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Sam Cogburn

Solo Guitar

Friday, March 12, 7:00 pm

Recital Coordinator

Joyce Hanagan, recital coordinator, is a freelance musician, mainly on oboe, in the Pikes Peak region. She has performed as a soloist with the Pueblo Symphony, Pueblo Chamber Orchestra and the Alpine Orchestra, and has also played with the Colorado Springs Philharmonic and the Chamber Orchestra of Colorado Springs. An adjunct professor of Music at Colorado College, teaching instrumental methods, she helps prepare future music teachers, and also teaches kindergarten and first grade music in the Widefield School District.

Sam Cogburn recently graduated from Colorado State University-Pueblo with a degree in guitar performance and music education. His principal instructor during his undergraduate studies has been Ben Cantu. A graduate of Walsh High School, Sam received a scholarship from a local arts fund and was also awarded the renewable Caroline Cramer Voss Scholarship for four years of college.

At CSU-Pueblo, Sam was a member of a number of ensembles, including classical guitar ensemble, jazz ensemble, percussion ensemble, brass ensemble, and concert choir. He is involved with several organizations such as the Denver Classical Guitar Society, the Colorado Springs Guitar Society, MENC, the American String Teachers Association, and the Guitar Foundation of America. Sam has had masterclasses with Manuel Barrueco, Martha Masters, Ricardo Iznaola, Denis Azabagic, and Stephen Aron among others. He has attended festivals such as the National Guitar Workshop, Bowdoin International Music Festival, and Ben Verdery’s Hawaii Guitar Class. Active as a teacher, Sam is currently employed for Rhythm Street in Pueblo, and Harmony Road Music Academy in Highlands Ranch. In addition to teaching, Sam is also an active concert artist. In June 2009 he gave his professional debut for the Colorado Springs Guitar Society. At the Bowdoin Music Festival he gave a performance of George Crumb’s “Night of the Four Moons”, with Crumb in attendance and his daughter Anna Crumb singing the soprano line. In addition to these, he has given numerous other concerts in Pueblo, Canyon City, Walsh, and Colorado Springs, and is a frequent member of the Pueblo Symphony. In March of 2009, he won first prize in the senior guitar division for the American String Teachers Association National Solo Competition. Sam plans on attending graduate school in the near future.

Fantasia and Variations on a Scottish Folksong, Op. 40 – Fernando Sor (1778-1839)

Presented in a common fashion, this theme and variations piece begins with an andante opening, ending on the dominant chord which leads to the theme. The theme is Scottish, and noticeably so with the “scotch snaps” that are presented in the rhythm. This is followed by three variations and a short coda at the end.

Prelude from Lute Suite in Am, (orig. Gm) BWV 995 – J.S. Bach (1685-1750) Arr. Frank Koonce

The lute suite BWV 995 was first written as the fifth Cello Suite around 1720 and arranged around 1727-1731. An autograph manuscript of the arrangement (Bach’s own) has survived. However, the range extends beyond that of a normal thirteen-course lute, so it is thought to possibly have been arranged for a fourteen-course lute or a lute-harpsichord. The Prelude is written in the French style with a slow opening characterized by scalar passages, dotted rhythms, and ornaments, followed by a lengthy fugue.

Two Nocturnes – Alex Stein (b. 1983)

I. Flowing

II. Slowly, dreamily

Tonight’s performer had the fortunate opportunity of meeting the composer of this piece at the Bowdoin International Music Festival during the Summer of 2009, and of performing this great work for guitar while there. The first nocturne consists of constantly shifting harmonies and time signatures, compounded with smooth, flowing melodies. It is full of character, presented in ABA form, and has a short coda at the end. The second is much different in nature, beginning with slow, drawn out chords and melodic lines. The middle section picks up the pace for a while, leading up to chords which are played with a “wild rasgueado.” These transition into a short, tremolo section, before the first themes and the initial mood of the piece returns and ends it with a whisper.

Six Variations on a Theme by Milan – Joaquin Nin-Culmell (1908-2004)

Joaquin Nin-Culmell was a Cuban-Spanish composer, internationally recognized concert pianist, and emeritus professor at University of California, Berkeley. This piece is generally light in character, interrupted only briefly with the second variation in the parallel minor (d minor). The fifth variation is simple and beautiful, presented in B flat major followed by the sixth which adds some colorful twentieth century harmonies.

INTERMISSION

Variations On La Folia and Minuet, Op. 15 – Fernando Sor

This theme is very old and well-known, with its roots dating back to the 16^th century. It has been used by many composers for theme and variation pieces; Giuliani, Ponce, and Rachmaninov to name a few. Unlike the first piece of tonight’s program, this set of variations does not begin with an introduction, but rather starts with the theme itself. Four variations follow, all presented in the key of E minor. A sweet menuet (marked andante) ensues, which has no bearing of the initial theme, and is presented in the parallel key of E major. This is used with great effect, and brings the piece to rest quietly and softly.

Equinox – Toru Takemitsu (1930-1996)

One of the foremost composers of the twentieth century, Takemitsu became one of the first Japanese composers to achieve international recognition. His influences range from jazz, popular music, avant-garde procedures, and traditional Japanese music among others. He also composed extensively for film soundtracks. His pieces for guitar have become standards in the repertoire. This piece is short, written in one movement, and has a free-flowing, fantasy-like atmosphere, with short motives and fragments coming and going as they please. It is a late piece in the life of Takemitsu, written for Kiyoshi Shomura in 1993 and premiered by him the following year.

Sonata – Joaquin Turina (1882-1949)

I. Allegro

II. Andante

III. Allegro vivo

This piece follows the standard three movement format for a sonata. A fast movement, followed by a slow, then fast again for the third. The outer movements begin forcefully, with noticeably similar passages that introduce the Spanish character right away. They also, end in a similar fashion with loud D major chords, and the second theme of the first movement makes an appearance in the third movement, making the piece cyclical. The andante provides a nice contrast with beautiful melodies and a nostalgic character.