of orchestral and
choral pieces.

The Sonata was commissioned by the North American Saxophone alliance for its 1989 convention. It
is in three large movements. The first is lyrical and reflective, with sudden energetic bursts. The
song-like and soulful second movement is a broad soliloquy with its roots in the expressive madrigal
style of the sixteenth century. The third is a large rondo that is at times fierce, mournful, playful, and
turbulent, and at the end, ethereal.