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Eugenia Zukerman, Flute & Andrã©-Michel Schub, Piano

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Eugenia Zukerman, Flute & Andrã©-Michel Schub, Piano Ithaca College Digital Commons IC All Concert & Recital Programs Concert & Recital Programs 10-27-1987 Guest Artists: Eugenia Zukerman, flute & André-Michel Schub, piano Eugenia Zukerman André-Michel Schub Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons 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.
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