GRADUATION RECITAL

P ERRETIE MARCOTIE FLUTE

Presented in Partial Fulfillment of the Requirements for the Degree of

Bachelor of Music

Wednesday, 30 November 1983, at

8:00p.m.

The Little Theatre

u.N. Little Theatre Wednesday, 30 November 1983

at 8:00 p.m.

PIERRETTE MARCOTTE, flute with

amburg Sonata in G major

Allegre-t-to Rondo pres -to

ree Romances, Op. 94

Marilyn Udell~ piano

Nich-t sa"hnell (Modera-to) Einfaah, innig (Semplice, affet;t;uoso) Niah-t sc"hnell (Modera-to)

onata, No. 1 , for Flute and Pi a no Allegl"\? modera-to Adagio Allegro poco modera-to

ove Letters, A Di a 1 ague for Flute and Piano

Largo, rrruch ruba-to and expression Vivace, anda:n t;e Lilting - wi-th a gent;le walt;z-l£ke feeling

tching - the Vall ard Suite from Picasso Su-i t;e)

ungarian Pastoral Fantasy, Op. 26 Molto andan-te Andan-tino modera-to Allegro

Carl Philipp ·Enianuel Bach ( 1 714-1 788)

Robert Schumann ( 1 81 0-1856)

Bohus1av Martinu ( 1890-1959)

Martin Scot Kosins (b. 194 7)

Harry Somers (b. 1925)

Franz Doppler ( 1821 -1 883)

PROGRAMME NOTES

Hamburg Sona-ta in G major Ba

Son of the famous German mus1c1an, J.S. Bach, Carl Philipp Emanuel was born in Wefmar. For twenty-eight years he held a position as composer and harpsichordist at the court of Frederick the Great at Potsdam. In 1768 he moved to Hamburg succeeding Telemann as Cantor of the Johanneum, with responsibilities for the music in five churches.

C.P.E. Bach brought order to sonata form through the establishment of a three-movement composftion, but more partfcularly through a three­part dfvision of the first movement into exposition, development and recapitulation, foreshadowing the classical model.

It is curious, however, that the Hamburg Sona~, a late work composed only two years before hi's death, shows less of this sophisti­cated organization than might be expected. It is a two-movement sonata of which the first is based on two themes. The first theme merges fnto the second through a four-bar bridge, which later becomes the main material of the development section. The second theme, moving in triplets, is characterized by an extremely lyrical line. Though not developed, it predominates in the recapitulation. The second movement is a jaunty rondo.

Three Romances~ opus 94 Schuman

The Three Romances were composed in Dresden i_n 1849. Ortginally written for "oboe (or viol in or clarinet ad lib.)", A.E.F ... Dicki_nson suggests that the Three Romances sound better ltwhen the wind part is played on the more sympathetic clarinet 11

• Although Schumann dfd not include it among the alternate instruments, the same can be_ said of the flute, which is admirably suited to the range and colour of these pieces. Given the extremely limited flute repertoire from the Romantic period, flautists welcome this happy coincidence.

In these Romances, Schumann • s lyricism takes shape i_n fl owi_ng melodies, in a fashion very similar to his vocal music. Diverse moods are transmitted by the exploitatfon of a wide variety of timbres as well as sudden fluctuations of tempo.

Firs-t Sona-ta for Flu-te and Piano Marti nil

Although Bohuslav Martinu considered himself French by adoption, he never completely cut himself off from his native Czechoslovakia. His compositions, along with those of his compatriots Smetana, Dvorak and Janacek, won international recognition for Czech musical culture. In 1924, Martinu went to study with Roussel in Paris, at that time the centre of the musical and artistic world. There he made the acquaintance Df Stravinsky, Picasso and Les Six. He also heard a great deal of jazz. In 1940, when German forces invaded Paris, Martinu was obliged to leave

the city. A year later he settled in the United States. In 1945, while n holiday at Cape Cod, he composed his F£rs~ Sona~a for Flu~e and P£ano,

0 edicated to the Boston Symphony soloist, Georges Laurent. One of its drincipal motifs is the call of the whip-poor-will, a bird frequently heard far into the night at Cape Cod.

The Sonata shows the inspiration of the different cultural milieux in which artinu lived. The theme of the first movement has a folk character and its lyrical melody is framed within metres such as 7/8, 3/8 characteristic of the Czech fo k idiom. The wistful second movement open with a haunting melady in the flute which develops a great rhythmical intensity, supported by rich and powerful harmonies in the piano part. The third movement shows a strong rhythmic structure probably inherited from Martinu's earlier exposure to jazz in Paris. Its middle section

·culminates with the whip-poor-will motif, hinted at in the previous two movements, thus giving unity to the whole work.

Love Le~~ers~ A Dialogue for Flute and Piano Kosins

Martin Scot Kosins was born in Detroit, Michigan, in 947. A studio musician, Kosins began his career as a composer in 1968. Since then many of his works have been published, performed, and recorded.

His compositions are not confined to any particular idiom; rather, he prefers to exp ore many musical styles adapting each to suit his personal expression. Underlying all his music is a strong reliance on

· melody and discernible harmonic structure.

In the Preface to the first edition of Love Le~~ers (1979), Kosins himself explains:

I wanted the music to recall certain experiences which remain cherished through the passing of time ... I tried to accomplish this by writing for the loveliest aspect of the flute - that magnificent ability to sing melody . ... Love Le~~ers is a work of melodies, and a work of feelings, and a work of hopes.

He dedi_cates the work to 11 all those who have loved ...

Etching - ~he Vollard Su£~e (from P£casso Sui~e) Somers

In 1964, Toronto-born Harry Somers was asked to write a score to accompany a television production tracing the life and work of Picasso. Subsequently commissioned by the Saskatoon Symphony, the Picasso Suite was composed using some of the material from that production, and although not representing all of the painter's periods, it does represent some of the important ones. Each section is written in a style which best suits a particular period. The Suite consists of nine comparatively s~ort pieces; the sixth one, E~ch£ng - ~he Vollard Sui~e, represents P1casso's work from 1930 to 1937. According to Somersr own description,

a solo flute plays a single melodic line evoking the sensuality and refinement of the Vollard etchings.

The piece is haunted by the descending minor second expressing anguish and supplication~ a device favoured b~ Somers. Fast-flowing exotic scales with a somewhat oriental flavour effectively express t mysterious sensuality of Picasso's etchings. The extremes of dynam; and colour are also major components of the over-all effectiveness. This piece deserves a place alongside Debussy's Syrinx and Varese•s Densi~y 2l.5 in the repertoire for unaccompanied flute.

Hungarian Pas~oral Fan~asy, Opus 26

Born in Lemberg~ Franz Doppler learned the flute from his father In 1853~ Franz settled in Budapest as principal flute of the Hungari Philharmonic. Five years later he accepted a conductorship in Vienna subsequently becoming a professor at the Conservatory there. '

Franz and his brother Karl - who played the flute on his left~ rather than holding it towards the right - caused quite a sensation throughout Europe by the excellence of their duet playing.

The Fan~asy consists of three linked movements of contrasting The first movement has a strong rhapsodic character that perhaps refl the irrepressible Hungarian spirit which has survived throughout yean military and political oppression. In this movement~ Doppler intra a new source of tone colour created by the use of harmonics. Though technique was already familiar to string players~ it was an innovatio flute composition. The second movement is ritten in a Viennese salon style. The cross-rhythm of the middle section anticipates the idiom the rag-time era. The third movement, reminiscent of Hungarian dance rhythms~ brings the work to a flamboyant close.

The programme for tonight's recital has been changed. Miss Marcotte will not be playing the Hungarian pastoral Fan~asy~ Op. 26 by Franz Doppler, and the order has been re-arranged as below.

Hamburg Sonata in G

Three Romances, Op. 94

Etching - the Vollard Suite

INTERMISSION

Love Letters, A Dialogue for Flute and Piano

Sonata, No. 1, for Flute and Piano

C. P. E. Bach ..

R. Schumann

H. Somers

M • S • Ko s i ri s

B. Martinu