Amon Sahelijo, Guitar Junior Recital

Friday, June 1, 2018 • 7:00 p.m ​

Amon Sahelijo

Junior Recital

DePaul Recital Hall 804 West Belden Avenue • Chicago

Friday, June 1, 2018 • 7:00 p.m. ​ DePaul Recital Hall

Amon Sahelijo, guitar Junior Recital

PROGRAM

Fernando Sor (1778-1839) Introduction and Variations on a Theme by Mozart, Op. 9 (1821)

Joaquín Malats (1872-1912); arr. Francisco Tárrega (1852-1909) Serenata Española (1896)

Manuel de Falla (1876-1946) Homenaje: Le Tombeau de Claude Debussy (1920)

Manuel Ponce (1882-1948) Sonatina Meridional (1939) Campo Copla Fiesta

Amon Sahelijo is from the studio of Mark Maxwell. This recital is presented in partial fulfillment of the degree Bachelor of Music.

As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you.

Amon Sahelijo • June 1, 2018

PROGRAM NOTES

Fernando Sor (1778-1839) Introduction and Variations on a Theme by Mozart, Op. 9 (1821) Duration: 10 minutes ​ ​ ​ Fernando Sor was a Spanish composer whose works spanned multiple ​ genres such as opera, orchestra, and ballet. He is most famous for his guitar compositions and has been praised for his prolific writing, virtuosity, and innovative understanding of the guitar’s unique voice-leading ability. Introduction and Variations on a Theme by Mozart is based on an aria from The ​ ​ Magic Flute called “Das Klinget so Herrlich”. The piece consists of an ​ introduction in E minor and a theme in E major followed by five variations that become increasingly fast and more technically demanding. Sor’s use of advanced guitar technique and inventive compositional style makes this piece a seminal work for the modern classical guitar repertoire.

Joaquín Malats (1872-1912); arr. Francisco Tárrega (1852-1909); rev. Mark Maxwell Serenata Española (1896) Duration: 4 minutes ​ ​ ​ Serenata Española is the second movement of Impresiones de España, a ​ suite for large orchestra written by Spanish pianist and composer Joaquin Malats. Its dance-like accompaniment and melody is reminiscent of the composer’s Catalonian heritage. The solo piano version of the serenade was published in 1896 and transcribed for guitar by Francisco Tárrega. While staying true to the composer’s intent, Tárrega’s version omits much of the bass and middle voices. Mark Maxwell’s revision puts more emphasis on the accompaniment while still retaining the melody to more accurately emulate the original piano arrangement.

Amon Sahelijo • June 1, 2018 Program Notes

Manuel de Falla (1876-1946) Homenaje: Le Tombeau de Claude Debussy (1920) Duration: 3 minutes ​ ​ ​ At barely 3 minutes long, Manuel de Falla’s tribute to Claude Debussy is ​ considered one of the most important classical guitar works of the 20th ​ century. Falla combines Debussy’s influential approach to Impressionist harmony with the style of Iberian folk music, juxtaposing a slow “habanera” rhythm and Spanish melody with quintal harmonies. During the return of the opening habanera, Falla pays homage directly to Debussy by briefly quoting the late French composer’s Soirée dans Grenade. The Homenaje was ​ ​ published two years after Claude Debussy’s death for the 1920 Paris Revue Musicale with the help of Spanish guitar virtuoso Miguel Llobet.

Manuel Ponce (1882 - 1948) Sonatina Meridional (1939) Duration: 8 minutes ​ ​ ​ Manuel Ponce was a Mexican composer who wrote extensively for Andrés ​ th Segovia, the most influential classical guitarist of the 20 ​ century. Sonatina ​ Meridional was specifically requested by Segovia to contain purely Spanish folkloric elements and has since become one of Ponce’s most popular guitar works. The “Campo” contains a theme in the style of Andalusian flamenco music juxtaposed by a lyrical B theme in the dominant key. The “Copla” has a slow, darker melodic line in the phrygian mode that hovers between major and minor, followed by a bombastic “Fiesta” that utilizes flamenco techniques like rasgueados. The overall melodic style of this sonatina features continuously changing themes over a highly chromatic bass line, creating a forward momentum supported by unconventional chordal accompaniment.

Notes by Amon Sahelijo.