I'm pretty sure my Senior Recital program is going to be as follows. I'll update it if it changes. I think I may start pouring notes into this page as well, information I wish to remember.
Recital info:
May 16th, 2010
1:00 pm
Varner Recital Hall
Oakland University
Trisha Lee, flute
Angelina Pashmakov, piano
Aaron Copland (1900 - 1990) - Duo
I. Flowing
II. Poetic, somewhat mournful
III. Lively, with bounce
One of his country’s most enduringly successful composers, Copland created a distinctively American style and aesthetic in works of varying difficulty for a diversity of genres and mediums, including ballet, opera and film. Also active as a critic, mentor, advocate and concert organizer, he played a decisive role in the growth of serious music in the Americas in the 20th century. One of his last substantial pieces was a Duo for flute and piano (1971).http://www.oxfordmusiconline.com/subscriber/article/grove/music/06422?q=copland&search=quick&pos=2&_start=1#S06422.2Michael Colquhoun (1951 - ) - Charanga
(for flute alone)
Composer/flutist Michael Colquhoun is currently active as a solo recitalist, as a teacher and composer, and as Adjunct Professor of Music at Canisius College. He has earned his Ph.D. from the State University of New York at Buffalo where he studied with Robert Dick, Morton Feldman, Lejaren Hiller, and Leo Smit. Dr. Colquhoun's compositions draw upon both the Classical and Jazz traditions, and often involve a mixture of composed and improvised elements working together to produce a coherent whole. His compositions for flute and other media have entered the “standard repertoire” and are performed regularly on a worldwide basis. His jazz ensemble pieces have been in continual performance by Buffalo, Boston, Miami and New York City jazz ensembles. ". . . His brief and charming solo flute entry Charanga drapes its Latin American sounding fabric with subtle yet pervasive extented techniques such as multiphonics and speak-play passages." David Cleary, The New Music Connoisseur, Fall/Winter 2003
http://zendogs.org/bio.html
Paul Hindemith (1895 - 1963) - Flute Sonata
I. Heiter bewegt "Sunny, cheerful moves" but I also found translations for the opposite: "overcast moves"
II. Sehr langsam "Very slow"
III. Sehr lebhaft - Marsch "Very lively - March"
German composer, theorist, teacher, viola player and conductor. The foremost German composer of his generation, he was a figure central to both music composition and musical thought during the inter-war years. Hindemith was called up for military service at the end of 1917 and in January 1918 joined his regiment (then stationed in Alsace but sent to Flanders the following summer). He was assigned to the regimental band, in which he played the bass drum. During the last months of the war, however, he was posted to the trenches as a sentry, surviving grenade attacks only by good luck, as his diary reveals. While in the army he formed a string quartet and managed to continue composing. Later he wrote of a particular incident that held decisive significance for him: playing Debussy’s String Quartet at the very moment when the news of Debussy’s death was announced on the radio.
We did not play to the end. It was as if our playing had been robbed of the breath of life. But we realized for the first time that music is more than style, technique and the expression of powerful feelings. Music reached out beyond political boundaries, national hatred and the horrors of war. On no other occasion have I seen so clearly what direction music must take. (Zeugnis in Bildern, p.8)
http://www.oxfordmusiconline.com/subscriber/article/grove/music/13053?q=hindemith&search=quick&pos=1&_start=1#firsthit
This particular Sonata was written in 1936, a few short years before Hindemith emigrated to the US. By this point, all of his music had been banned in his homeland.
(5 minute break)
J. S. Bach (1685-1750) - Flute Partita in A minor, BMV 1013 (for flute alone)
Bach's Partita in A minor for solo flute, BWV 1013, is considered by some to be the earliest of his authenticated compositions for the instrument. It has conjecturally been dated to the 1720s or, by some, to a date nearer the beginning of the composer's employment at Cothen, 1718. Although not entirely idiomatic in its writing, the Partita is an essential part of a very limited repertoire for the unaccompanied flute. It opens with an Allemande, coupled, as tradition dictated, with a livelier Corrente. The slow Sarabande leads to a final English Bourree.
http://oakland.naxosmusiclibrary.com/work.asp?wid=1115&cid=DE3402
I. Allemande :
An allemande is a German dance (the word itself is French) in 4/4 time, often the first dance in a baroque dance suite, where it is frequently followed by a courante, a more rapid dance. The allemande, which appears in earlier English sources often as alman, almain or with similar spellings, is generally moderate in speed. http://oakland.naxosmusiclibrary.com/resources/glossary/allemande.htm II. Corrente :
The French courante, a triple-time dance movement found frequently in the baroque dance suite, generally follows the allemande, the opening German dance. It is sometimes not distinguished from the Italian corrente, although the corrente is generally simpler in texture and rhythm than its French counterpart. http://oakland.naxosmusiclibrary.com/resources/glossary/Courante.htm III. Sarabande :
The sarabande is a slow dance in triple metre, generally found in the baroque instrumental suite. The dance seems to have been Latin American in origin, imported from Latin America to Spain in the 16th century.
http://oakland.naxosmusiclibrary.com/resources/glossary/Sarabande.htm IV. Bouree Anglaise :
A bourrée is a duple-rhythm French dance sometimes found in the baroque dance suite, where it was later placed after the sarabande, with other lighter additional dances.
http://oakland.naxosmusiclibrary.com/resources/glossary/bourree.htmSalomon Jadassohn (1831 - 1902) - Notturno in G, Opp. 133
German composer, theorist, teacher and conductor. His students included Busoni, George Chadwick, Delius, Grieg, Karg-Elert and Felix Weingartner. Although successful as a performer, theorist and teacher, Jadassohn considered himself primarily a composer. He wrote works for piano, chamber ensemble, orchestra, chorus and solo voices, comprising over 140 opus numbers, but was perhaps best known for his canonic compositions: the Serenade for Orchestra op.35, two serenades for piano opp.8 and 125, the ballet music op.58 and the vocal duets opp.9, 36, 38 and 43. He also edited and arranged works by Bach, Brahms, Chopin, Mendelssohn, Schubert, Schumann, Wagner and others.
http://www.oxfordmusiconline.com/subscriber/article/grove/music/14087?q=jadassohn&search=quick&pos=1&_start=1#S14087.1Francis Poulenc (1899 - 1963) - Flute Sonata
I. Allegro malinconico
II. Cantilena: Assez lent
III. Presto giocoso
French composer and pianist. This Sonata was written 1956-7. Poulenc never questioned the supremacy of the tonal-modal system. Chromaticism in his music is never more than passing, even if he used the diminished 7th more than any leading composer since Verdi. Texturally, rhythmically, harmonically, he was not particularly inventive. For him the most important element of all was melody and he found his way to a vast treasury of undiscovered tunes within an area that had, according to the most up-to-date musical maps, been surveyed, worked and exhausted. His definitive statement came perhaps in a letter of 1942: ‘I know perfectly well that I'm not one of those composers who have made harmonic innovations like Igor [Stravinsky], Ravel or Debussy, but I think there's room for new music which doesn't mind using other people's chords. Wasn't that the case with Mozart–Schubert?’. And if Poulenc was not quite a Schubert, he is among the 20th century's most eligible candidates for the succession.http://www.oxfordmusiconline.com/subscriber/article/grove/music/22202?q=poulenc&search=quick&pos=1&_start=1#firsthit
