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Erik Andrusyak Saturday, April 29, 2017 • 4:00 p.m. ​ Erik Andrusyak Junior Recital DePaul Recital Hall 804 West Belden Avenue • Chicago Saturday, April 29, 2017 • 4:00 p.m. ​ DePaul Recital Hall Erik Andrusyak, oboe Junior Recital Beilin Han, piano Yu Xin, violin Michael Zahlit, viola Francisco Malespin, cello PROGRAM Antonio Vivaldi (1678-1741) Oboe Concerto in F Major RV 455 (unk.) Allegro giusto Grave Allegro Beilin Han, piano Henri Dutilleux (1916-2013) Sonata for Oboe and Piano (1947) Aria Scherzo Final Beilin Han, piano Intermission Erik Andrusyak • April 29, 2017 Program Wolfgang Amadeus Mozart (1756-1791) Oboe Quartet in F Major K. 370/368b (1781) Allegro Adagio Rondeau Yu Xin, violin Michael Zahlit, viola, Francisco Malespin, cello Johann Wenzel Kalliwoda (1801-1866) Morceau de Salon, Op. 228 (1859) Beilin Han, piano Erik Andrusyak is from the studio of Grace Hong. 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. Erik Andrusyak • April 29, 2017 Program Notes PROGRAM NOTES Antonio Vivaldi (1678-1741) Oboe Concerto in F Major RV 455 Duration: 9 minutes With over 500 concertos written in his lifetime, Vivaldi did much for the advancement of the oboe. Most of them were most likely written during his tenure as “master violinist” and later music director at the Ospedale della Pieta, an orphanage, convent and music school in Vienna. ​ ​ Vivaldi’s Oboe concertos are difficult because they are written just like violin or flute concertos, and thus they have helped push the limits of what the oboe (as well as what oboists) can do. This particular concerto is a sort of “short ride in a fast machine,” with a small pit stop in the 2nd movement, which is slower and more lyrical. The 1st and 3rd movements are buoyant examples of baroque simplicity, sparkled with technical virtuosity and almost operatic drama at times. Henri Dutilleux (1916-2013) Sonata for Oboe and Piano (1947) Duration: 12 mintues Henri Dutilleux was a French composer who followed in the compositional footsteps of Ravel and Debussy. He did, however, also develop his own compositional language, which was much darker and heavier than that of his early influences. Part of the reason for this was the growing popularity of serialism and absence of tonality, which Dutilleux took seriously but with which he was not completely comfortable. He generally stayed in a realm between the extreme compositional styles of his time. Dutilleux’s Oboe Sonata is one of his earlier works, one that he himself considered too “light” compared to his more mature compositions. The piece was commissioned for the Concours of the Paris Conservatoire, an ​ ​ annual competition held to determine which student of the oboe studio was Erik Andrusyak • April 29, 2017 Program Notes most ready for a professional performing career. The pieces were usually composed specifically for Concours, so that no student had an unfair ​ ​ advantage, and the winner would be allowed to graduate from this prestigious institution. The first movement features a quiet and mysterious beginning, with the oboe theme seemingly wandering aimlessly, tense and worried, yet staying fairly tame and soft. The mysterious intervals eventually begin to increase intensity until they reach a cry of desperation - a loud sustained high F - while the accompaniment seems to continue with worried-sounding harmonies. Several flurries of notes with “leiftmotifs” in between send us back down to almost exactly where we started: low, soft, and mysterious. In the second movement the accompaniment begins with dark, looming repeated chords that quickly lead to the oboe entrance, which is rife with frantic 16ths and many meter changes. This first section lasts several variations until it suddenly morphs into a soft, hopeful theme reminiscent of the 1st movement. Not before long, this hope is lost again with the return of 16th note passages, this time with many leaps across much of the oboe’s register. We hear many altered, intensified versions of the themes from the 1st movement until we finally arrive at what is essentially once again the lost aimlessness of the 1st movement. The third movement is a surprisingly soothing theme in complete contrast to the preceding movements. Some of the dread of the past returns form time to time in bursts, but the soothing melody returns to ends with a happy, excited, and self-assured passage, ranging from one of the highest notes on the oboe to the very lowest. Erik Andrusyak • April 29, 2017 Program Notes Wolfgang Amadeus Mozart (1756-1791) Oboe Quartet in F Major K. 370/368b (1781) Duration: 15 minutes Mozart’s Oboe Quartet was written during a very important period in his life. It was written around the time that his very successful opera Idomeneo ​ premiered, which ultimately gave him the finances and recognition to be able to leave Salzburg for good to start anew in Vienna. Mozart was on a trip to Munich visiting Elector Karl Theodor, the very same person who commissioned Idomeneo, when he met oboist Friedrich Ramm, for whom ​ ​ this quartet was written. Ramm was one of the great virtuosos of his time, and had significantly expanded the capabilities of the oboe, both in terms of musicality and technology. Mozart’s Sinfonia Concertante for Oboe, Clarinet, Horn, Bassoon and orchestra was also written for him. Written much like a concerto, the Oboe Quartet has 3 movements. The Allegro is in a joyful 4/4, with an excited oboe melody full of grace notes and quick passages. Toward the end of the movement, after the recapitulation of the theme and some more development, Mozart unveils one of the technological advancements Ramm made to the oboe: the 3rd octave F! The movement ends shortly after this, with some some cozy, ornamented dominant 7th resolutions. The contrasting, sorrowful D minor Adagio 2nd movement is much like an operatic aria. With some almost recitative like moments, it also utilizes Ramm’s unique range, this time in a heart-wrenching way rather than a jolly one. The theme of the Rondo closely resembles the theme of the Allegro, both with the pickup note as well as floating grace notes. In standard Rondo form, Mozart develops the theme much like the first movement until, after the second A section, he begins the C section with a deceptive recapitulation in the subdominant B-flat major. After six bars, however, Mozart changes the meter of the oboe into 4/4, separating it from the strings who are still in 6/8. This virtuosic section is in D minor and lasts 13 measures before returning the oboe to the original meter. The theme then continues through the Rondo form to end on a literal high note. Erik Andrusyak • April 29, 2017 Program Notes Johann Wenzel Kalliwoda (1801-1866) Morceau de Salon, Op. 228 (1859) Duration: 10 minutes Though he is rarely performed today, Kalliwoda was a composer held in high regard in his time, especially by Robert Schumann. Born and raised in Prague, he studied violin and composition at the Prague Conservatory, and for 40 years was the conductor of the court of Prince Karl Egon II of Furstenberg in Donaueschingen, Germany. Morceau de Salon, which ​His ​ ​ simply means “salon piece,” is a very typical example of 19th century salon music: it is very romantic and almost operatic at times, full of contrasting melodies, quickly shifting between slow, lyrical melodies to joyous, spritely passages, before ending in a flurry of delightful triplet runs. Notes by Erik Andrusyak. 804 West Belden Avenue Chicago, IL 60614 773.325.7260 music.depaul.edu.
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