Program Notes
Partita in A Minor BWV 1013: Allemande, J.S. Bach
Johann Sebastian Bach, the composer of the Partita in A Minor for Flute, could play organ, violin and he could sing; [1] in short, he was a triple threat, with high conceptual understanding of composing and playing music. This passion continued even after losing his eyesight when nearing his death, having lived from 1685-1750. [2] Bach had lived in the Baroque Era, sticking to quite conservative yet masterful boundaries within his music, leading his son to call him “The Old Wig” at times. [3] The particular movement we are focusing on within this Partita is the Allemande, presumed to be written around the 1720’s during the Baroque Era. [4] The Allemande is the longest movement in the piece, and much is very ambiguous about its history, including the name. The original manuscript of the Partita in A Minor had a simple title on it of ‘Solo for Transverse Flute by J.S. Bach’ written in German, with the movements labeled as they are within printed solos. [5] Just as the title has been reinterpreted, other aspects of the piece have developed and changed over time, such as how people phrase and breathe within the piece, creating controversy over how different musicians approach phrasing. As well, some examples of Bach’s stylistic choices within this piece in particular, are formation of an implied melody that creates the illusion of more than one clef to focus on. This emphasizes the idea of harmonic voices or the idea of polyphonic music, rather than one line of solo flute. The jumps in register throughout the piece portray this concept, creating depth within the melody portrayed and surrounding it with embellishing, smaller runs. [6] For this specific piece, there is a chance it could have been inspired by Pierre-Gabriel Buffardin, a well-known flautist during Bach’s life who Bach heard play in the Court Orchestra of August II in Dresden. [7] [1] "Johann Sebastian Bach." Music History 102. N.p., n.d. Web. [2] "Johann Sebastian Bach." Music History 102. N.p., n.d. Web. [3] "Johann Sebastian Bach." Music History 102. N.p., n.d. Web. [4] "Partita for Solo Flute in A Minor, BWV 1013." Answers. Answers Corporation, n.d. Web. [5] "Partita in A Minor for Solo Flute." Wikipedia. Wikimedia Foundation, 14 Aug. 2014. Web. [6] "Free Flute Sheet Music." Allemande from Partita in A Minor for Solo Flute (J.S. Bach) -. N.p., n.d. Web. [7] Toff, Nancy. "The Flute Book." Google Books. Oxford University Press, n.d. Web. |
Concert No. 1 in G Major for Flute and Orchestra (K. 313): Allegro Maestoso
Wolfgang Amadeus Mozart, a Classical, German composer whose dates are 1756-1791, composed the Concerto No. 1 in G Major for Flute and Orchestra in 1778. Begrudgingly, Mozart was set out during this composition period to write three ‘simple’ concertos and some quartets for Willem Britten De Jong, also referred to as De Jean, a commission connection that had approached Mozart through Johann Baptist Wendling’s recommendation.[i] Through relationship sorrows, the loss of his mother, and a touch of procrastination, Mozart managed to finish this composition as a traditional three-movement work (Sonata-Allegro, Adagio, Rondo), starting with the first movement: Sonata-Allegro, Allegro Maestoso.[ii] With little regard to keeping the piece simple for De Jean, Mozart emphasizes melodic lines, powerful trills, technical leaps and grace notes galore.[iii] The unexpected qualities of the piece even seem to be hinted at from the very first entrance of the flute; a principal theme is set by the orchestra, and repeated by the flute which then goes on its own musical tangent to the key’s relative minor, being E minor.[iv] Along with this composition, Mozart also composed a concerto for harp, flute and orchestra, Andante for flute and orchestra in C Major, and Flute Concerto No. 2 in D Major, also known as Oboe Concerto in C Major.[v] [i] Huscher, Phillip. Wolfgang Mozart. Linz: Landestheater Linz, 1956. Chicago Symphony Orchestra Program Notes. Web. 13 Nov. 2014. [ii] "Seattle Symphony." Program Notes. N.p., n.d. Web. 13 Nov. 2014. [iii] Frindle, Yvonne. "Program Notes." City Music Cleveland. N.p., n.d. Web. 13 Nov. 2014. [iv] "Seattle Symphony." Program Notes. N.p., n.d. Web. 13 Nov. 2014. [v] Weiss, Stephen. "Musical Works of Mozart." Musical Works of Mozart. Medienagentur - Team for Web, n.d. Web. 13 Nov. 2014. |
Sonate A-dur BWV 1032: Largo e Dolce, J.S. Bach
J.S. Bach (1685-1750) a Baroque composer considered ‘one of the greatest Western composers of all time’, is discovered to have composed Sonate A-dur in 1736.[1] At the time of this composition, Bach worked as a composer and permanent director at the Collegium Musicum in Leipzig. Though a dedication is not directly listed, during this time, J.S. Bach had a close partnership with a coffee shop owner named Gottfried Zimmermann, who allowed the Collegium Musicum concerts to be played on his property.[2] The first performance of the piece is also ambiguous due to a shift in history at the time. Within the year of 1733, Friedrich August II came into rule, splitting Bach’s concerts into ‘extraordinaire’ and ‘ordinaire’; programs were no longer printed for the ‘ordinaire’ concerts which were most likely the time and place in which Sonate A-dur would have been first premiered, along with others of Bach’s work.[3] Sonate A-dur consists of a 3 movement Sonata structure of Vivace-Largo e Dolce-Allegro, comparing the Largo e Dolce to the first movement by transitioning the A major key to the key of A minor, and back again to A major. Though the Largo e Dolce and Allegro contain full original content, the Vivace movement is reconstructed to replace 45-48 missing measures, which were cut from the bottom of the original double manuscript that also contained Concerto in C minor for two Harpsichords.[4] The Largo e Dolce can be comparatively related to a ‘flute aria’ paired almost evenly with the piano part replicating that of the original harpsichord. Both the piano and flute alternate soloistic lines within this movement, allowing both instruments to play individual and supportive roles. [1] "Johann Sebastian Bach Biography." Bio.com. A&E Networks Television, n.d. Web. 02 Mar. 2015. [2] Sartorius, Michael, and Lawrence Sartorius. "Johann Sebastian Bach: A Detailed Informative Biography." Baroque Composers and Musicians. Arton Publications, 1996. Web. 02 Mar. 2015. [3] Sartorius, Michael, and Lawrence Sartorius. "Johann Sebastian Bach: A Detailed Informative Biography." Baroque Composers and Musicians. Arton Publications, 1996. Web. 02 Mar. 2015. [4] Marissen, Michael. A Critical Reappraisal of J. S. Bach's A-Major Flute Sonata. 3rd ed. Vol. 6. N.p.: U of California, 1988. Print. Journal of Musicology. Suite for Flute and Piano Op. 34, Charles-Marie Widor
Charles Marie Widor (1844-1937), a French composer known for his Organ playing and composing, composed the Suite for Flute and Piano, Op. 34 in 1877. At this time, Widor was working at the Paris Conservatory alongside Paul Taffanel and composed and dedicated the Suite to Taffanel.[i] The renound French flutist performed this composition for the first time in 1884.[ii] Suite for Flute and Piano, Op. 34 is of the Late Romantic period, and uses the purposeful title “Suite” description rather than Sonata, seeing as it does not follow the structure of an initial theme and development followed by a recapitulation. What the Suite does convey, however, is a balance between melody lines in both the piano and flute, especially emulating scale runs, and cadenza-like excerpts within the Movement I- Moderato.[iii] [i]"Performance at Verizon Hall." SIR JAMES GALWAY, FLUTE LADY JEANNE GALWAY, FLUTE PHILLIP MOLL, PIANO (n.d.): n. pag. Kimmel Center. Jane Vial Jaffe. Web. 1 Mar. 2015. [ii] Widor, Charles-Marie. "G. Henle Publishers | Charles-Marie Widor | Suite Op. 34 for Flute and Piano." G. Henle Verlag. N.p., n.d. Web. 20 Feb. 2015. [iii] Claudia Anderson, Jill Felber & Anne Epperson. "The College of Wooster Performance."Program Notes (n.d.): n. pag. 2 May 2004. Web. Syrinx for Solo Flute, Claude Debussy
Claude Debussy (1862-1918) was born in St Germain-en-Laye to a modest peasant family. By the age of eight years old, it had been arranged that Debussy would take piano lessons with Jean Cerutti. By 1872, Debussy was admitted to the Paris Conservetoire to study Antoine Marmontel for piano and Albert Lavignac for solfège. Debussy’s piece, Syrinx, was written for Maure as a less than expected amount of work for his developing play, Psyche. The section which Debussy composed illustrates the greek mythological story of Pan who is in love with a Nymph and is chasing her. This nymph does not reciprocate the same feelings for Pan, so she turns herself into reeds to hide from him, ultimately leading to Pan hearing these reeds and cutting them into panpipes to play a sad song. This work, dedicated to Louis Fleury, was originally intended to be played offstage to depict Pan being in a cave, and it was performed in this manner multiple times beyond the first performance. Originally, this piece was written without bar lines and they were eventually added in, still holding a feeling of stretching and interpretive lines of music that create a vivid image of the story of Pan. -Egidio Pozzi. “Parallel paths: historical-documentary and analytical contributions as a basis for the performance of Debussy’s Syrinx”. Online Journal on Musical Studies. (ANALITICA). -François Lesure. “Debussy, (Achille-)Claude”. Oxford University Press. (2007-2015). Naxos. |
Density 21.5, Edgar Varese
Edgar Varese (December 22, 1883- November 6, 1995) grew up in Paris, France, but moved around many places throughout his years, including Berlin, Santa Fe, New Mexico and New York City. [1]Throughout his life, Varese progressed his career as a conductor and a composer, co-founding the international Composer Guild in 1921 and was unique in composing for the fact that he had great interest in incorporating electronic music into his work. Varese himself even said, ““I long for instruments obedient to my thought and whim, with their contribution of a whole new world of unsuspected sounds, which will lend themselves to the exigencies of my inner rhythm.” [2] Varese’s piece, Density 21.5 is one of his few compositions that is made for solo flute and does not have a relation to his electronic music concepts, though unsuspected sounds are quite common. Varese composed this piece in 1936 for Georges Barrere’s inauguration of his new platinum flute, first performed by Barrere in Carnegie Hall, February 16th, 1936.[3] The name Density 21.5 comes from the concept of platinum’s density coming to approximately 21.5 grams per cubic centimeter. An atonal and modal style are both two concepts used throughout the piece which signify a new style in the flute that influence multiple compositions when the piece premiered and spread. [4] [1] University of Texas Wind Ensemble. University of Texas Wind Ensemble: Program Notes. N.p.: U of Texas Wind Ensemble, n.d. 17 Feb. 2012. Web. 3 Mar. 2015. [2] Snyder. "Edgard Varése." – Father of Electronic Music. Lebanon Valley College, n.d. Web. 12 Mar. 2015. [3] "History of the Hall." 1936 Georges Barrère Gives the World Premiere of Edgard Varèse's Density 21.5. 2015 Carnegie Hall Corporation, n.d. Web. 03 Mar. 2015. [4] "All Music Guide to Classical Music." Google Books. Hal Leonard Publishing, n.d. Web. 10 Mar. 2015” Concerto in E minor for Flute and Orchestra, Movement I: Allegro , Saverio Mercadante
The piece Concerto in E minor for Flute and Orchestra was composed by Saverio Mercadante (1795-1870) in 1819. Mercadante, well known for following Rossini in Early 19th century Italian opera, learned guitar and clarinet at an early age, leading to an immersion in flute, violin, singing, as well as counterpoint and figured bass. Studying under Nicolo Zingarelli, Mercadante had composed his Concerto in E minor for Flute and Orchestra, he had also been working on ballet music, and his first opera, L’apoteosi d’Ercole. Mercadante’s Flute Concerto in E minor demonstrates a french style that pulls from the already composed work, Flute Concerto No. 7, by Devienne. The first movement of this piece is structured in an emotionally captivating Sonata Form, utilizing a great deal of fast paced chromaticism paired melodic moments of held notes. The last two movements contrast the first, with the 2nd at a Largo tempo, and the 3rd movement set in a Rondo russo marking. -Bowman, Robin. “Chamber Concertos”. The Musical Times 115.1571 (1974): 48–49. Web… - Michael Wittman. “Mercadante, (Giuseppe) Saverio (Raffaele): 2. Works”. Oxford University Press. (2007-2015). Naxos. Sonata in A Minor, C.P.E. Bach
Carl Philipp Emanuel Bach (1714-1788), son to J.S. Bach, and is a prominent composer from the Classical era. C.P.E. Bach studied under his father’s teaching, holding jobs such as the harpsichordist for Frederick II of Prussia, and then following with Music Director of Hamburg. C.P.E. Bach spent his time writing religious music, symphonies, and concertis, and among these works was his work for flute, Sonata in A Minor. C.P.E. Bach’s Sonata in A Minor, specifically the second movement, is in a binary form of AABB, with an Allegro marking. Both the second and third movement of this piece are set at an Allegro tempo; this may seem like a small factor in music these days, but at C.P.E.’s time he was trying to make a statement of change. Usually during this time, movements would contrast one another starting faster, moving to a slower movement, and closing on a fast movement again. This is just one example of the steps that C.P.E. Bach took to mold classical music into the evolving style that it was during his time. “Carl Philipp Emanuel Bach | German composer”.Encyclopædia Britannica, Inc. (2015). Encyclopedia Britannica Online. to edit. Andante Pastoral et Scherzettino, Paul Taffanel Paul Taffanel (1844-1908) was a french flutist and conductor. Taffanel studied with Louis Dorus at the Paris Conservetoire, and played a key role in moving the flute into being seen as a characteristic and soloistic instrument. Taffanel’s Andante Pastoral et Scherzettino was composed at the time he took over being professor of the Paris Conservetoire. Taffanel composed this piece as a competition work for the flute concours, which played as an event to present new music as well as acted as the most important event for flutes at this school during the year. Through this piece and Taffanel’s style, one can see that he played an important role in recovering some style of old music while still bringing in the new. This was a common mindset within Taffanel’s works, with him being the founder of the French Flute School. The Andante Pastoral creates a flowing large scale ternary form, whereas the the Scherzettino plays more of a spritely and emotional shift in style. - Edward Blakeman. “Taffanel, (Claude) Paul”.Oxford University Press. (2007-2015). Naxos. |