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Jamie Clark
Boston, Massachusetts
Saturday, 7 February 2015 - 8:00 PM
This recital is in fulfillment of the requirements for the Doctor of Musical Arts degree.

If you've been to a student recital before, you probably expect to hear something like a traditional concert by a touring artist.

Recitals by doctoral students are a somewhat different affair. In the course of completing the Doctor of Musical Arts degree at New England Conservatory, performance majors present not just one, but three full-length recitals, for which they also write program notes. Composers present a recital of their chamber music, then complete a large-scale original work. In both cases, it's an opportunity to observe multiple facets of an emerging artist.

Jamie Clark is a cello major who studies with Paul Katz. For this D.M.A. recital, the first of three, she performs with Collaborative Piano major Futaba Niekawa and harpsichordist John Gibbons of the faculty. Clark has provided the following program note.

The Cello: A Protean Protagonist

The program is meant to highlight the Protean (able to change into many different forms or able to do many different things-Merriam Webster) capabilities of the cello. It will feature an array of adventures where the cello takes on multiple roles both in terms of persona as well as instrumentation.

In the Couperin, the cello slips into the role as the playful and dramatic viola da gamba, promenading, singing, trumpeting, swaying, and jubilantly dancing its way through the five pieces.

The cello then sings its way into the role of the Arpeggione in Schubert's Arpeggione Sonata. In this tale, the cello flirtatiously portrays "almost" -almost tragic, almost robust, almost charming, almost sentimental, and almost virtuosic. The playful and dichotomous outer movements are balanced by the sincerity of the middle Adagio movement.

After intermission the cello finally takes on a role that was originally intended for cello in Britten's Cello Sonata. This drama features the sweet caressing interplay of the cello and the piano with flashes of temper and haunting horrors. The narrative of the sonata covers all grounds: dirge-march, pizzicato-riccochet, affection-murder, recollection-reality.

As if to complete the circle, the cello concludes the evening as the flashy and self-assured fiddler in Bartok's First Violin Rhapsody. The break-dancer of the gypsy world, the protagonist rips through Romanian, Hungarian, and Transylvanian folk tunes ending in a flurry of energy and excitement.
Program Click for more info
Couperin: Pièces en concert
La Tromba
Air de Diable
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