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10-27-1987

Guest Artists: Eugenia Zukerman, flute & André-Michel Schub, piano

Eugenia Zukerman

André-Michel Schub

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Recommended Citation Zukerman, Eugenia and Schub, André-Michel, "Guest Artists: Eugenia Zukerman, flute & André-Michel Schub, piano" (1987). All Concert & Recital Programs. 8214. https://digitalcommons.ithaca.edu/music_programs/8214

This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons IC. Ithaca College School of Music ITHAO-~ ro-- I - ITHACA COLLEGE CONCERTS '87 - '88 EUGENIA ZUKERMAN Flute / • ANDRE-MICHEL SCHUB Piano

Sonata in B Minor, BWV 1030 Johann Sebastian Bach Andante (1685-1750) largo e dolce Presto Syrinx, for unaccompanied flute Claude Debussy (1862-1918) Serenade for Flute and Piano, Op. 41 Ludwig van Beethoven Entrata (1770-1827) Tempo ordinario d'un menuetto Allegro mo/to Andante con variazione Allegro scherzando e vivace Adagio Allegro vivace e disinvolto INTERMISSION Scherzo No. 3 in C-Sharp Minor Frederic Chopin (1810-1849) Ballade No. 1 in G Minor Sonata for Flute and Piano Gaetano Donizetti largo (1797-1848) Allegro Sonatine Henri Dutilleux (1916- ) * * * * * WALTER FORD HALL AUDITORIUM Tuesday, October 27, 1987 8:15 p.m. * * * * * ICM ARTISTS, LTD. presents Ms. Zukerman and Mr. Schub. Ms. Zukerman records for CBS Masterworks and Pro Arte Records. PROGRAM NOTES Johann Sebastian Bach. Sonata No. 1 in b, BWV 1030. On 5 August 1717, when Johann Sebastian Bach (1685-1750) received the appoint- ment as Kapellmeister and Director of Chamber Music at the court of Prince Leopold of Anhalt-Cothen, he accepted a position in which his creative activities would have nothing to do with the organ or church music; he was to compose mainly chamber music and orchestra music for performance in the ducal court on Sunday evenings during the winter. Thus, it was here in Cothen that Bach composed the bulk of his clavier music and chamber music (cello suites, flute sonatas, violin sonatas and par- titas, gamba sonatas), as well as three violin concertos, the Brandenburg Concertos and the four Orchestral Suites. In the three flute sonatas (BWV 1030-32], Bach deviated in two significant ways from his predecessors: he wrote for flute and obbligato harpsichord rather than flute and continuo, and the sonatas contain only three movements rather than the four- movement pattern of the church sonatas. The polyphonic first movement (Andante) divides into three distinct tonal sections, while the second movement, in the relative major, is in binary form. The last movement (Presto) is a three-voice fugue which closes on the dominant and is immediately followed by an Allegro, a gigue in compound meter, in which the imitative texture continues. In 1873, Phillip Spitta wrote that, the magnificent freedom and beauty of its form, its depth and overpowering intensity of expression, raise it to the position of the best sonata for the flute that has ever existed. There is none of equal merit in the works of any great master of later time. Claude Debussy. Syrinx With the exception of his quartet and three sonatas, Claude Debussy (1862-1918) rarely wrote 'absolute' music; he preferred to interact painting, literature and music. Syrinx, presumably written in 1913 as incidental music for the last act of Gabriel Mou- ry's Psyche, was published in 1927. Originally entitled La Flute de Pan, it was renamed - to avoid any confusion with the first song in Chansons de Bilitis. In an interview in 1950, the renowned French flutist Marcel Moyse said, Invited to a festive gathering at the home of a wealthy music patron, Debussy was asked to compose some music to be inspired by a statuette of a shepherd playing his pipe. On the afternoon of the party, Debussy strolled over to the piano adjacent to the statuette and rapidly wrote his little Syrinx. He handed the manuscript to Moyse who was to perform it that evening. The composition lacked even a bar line or phrase marking. All markings on the manuscript are those of Moyse. The little work was almost lost to flutists when Debussy showed the manuscript to another flutist who was singularly adept in appropriating manuscript copies of flute works from the library. The manuscript conveniently found itself in the flutist's coat pocket while Debussy was engaged in conver- sation with admirers. After the thieving flutist died, his widow, in need of money, called Moyse to her assistance in disposing of the deceased's collection of flute music. In the collection was, of course, the original and only copy of the Syrinx. This unaccompanied flute work which lacks a single, unequivocal tonal center, con- tains, five motives and exploits both hexatonic and pentatonic scales. Although Debussy avoided what he called "those little affectations of over-precision in form and tonality that so encumber music," the fermatas, motives and slight changes of tempo divide the work into four asymmetrical sections. Syrinx clearly illustrates the basic features of Debussy's style, and of his musical views as expressed by his fictional mouthpiece, Monsieur Croche, in Monsieur Croche and Dilettante Hater, 'Music is a sum total of scattered forces. You make an abstract ballad of them! - I prefer the simple notes of an Egyptian shepherd's pipe; for he collaborates with the landscape and hears harmonies unknown to your treatises.' Ludwig van Beethoven. Serenade, Op. 41 In 1802 Simrock published a Serenade in D, Op. 25, for flute, violin and viola. This serenade was arranged for piano and flute and assigned a new opus number, Op. 41, by the publisher. On 22 September 1803, Beethoven wrote to the Leipzig publish- ing firm of Hoffmeister & Kuhnel, These transcriptions (Opp. 41, 42) are not mine, though they were much im- proved by me in places. Therefore I am not willing to have you state that I made them, for that would be a lie and I could find neither time nor patience for such work. The title page of the first edition does list the work as ''Arrangee ... et revue par !'Au- teur," although subsequent printings, including the first thematic catalogue of Beethoven's works, lists it as "Arrangee d'une Serenade pour Flute, Violin et Alto par l'Auteur." It is extremely doubtful that Beethoven spent much time on this arrangement or that the revision went, at best, beyond the mere correction of a few details, because the awkward keyboard writing could hardly have met with his approval, had he ex- amined the manuscript carefully. The flute part, on the other hand, is virtually identi- cal in Opp. 25 and 41. The Serenade, with its seven short movements, is like a divertimento. The "Entra- ta," "Molto allegro," and "Allegro scherzando" are ternary forms; the "Adagio" serves as an introduction to the closing "Allegro vivace," a rondo with a coda. The second movement is a menuet with a double trio and the "Andante con variazione," in the subdominant key (G), has three variations and a coda. This serenade was undoubt- edly quite popular, because in 1838 it was published in an arrangement for piano, 4-hands.

Frederic Chopin. Scherzo No. 3 in c-sharp minor and Ballade No. 1 in g minor e Scherzo No. 3 inc-sharp, Op. 39. Belonging to the Majorca period, Frederic Chopin (1810-49) began the Scherzo in c-sharp in 1839 in the deserted monastery of Valdemosa "in the cell of some old monk who perhaps had in his soul more fire than I, but stifled it, stifled and put it out because he had it in vain ...." On 19 March 1839 Chopin wrote to his copiest, Fontana, "Don't speak of the Scherzo to anyone. I don't know when I shall finish it, for I am still weak and not fit to write." The work was probably completed during the summer because, following a visit in Paris with Chopin the fol- lowing winter, Ignaz Moscheles wrote that "Chopin's excellent pupil (Adolph) Gutmann played his master's manuscript Scherzo inc-sharp minor.' Published in 1840, the scher- zo is dedicated "A son ami A. Gutmann." Marked "Presto con fuoco," the scherzo begins softly with arpeggios, and leads quickly to a loud and quick section which is balanced by a chorale-like contrasting "meno mosso" section in D-flat. Chopin dispenses with the expected trio and returns to the scherzo which closes with a coda. Ballade No. 1 in g, Op. 23. Written between 1831-35 and published in 1836, the work was titled La Favorite by his English publishers which enraged Chopin. Mallefille, a dramatist, aware of the spirit behind the ballade, wrote to Chopin, Some time ago, in one of those soirees where, surrounded by select and sym- pathetic hearers, you give full rein to your inspiration, you let us hear that Pol- ish ballade which we love so much. When you had finished we remained silent and pensive, still hearing the sublime song whose last note had long vanished into space ....What thoughts had the melodious voice of your piano awakened in us? I cannot say; for each one sees in music, as in clouds, different things. e Cast in an arch form, the ballade is framed by an introduction (Largo) and a coda (presto con fuoco) which brings the Ballade to a tumultuous close. Gaetano Donizetti. Sonata for Flute and Piano Dated 15 May 1819, this flute sonata, like the 18 string quartets, the violin sonata and the oboe sonata, was written during the period when Gaetano Donizetti (1797-1848) was launching his career as an opera composer after completing his formal study with his teacher, benefactor, and friend, Johann Simon Mayr in Bergamo (1806-15) and in Bologna. This two-movement sonata, well written for the instrument, reflects Donizetti's operatic thrust in the grace and spontaneity of its buffo-like melodies, par- ticularly in the Allegro, a single-movement sonata form.

Henri Dutilleux. Sonatina (1942) Born on 22 January 1916 in Angers, Henri Dutilleux began his studies a the Douai conservatory while in secondary school. At the Conservatoire from 1933-38, he studied theory with Noel Gallon and composition with Henri Busser. Like his composition teacher had in 1893, Dutilleux won the Grand Prix de Rome in 1938. Director of Music for Radiodiffusion franc;ais from 1945-63, Dutilleux was appointed professor of com- position at the Ecole Normale de Musique in 1961 and at the Conservatoire in 1970. The Sonatina is divided into three tempo-delineated sections: Allegretto, Andante, and Anime. After the completion of the cadenza in the Anime, the sonatina gradually accelerandos and crescendos from a pp to a closing ff. In an article in Journal musi- cal fran9ais in 1966, Dutilleux described his music: First in the realm of form, a careful avoidance of prefabricated formal scaffolding, with an evident predilection for the spirit of variation. Further, a penchant towards a certain type of sonority . ... Again, an avoidance of so-called programme music, or indeed of any music containing a 'message,' even though I do not, of course, deny in our art a meaning of spiritual order. And finally, ... the absolute necessity of choice, of economy of means. A perfectionist who has destroyed much of his earlier music, Dutilleux's works are few in number, but include two symphonies, a cello concerto, a piano sonata, songs, and film music. Mary I. Arlin EUGENIA ZUKERMAN

An extraordinary flutist whose ''sheer Magic'' gifts of communication extend to other media, Eugenia Zukerman is in great demand throughout North America and Eu- rope. Her major orchestral appearances have been with the , the Minnesota Orchestra, the National Symphony, the English Chamber Orchestra, the Israel Chamber Orchestra, and the Royal Philharmonic, to name a few. Festival appearances have included performances at Aspen Music Festival, Mostly Mozart, Ravinia, Tanglewood, the Edinburgh Festival, London's South Bank Festival, Spoleto Festival in Italy and Yehudi Menuhin's Gstaad Festival in Switzerland. This season, her schedule takes her to Europe and around the United States. In New York, Ms. Zukerman will enter her fourth consecutive year continuing her own popular lecture/performance series at The New York Public Library with keyboardist Anthony Newman. During the 1986-87 season she had highly successful tours in Is- rael, Europe and made her first appearances in the Orient. Eugenia Zukerman is also a successful writer and television commentator. She is the television commentator on the arts for "CBS Sunday Morning" with Charles Kuralt and has appeared on a variety of other television programs. As a writer, Ms. Zuker- man has been published in many periodicals, including The New York Times, Esquire, and Vogue. Her first novel, Deceptive Cadence, was published by Viking in 1981. Her first screenplay was purchased by 20th Century Fox, a second was commissioned by Sally Field for Universal Pictures and she currently has a contract with MGM for her third. A prolific recording artist, Eugenia Zukerman has recorded on CBS Masterworks, Pro Arte and Vox Cum Laude labels. Her most recent release is with Anthony New- man: J.S. Bach's Six Sonatas for Flute and Keyboard (on the Vox Cum Laude label). A compact disc with Anthony Newman for Newport Classics will be released this season. Born in Cambridge, Massachusetts, Ms. Zukerman began her flute training with Carl Bergner of the Hartford Symphony. She also studied with Albert Tipton at the Aspen Music Festival and continued her studies under renowned flutist . - Having entered Barnard College as an English major, Ms. Zukerman soon transferred to The for music. In 1971, she won the Young Concert Artists Award and made her formal New York debut to rave reviews.

Exclusive Management: ICM Artists, Ltd. 40 West 57th Street New York, New York 10019 Lee Lamont, President A member of the JOSEPHSON Talent Agency Group /' ANDRE-MICHEL SCHUB

Andre-Michel Schub has been praised around the world for being "timeless, per- fect, imaginative, incisive, authoritative, passionate, spontaneous, dazzling, brilliant and sensitive." He has continued to build the solid reputation he acquired as Grand Prize Winner of the Van Cliburn International Competition in 1981, as recipient of the prestigious Avery Fisher Recital Award in 1977, and as First Prize Winner of the 1974 Naumburg International Piano Competition. Mr. $chub's distinguished career includes performances with the world's leading orchestras, among them the Boston Symphony, Bournemouth Symphony, Chicago Symphony, Cleveland Orchestra, Concertgebouw Orchestra, Detroit Symphony, Los Angeles Philharmonic, , and the . Some of the world renowned conductors with whom he has collaborated are Comissiona, Gielen, Leinsdorf, Levine, Ormandy, Ozawa, Rostropovich, and Tennstedt. He has also toured extensively throughout Europe, Japan and Australia. For the July 4, 1986 celebration at the United States Capitol, Mr. Schub was invited by Rostropovich to be the guest soloist with the National Symphony Orchestra, an event which was tele- vised nationally by PBS. His busy schedule has also included recitals in every impor- tant concert hall and appearances at the foremost music festivals, including Blos- som, Casals, Mann Music Center, Mostly Mozart, Ravinia, Tanglewood and Wolf Trap. Highlighting the 1986-87 season were performances with the Houston Symphony, Pittsburgh Symphony and Denver Symphony. He also appeared at Alice Tully Hall with the Chamber Music Society of Lincoln Center and toured Israel appearing in duo recitals with Eugenia Zukerman. The 1987-88 season will bring Mr. Schub in col- laboration with Cho-Liang Lin in a recital at Carnegie Hall, the Cleveland Quartet at New York's Metropolitan Museum and several recitals with Eugenia Zukerman through- out the United States. His television credits include a "Live from Lincoln Center" performance with the Lincoln Center Chamber Music Society of which he was an Artist-Member, a perfor- - mance with the Boston Symphony Orchestra conducted by Seiji Ozawa on PBS, ABC's "Good Morning America", "CBS Sunday Morning", a PBS live presentation of the Sixth Van Cliburn International Piano Competition, and a three-part series on the Sixth Van Cliburn Competition on the cable station ARTS. The 33-year old New Yorker was born in France and came to the United States with his family when he was eight months old. He began his piano studies with his mother when he was four, and later continued his work with Jascha Zayde. Mr. Schub first attended Princeton University, and then transferred to Curtis Institute where he studied with Rudolph Serkin from 1970 to 1973. His New York recital debut was in 1974 at Alice Tully Hall. Andre-Michel Schub records for CBS Masterworks and Vox Cum Laude. His most recent release is a recording of Stravinsky works with Cho-Liang Lin on CBS Masterworks. CONCERT CALENDAR

OCTOBER 28 8:15 Faculty Chamber Music Series Accordo Perfetto, Piano Quartet 30 8:15 Brass Choir, Kim Dunnick, Director - Trombone Troupe, Larry Bird, Director

NOVEMBER 1 3:00 Faculty Recital, Angus Godwin, Baritone 2 8:15 Faculty Recital, Frank Campos, Trumpet 3 8:15 Piano Ensemble, Mary Ann Covert, Director 4 8:15 Faculty Recital, Michael Galvan, Clarinet 5 8:15 Faculty Recital, Larry Bird, Trombone 8 1:30 Concert Band, Edward Gobrecht, Conductor Women's Chorale, Janet Funderburk, Conductor Choir and Chorus, Lawrence Doebler, Conductor 10 8:15 Guest Artists, lwan Roth, Saxophone Hans-Rudolf Stalder, Clarinet Gerald Wyss, Piano 11 8:15 Faculty Chamber Music Series Ithaca Woodwind Quintet 14 7:00 Choral Composition Competition and Festival Concert Lawrence Doebler, Conductor 15 3:00 Opera Workshop, Richard Montgomery, Music Director and Earl Mccarroll, Stage Director 16 8:15 Flute Ensemble, Georgetta Maiolo, Director 18 8:15 Faculty Chamber Music Series Ithaca Brass 19 8:15 Wind Ensemble, Rodney Winther, Conductor There are many additional concerts presented by talented students which should also be of great interest. Media announcements and the Concert Line (274-3356) will provide additional information.

* * * * * ITHACA COLLEGE CONCERTS '87 - '88* October 27 Eugenia Zukerman, Flute and Andre-Michel Schub, Piano December 3 Vienna Choir Boys February 16 New York Trumpet Ensemble with William Neil, Organ March 29 Waverly Consort

*Admission Charge