My final of two GDP recitals at the Peabody Conservatory was Wednesday, April 9th 2008. I thought I would include my program here to give you an idea of the kind of literature I like to perform.
Bryce Peltier, GPD Recorder Recital
Peabody Institute
Wednesday, April 9, 2008, 6:30 p.m.
Leith Symington Griswold Hall
Assisted by
Ted Davis – Harpsichord and Organ
John Armato – Renaissance lute and Theorbo
Sara Woodward – Soprano voice
Richard Fitzgerald – Harpsichord
Debby Malavenda – Violin
Andrew Broadwater – Violin
Zane Baker – Cello
Andrew Arceci – Bass Viol and Violone
Ancor che col partire Giovanni Battista Spadi
diminution on a madrigal by Cipriano de Rore (15??-16??)
from Passaggi ascendenti et descendenti (1609)
Canzon Terza Bartolomeo de Selma y Salaverde
from Canzoni Fantasie et Correnti (1638) (ca. 1580-1638)
Arion André Campra
from Cantates Françoises, Livre premier (1708) (1660-1744)
1. Lentement 2. Recitatif 3. Ariette 4. Recitatif
5. Vivement 6. Recitatif 7. Lentement 8. Recitatif
Sonata V in F major Johann Sebastian Bach
adapted from organ sonata No. 5 in C major, BWV 529 (1685-1750)
1. Allegro 2. Largo 3. Allegro
Sonata III in G minor William Babell
from book 1, Opus posthumous (1725) (ca. 1690-1723)
1. Adagio 2. Vivace 3. Largo 4. Presto
Concerto in G minor “La Notte” RV 104 Antonio Vivaldi
(1678-1741)
1. La Notte (Nightfall) – Largo
2. Fantasmi (The ghost) – Presto/Largo/Andante/Presto
3. Il Sonno (Sleep) – Largo
4. Sorge l’Aurora (The dawn comes up) – Allegro
Bryce is a student of Gwyn Roberts
This recital is offered in partial fulfillment of the requirements for the Graduate Performance Diploma
• Committed to playing at a high level
• Seeks interesting interpretations of period music
• Love of baroque music (1600-1750) and exploring it
• Baroque ensemble at Peabody - studied cantatas of the early 18th century from France and Germany.
I have always enjoyed freelancing in the music world and had some great experiences in various genres and time periods. During my time with Gwyn Roberts at Peabody, I studied the music of the renaissance and baroque periods. I gained a solid understanding of articulation, the musical approach to dance forms, ornamentation, and learned a broad repertoire in which the recorder is utilized.
Proficiencies
• Recorders with renaissance fingerings in C, F, and G
• Baroque recorders in C, F, and D (voice & sixth flute)
• Reads all C clefs and knows alternate transposition methods
Bryce's instrumentarium
Transitional (early baroque)
1. Ganassi soprano - von Huene
single body at a=440
2. Ganassi soprano - Sorel
two bodies - a=440, a=415
3. G alto - Kanji and Sorel
three bodies - a=415, a=440, a=466
Baroque (all a=415)
1. Soprano after Terton - von Huene
2. Alto after J. Denner - von Huene
3. Alto after Stanesby Jr. - von Huene
4. Voice flute in D - von Huene
Baroque a=440
1. Alto after Rippert - von Huene
2. Modern alto designed by von Huene