Coming Events
Tracy De Hoog, piano
Thursday, March 21 · 7:30 pm
Recital Hall
Andy Downing, horn
Friday, March 22 · 5:30 pm
Recital Hall
Jennifer Self, violoncello
Saturday, March 23 · 3:30 pm
Recital Hall
Brett Hodgdon, piano
Saturday, March 23 · 5:30 pm
Recital Hall
Edward DeLargy, composer
Saturday, March 23 · 7:30 pm
Organ Recital Hall
Wilkes Bass, piano & harpsichord
Sunday, March 24 · 3:30 pm
Organ Recital Hall
Madrigal Singers
Sunday, March 24 · 7:30 pm
Recital Hall
Mu Phi Epsilon Recital
Monday, March 25 · 5:30 pm
Organ Recital Hall
Logan Strawn, viola
Monday, March 25 · 7:30 pm
Recital Hall
Crystal Stroupe, soprano
Tuesday, March 26 · 5:30 pm
Recital Hall
*Festival of Women Composers
Tuesday, March 26 · 7:30 pm
Recital Hall
Josh Davies, trumpet
Wednesday, March 27 · 5:30 pm
Recital Hall
*Michael Burns, bassoon
Wednesday, March 27 · 7:30 pm
Recital Hall
Manuel Diaz, viola
Guest Masterclass
Thursday, March 28 · 3:30 pm
Organ Recital Hall
*Fee charged. Please call the University
Box Office at (336) 334.4849 Monday-
Friday from Noon-5:00 pm to inquire
about pricing
Emily Orr
flute
Juan Pablo Andrade
piano and harpsichord
Graduate Recital
Thursday, March 21, 2002
5:30 p.m.
Recital Hall, School of Music
Program
Sonata in A Major, BWV 1032 Johann Sebastian Bach
Vivace (1685-1750)
Largo e dolce
Allegro
Sonata in F# minor, Op. 140 “Appassionata” Sigfrid Karg-Elert
(1877-1933)
intermission
Sonata in A Major Philippe Gaubert
Modéré (1879-1941)
Lent
Allegro moderato
Sonata for Flute and Piano, Op. 23 (1987) Lowell Liebermann
Lento con rubato (b. 1961)
Presto energico
In partial fulfillment of the degree requirements for the
Doctor of Musical Arts
* * * * * * * * * *
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers in the lobby.
Originally conceived as a Trio Sonata in C Major, the Sonata in A Major was
recomposed by Bach in 1736. The second movement has remained in a minor, even
though the two outside movements were rewritten in A Major. This parallel tonality is
somewhat unusual for a Bach Sonata. Of the first movement, only the first sixty-two bars
and the last two bars remain. For some unknown reason, the remaining forty-four bars
were removed from the 1736 recomposed version. These missing measures are almost
always restored when the work is performed. The version chosen for this program is the
Henle edition, which has been realized by Hans Eppstein.
Born in Germany, Sigfrid Karg-Elert began his career as a concert pianist. He later
taught at the Magdeburg Conservatory and the Leipzig conservatory. Between 1903 and
1915, he wrote over one hundred pieces for the harmonium. In the early 1920’s, he
became widely acclaimed as an organist. Although his talent was recognized by many
countries, the Germans did not boast of Karg-Elert’s many accomplishments. It is
thought that his volatile and uncompromising nature prevented him from gaining the
respect of his own countrymen. A close friend described him as being “righteous,
impulsive, and highly aware, but unable to conform to social obligations.” This lack of
acceptance greatly upset the composer/performer, and probably led to his early death in
1933. Karg-Elert wrote many works for flute, including the 30 Caprices Gradus ad
Parnassum, the Appassionata Sonata for unaccompanied flute, and five chamber works.
The composer’s use of unusual note groupings, mixed meters, and variety of sounds and
harmonies make his pieces among the most challenging in the flute repertoire.
Gaubert was a flutist, teacher, conductor, and composer. He began as a flute pupil at the
Paris Conservatory, as a student of Paul Taffanel. Many years later, the two would
collaborate to develop the famous 17 Daily Exercises, technical studies that combine
scales, arpeggios, and intervals in progressively more challenging combinations. In
1893, Gaubert was appointed as Flute Professor at the Paris Conservatory. He eventually
became the principal conductor of the Paris Opera, and in 1931 became the artistic
director. He continued to compose and perform until just days before his sudden death in
1941. The Sonata in A Major, the first of three sonatas, was written in memory of
Taffanel. It is a fine demonstration of Gaubert’s elegant melodic lines and colorful
harmonic language.
The Sonata for Flute and Piano was composed in 1987, one year after Liebermann
completed his Doctorate of Musical Arts at the Juilliard school. His compositions have
been performed internationally by many orchestras and artists. He most recently served
as the composer in residence for the Philadelphia Orchestra and the Dallas Symphony.
The composer considers himself to be a poor judge of metronome markings, and many
times has had to revise them. In the flute sonata, he urges the performers to open the first
movement with a very slow tempo, but also to use common sense in regard to acoustics
and performing conditions. In a 2001 interview he says, “If I indicate = 40 at the
beginning of the flute sonata, it is because I want a feeling of extreme stillness, not that I
literally intend for every note to be played at exactly that tempo.” When asked if he had
a particular interest in the flute, the composer replied, “When I was asked to write the
Sonata, I could not say that the flute was my favorite instrument, by any means. I always
thought of it as being sort of limited as a solo instrument. Writing the Sonata was a real
learning experience for me in terms of opening my eyes to the type of variety you can get
with the flute.”
q
Emily Orr
flute
Juan Pablo Andrade
piano and harpsichord
Graduate Recital
Thursday, March 21, 2002
5:30 p.m.
Recital Hall, School of Music
Program
Sonata in A Major, BWV 1032 Johann Sebastian Bach
Vivace (1685-1750)
Largo e dolce
Allegro
Sonata in F# minor, Op. 140 “Appassionata” Sigfrid Karg-Elert
(1877-1933)
intermission
Sonata in A Major Philippe Gaubert
Modéré (1879-1941)
Lent
Allegro moderato
Sonata for Flute and Piano, Op. 23 (1987) Lowell Liebermann
Lento con rubato (b. 1961)
Presto energico
In partial fulfillment of the degree requirements for the
Doctor of Musical Arts
* * * * * * * * * *
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers in the lobby.
