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(U.S.A.)
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Annulé / Cancelled |
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| Adam Pendleton is a graduate student in saxophone performance at The University of Michigan. He received his B.A. in saxophone performance at Westem Illinois University. He has given masterclasses, taught, and performed in recitals throughout Illinois, and in 1998 was appointed the Assistant Director of the Advanced Saxophone Camp at WIU. He was chosen as a featured performer at the 1998 North American Saxophone Alliance's Biennial Conference at Northwestern University.
Mr. Pendleton was the grand prize winner of the Northeast Arkansas Symphony Guild's 11th Annual Concerto Competition and the winner of the 1999 Western Illinois University Concerto Competition. He was also the First Prize Winner in the 1999 Sigma Alpha Iota Young Perforrners Competition . He has performed in masterclasses for Timothy McAllister, James Umble, Cliff Leaman, Jeremy Ruthroff, Lawrence Gwozdz, and the Vision Quartet. His teachers include John Vana, Timothy McAllister, and Donald Sinta. |
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Scena |
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| "Scena may in fact be heard quite readily in terms of an operatic scene. Although played without a break, it falls into three parts corresponding to a recitative, an aria, and a cabaletta. The work does not try to represent a particular story, but may be heard as a series of emotional responses to what is presumably some sort of shocking news. The following suggests a possible scenario. After a reaction of outrage (the opening of the recitative), the protagonist's initial attempt to render reaction as song fails (arioso), overwhelmed by a resumption of his initial ire at an even greater level of intensity (the close of the recitative). After this dissipates, the protagonist is finally able to transform the particularities of his recitative into the generalities of an aria. This section is the main body of the piece, and by far the longest. In holding with operatic tradition, it is a varied da capo aria, with the return of the opening melody inverted and highly ornamented, and further broken up by a series of parenthetical interjections. In effect, the emotional transformation of the aria represents the protagonist's mouming of some loss, the fond recollection of some earlier event associated with that loss, and the eventual acceptance of the implications of that loss, triggered by whatever dire news initiated the scene. This ultimately leads to the cabaletta, a virtuoso display in which the protagonist seizes fate, and departs with a declaration of resolve to action." (Andrew Mead) | |||||
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