proudly presents the 2020-2021 Student Artist Series

Hannah Anderson, flute Daryl Shay, piano

This Senior Recital is given in partial fulfillment of the requirements for the Bachelor of Music in Performance degree.

Saturday, April 3, 2021 7:30 p.m., Livestreamed from Kitt Recital Hall Program

Sonata for Flute and Piano in D Major, op. 94 Sergei Prokofiev I. Moderato (1891-1953)

Façades Philip Glass (b. 1937)

Piccolo Play Thea Musgrave I. L’Enchanteresse (b. 1928) II. L’Amphibie III. La Pateline IV. Les Papillons V. Le Reveil-matin VI. Le Bruit de guerre VII. Le Turbulent

~ Intermission ~

Sonata for Flute and Piano Walter Piston I. Allegro moderato e con grazia (1894-1976) II. Adagio III. Allegro vivace

Partita in A Minor, BWV 1013 Johann Sebastian Bach III. Sarabande (1685-1750)

Fantaisie brillante sûr “Carmen” François Borne (1840-1920)

Please turn off or silence all electronic devices. Unauthorized audio and video recordings are prohibited. Program Notes by Hannah Anderson (2021)

SERGEI PROKOFIEV (1891-1953) Sonata for Flute and Piano in D Major, op. 94

Sergei Prokofiev composed Sonata for Flute and Piano in D Major for the USSR’s Committee on Artistic Affairs during World War II, while he was evacuated to Kazakhstan in 1943 to avoid being captured by the German regime. Though originally for flute and piano, Prokofiev later transcribed his flute sonata for violin and piano. This piece is Prokofiev’s only work for flute, and he stated that he “wanted to write a sonata in a delicate, fluid, classical, style.” Though he wrote for the flute to create something uniquely beautiful and delicate, Prokofiev’s flute sonata explores the entire range of the flute as well as a broad range of tone colors and musical styles. His neoclassicist compositional style is known for its complex harmonic language, which he began exploring after being criticized by his professor on how crude his harmonies were. Aspects of Prokofiev’s neoClassical style in the first movement of Sonata for Flute and Piano in D Major include its clear sonata form and tonality, along with sudden harmonic shifts and the use of chromaticism. Sonata for Flute and Piano in D Major not only uses non-classical harmonic structures, but also inventive writing for the flute, containing a variety of stylistic and technical demands. The first movement of Sonata for Flute and Piano in D Majorcontains a wide variety of melodic material, from an expansive, pastoral theme to a contrasting strict, militaristic theme. While writing Sonata for Flute and Piano in D Major, Prokofiev was working with Sergei Eisenstein on the film score forIvan the Terrible, which is said to have inspired him to write to the opposite musical spectrum for his flute sonata, seeking a “sonata in a gentle, flowing classical style.”

PHILIP GLASS (b. 1937) Façades

Philip Glass is often referred to as one of the most well-renowned composers of the late-twentieth century, and is a constant reference in the genre of modern classical music. His musical style is often referred to as “minimalism,” however, Glass himself prefers the term “music with repetitive structures” for his own compositions. His works are best known for their immersive quality and simple, elegant melodies that move in and out of a more rhythmically dense accompaniment. Façades is an ideal example of this, with Glass’ use of a delicate and simple melody that moves rhythmically in and out of the accompanying texture. Façades was originally composed for experimental documentary filmmaker Godfrey Reggio’s 1981 film Koyaanisqatsi to accompany stark scenes of a deserted Wall Street in New York City, but the scene was cut from the film. It was then released on Glass’ 1982 album Glassworks and has become a staple of the Philip Glass Ensemble. Façades was originally released for two soprano saxophones, synthesizer, viola, and cello, but has been arranged for two flutes or two saxophones with string ensemble. Façades was arranged for flute and piano by Glass himself in 2006.

THEA MUSGRAVE (b. 1928) Piccolo Play

Thea Musgrave, a Scottish-American composer, came into the world of composition during the 1950s, an era when composers were rejecting tonality and embracing atonality. When working with atonality, Musgrave began to develop her idea of the dramatic-abstract in music, meaning that in these works, there is some kind of drama but not necessarily a story. She uses this idea of the dramatic-abstract to find new ways to portray the drama inherent in her works. Piccolo Play (1989) is less abstract and more programmatic. The titles of its seven movements are borrowed from harpsichord pieces by François Couperin. Couperin was a French Baroque composer known for his book L’art de Toucher le Clavecin (The Art of Harpsichord Playing), as well as his collections of harpsichord solos known as ordres. The piccolo represents the protagonist of each movement as the piano creates the scene in the background. For instance, in L’Amphibie, the piano portrays the pool on which the frog leaps. In Le Réveil-matin, the piano is sleeping and dreaming, while the piccolo is the alarm clock waking them up. In La Pateline, the wheedler is soft and persistent but grows angry that they are disregarded. In Le Bruit de guerre, the musical idea of which was suggested by Manet’s “The Fifer,” both the piccolo and piano play marches while the piano also acts as the bass and snare drum accompaniment. This combination of marches becomes increasingly chaotic which overwhelms the piccolo, leading to a distant echo of the Dies Irae. Each movement title is translated as follows: L’Enchanteresse (The Enchantress), L’Amphibie (The Frog), La Pateline (The Wheedler), Les Papillons (The Butterflies), Le Réveil-matin (The Alarm Clock), Le Bruit de guerre (The Noise of War),andLe Turbulent (The Turbulent).

WALTER PISTON (1894-1976) Sonata for Flute and Piano

Walter Piston was not only a notable composer, but also a strong influence on the development of the twentieth century neoclassical musical style in the United States. In addition, Piston was a renowned educator and theorist, publishing four textbooks: Principles of Harmonic Analysis, Harmony, Counterpoint, and Orchestration. Piston studied Arnold Schoenberg’s twelve-tone technique, in which the twelve notes of the chromatic scale are all sounded as often as each other, and all the notes are treated as equal. He utilized this technique in many of his works, including his 1930 Sonata for Flute and Piano. Because of Piston’s use of twelve-tone technique in Sonata for Flute and Piano, there is no set key area for the performer or listener to settle into. Piston’s extensive knowledge of music theory is apparent in this work, especially in his use of twelve-tone harmony in the piano juxtaposed with melodic lines that often have a range of up to two octaves.

JOHANN SEBASTIAN BACH (1685-1750) Partita in A Minor, BWV 1013

Though the exact date of its composition is unknown, historical context and evidence suggests the Partita in A Minor was composed between 1717-1723, during Bach’s time as music director of the Calvinist court of Köthen under the patron Prince Leopold of Köthen-Anhalt. Because Calvinism rejected the use of music as a public form of praise unless it was directly transcribed from the Bible, Bach’s works during these years were largely secular and include not only the Partita in A Minor, but also the first book of The Well-Tempered Clavier and the Brandenburg Concertos. Each of the four movements in Partita in A Minor depicts a unique dance style representative of a different region, in this case Germany, Italy, and France. Allemande is an elaborate German court dance in duple time, followed by the Corrente, an Italian couples court dance in triple time. Sarabande is slow, stately, French dance in triple time and Bourrée angloise depicts a lively French dance in duple time played in an English style, wherein each downbeat is heavily emphasized instead of leading into the second beat. The dance now known as the Sarabande was first the Zarabanda, a popular dance in sixteenth century Latin America involving a double line of couples accompanied by castanets. This dance continued to grow in popularity in the Spanish colonies before moving to Spain and being harshly suppressed and even banned in 1583 due to its obscenity. Though it was banned in Spain, the Sarabande maintained its popularity, spread to Italy in the seventeenth century, and later reached the French courts as a slow dance. The Sarabande developed further into a slow dance with three beats to the bar and a small emphasis on the second beat. TheSarabande movement from Partita in A Minor does not, however, follow this traditional beat emphasis because it is a stylized dance, meaning that it was composed to be listened to instead of danced to.

FRANÇOIS BORNE(1840-1920) Fantaisie brillante sûr “Carmen”

George Bizet’s opera Carmen has become one of the most well-liked Western operas of all time, but when it premiered in 1875, it was dismissed by the opera-going public as ‘vulgar’ because of its focus on the lower class. Carmen takes place in Sevilla, Spain, after Bizet went to some lengths to study the musical ideas and forms of Andalusia, such as the active, intense rhythms and non-stop energy. Because Carmen was first performed at Paris’s Opéra Comique, the audience was expecting a light-hearted and moralistic opera. Instead, Bizet wrote about Carmen, a strong-willed Romani woman who lives her life free from restraint. This setsCarmen apart from the other operas of the time, and by bringing more unheroic themes to light, he helped to pave the way for composers of Italian verismo (realism), a style of opera which centers around characters drawn from everyday life. Another remarkable impact of Carmen is the lasting popularity of the habañera or “The Toréador Song,” which are often easily recognized outside of the context of the opera because of their repetitive, singable melodies. The acclaim of these musical themes without the lyrics has resulted in two Carmen Suites for orchestra and Carmen Fantasies for various instruments, including the violin, flute, trumpet, euphonium, and marimba. Fantaisie brillante sûr “Carmen” is one of Borne’s most well-known compositions, along with his Fantaisie brillante sûr “L’Africaine” based on themes by Giacomo Meyerbeer. Both of these pieces are highly virtuosic and incorporate multiple themes with variations. Most pieces in the flute repertoire coined “theme and variations” only contain one theme, whereas Borne’s fantasies from operas use more than one theme. Fantaisie brillante sûr “Carmen” contains nine themes from Bizet’s opera, though not every theme has variations. Artist Profiles

Originally from Savannah, GA, HANNAH ANDERSON is currently a senior flute performance major at Northern Arizona University. During her time here, Anderson has performed with the NAU Collegiate Band, NAU Symphonic Band, NAU Wind Symphony, and NAU Symphony Orchestra. While studying with Emily Hoppe, Anderson has also attended masterclasses and lectures around the country from nationally recognized flutists such as Jeanne Baxtresser, Judith Mendenhall, and Linda Chesis. She has been an active member of the Sigma Alpha Iota Delta Eta Chapter for three years, serving as their Vice President of Ritual for the 2019-2020 school year. Anderson hopes to continue her pursuit for higher education and plans to receive a graduate performance certificate from NAU following her graduation in April 2021.

DARYL SHAY (piano) is an educator, accompanist and performer in the Flagstaff community. His experience in piano, trumpet and guitar includes classical, jazz, pop, and rock & roll. With over twenty-five years experience in the Flagstaff community, Shay has appeared in performances with Flagstaff Symphony, Flagstaff Musical Theatre and NAU Theatre. Shay has taught music at Thomas Elementary School, Killip Elementary School, Mountain School and Flagstaff Arts & Leadership Academy. Shay is currently a staff accompanist at Northern Arizona University, teaches at the NAU Community Music and Dance Academy and Curry Summer Music Camp at NAU, and plays piano at Black Bart’s Steakhouse.

Acknowledgements

I would like to thank:

My professor, Dr. Hoppe, for being the best teacher and mentor I could have asked for during my undergraduate years.

My accompanist, Daryl, for all of the hard work that went into preparing this recital and for being a great collaborator.

Kitt Recital Hall staff, for all of the work that went into making this recital happen.

My parents, Eric and JoAnna, for supporting me since the beginning of my musical journey and for not letting me give up.

My nanas, Maryanna and Elizabeth, for making all of this possible and supporting me along the way.

My partner, Holley, for being there for me throughout this process, and for not letting me ever give up on myself.