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Junior Recitals: Woodwinds

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Junior Recitals: Woodwinds 21 NOVEMBER | TUESDAY Junior Recitals: Woodwinds TELEMANN Fantasia No. 3 in B minor PIAZZOLA Tango Étude No. 3 GAUBERT Nocturne et Allegro scherzando TAFFANEL Fantasie on Mignon TEO SHAO MING (B.MUS3) flute LOW SHAO SUAN piano POULENC Flute sonata, FP 164 I. Allegro malinconico II. Cantilena MOUQUET La Flute de Pan, Op. 15 III. Pan et les Nymphes BORNE Fantasie brillante sur Carmen MARK YEO KAI JIE (B.MUS3) flute LOW SHAO SUAN piano MARCELLO Oboe concerto in D minor I. Andante e spiccato II. Adagio III. Presto BRITTEN Temporal Variations for oboe and piano GRACE TAN SEE VON (B.MUS3) oboe MATTHEW MAK piano BRITTEN Six Metamorphoses after Ovid, Op. 49 I. Pan II. Phaeton III. Niobe IV. Bacchus V. Narcissus VI. Arethusa CIMAROSA (Arr. ARTHUR BENJAMIN) Oboe concerto in C major I. Introduzione II. Allegro III. Siciliana IV. Allegro giusto ALYSSA YAM KHAI ZHEE (B.MUS3) oboe MATTHEW MAK piano COPLAND Clarinet concerto I. Slowly and expressively – Cadenza II. Rather fast MANGANI Clarinet sonata (Singapore Premiere) I. Allegro tristemente II. Andante dolcemente III. Allegro con fuoco DENG YUNG-PING (B.MUS3) clarinet BEATRICE LIN piano JACOB Concerto for bassoon, strings, and percussion WEBER Andante e rondo ongarese, Op. 35 BACH (transcr. WILLIAM WATERHOUSE) Partita in A minor for solo flute, BWV 1013 LAN YING-CHIEH (B.MUS3) bassoon LIU JIA piano FASCH Bassoon sonata in C major I. Largo II. Allegro III. Andante IV. Allegro assai NUSSIO Variations on an Arietta by Pergolesi for bassoon and string orchestra LIU RUI (B.MUS3) bassoon LIU JIA piano BITSCH Concertino for bassoon and piano DAVIS Sonata for bassoon I. Allegro grazioso II. Recitative III. Scherzo IV. Finale GOH MOK CHEONG (B.MUS3) bassoon LIU JIA piano Programme Notes Telemann – Fantasia No. 3 in B minor 12 Fantasia for flute was composed from 1732 to 1733. Telemann employs no continuo accompaniment, the flute’s single line assumes the role as melody and bass simultaneously, sometimes soaring at the high note before dropping down to the lowest note. In Telemann No. 3, you will be able to hear how Telemann uses the flute to create a background and foreground illusion just by rapidly sending the flute across different registers. Piazzolla – Tango Étude No. 3 Astor Piazzolla was an Argentinian tango composer and a master bandoneon player. His music has revolutionized the traditional tango into a new style and incorporates elements from jazz and classical music. The piece begins with a strong and syncopated tango beats and establishes a distinct jazz harmonic pattern. The melody is embellished with thrilling running notes, followed by a sensual middle section before returning to the driving beats at the end. Gaubert – Nocturne et Allegro scherzando This piece was written and dedicated to his teacher paul Taffanel in 1906. Taffanel became his mentor as well as teacher just as Louis Dorus had been to Taffanel in the Paris Conservatoire. After the first premiere, Taffanel suggested that it should be used as a test piece for summer public examination at the Paris Conservatoire. Till today, it remains as a set piece for the entrance exam. This piece opens with a Nocturne, a monothematic and rhapsodic one with broad and lyrical lines in the first section, followed by an Allegro Scherzando section which will test the technique and proficiency of finger dexterity and articulation of the flautist. Philippe Gaubert also created music aesthetic using unusual scales and harmony, which was a quality of impressionist music. Taffanel – Fantasie on Mignon Mignon Fantasie was written in 1866 and it was dedicated to his teacher, Louis Dorus, with whom he studied at the Paris Conservatoire. In this piece, you will be able to identify different themes and lyrical lines that were taken from Ambroise Thomas’ Mignon. The piece begins with a brief cadenza-like section, followed by a beautiful aria “Connais-tu le pays?” and an orchestra Entr’acte which opens in Act 2. Do listen out for the polonaise section featuring Philine’s aria “Je suis Titania”, followed by a set of brilliant variations. Programme notes by Teo Shao Ming Poulenc – Flute Sonata Francis Poulenc was born in Paris, a reputed French composer in the 20th century. He was a member of the famous Les Six – a group of six composers whose music was against impressionist music. Poulenc’s Flute Sonata was written at the Hotel Majestic in Cannes early in 1957. It was dedicated to the memory of Elizabeth Sprague Coolidge, an American patroness of chamber music. However, as the piece came into composition, French flutist Jean-Pierre Rampal learned about the sonata in a phone call from Poulenc. The occasion was marked in his autobiography: "Jean-Pierre," said Poulenc: "you know you've always wanted me to write a sonata for flute and piano? Well, I'm going to,' he said. 'And the best thing is that the Americans will pay for it! I've been commissioned by the Coolidge Foundation to write a chamber piece in memory of Elizabeth Coolidge. I never knew her, so I think the piece is yours." True to his act against impressionist music, the 1st movement cuts right into a worrying 4- note motif without the need for any smoky atmospheric introduction. The rapid flow of the piano drives the movement forward, leaving no space for levelheadedness. The motif evolves organically, but is soon met by Poulenc’s trademark motif sparking some sense of positivity. However, not unlike worrying thoughts itself, the motif creeps back in. Exhausted from the constant distress, the movement comes to a close with a sigh in unison. The 2nd movement opens with a delicate echo of the piano by the flute. The flute sings a hauntingly beautiful melody guided by a gentle pulse. As the tension gradually rises, whispers of echoes begin to reemerge. Suddenly, an upstart! The flute yells! But strangely, only echoes itself albeit distortedly and the piano soon follows suit. Tired of fighting with its own ethereal twin, the flute draws a few long yawns before singing one last melody. The Pan et les Nymphes is taken from another French composer - Jules Mouquet’s La flute de Pan. Based on the poem by Plato, this movement tells the tale of Pan, legendary Greek God of the shepherds - a being with the physical characteristics of both a human and a goat. Quiet, cave tree-shaded by oaks! Quiet, fountains that spurt from the rock! Quiet, ewes that bleat near your babies! Pan himself, on his harmonious flute, sings with his wet lips on his panpipes. Around him, with light steps, in unison water and wood nymphs dance. - Plato In contrast to Claude Debussy’s piece of the same title which is characterized by his signature clouds and nocturnal perfumes, Mouquet instead takes a similar – simple, more direct approach to the music’s composition as with Poulenc. Programme notes by Mark Yeo Marcello – Oboe Concerto Alessandro Marcello was born into a noble and artistic Venetian family who excelled not only in music but in other area including poetry, philosophy and mathematics. His younger brother, Benedetto Marcello, was the best-known of the Marcellos, whom scholars and researchers naturally attributed this concerto to when they first found manuscripts of the piece bearing the name Marcello. After more than two centuries of misattribution, an English researcher finally discovered another copy of this concerto and clearly identified Alessandro Marcello as the composer. Marcello has few published works, with this concerto being his best-known one today. This concerto is clearly in the style of Vivaldi, and it was long thought to be by Vivaldi himself (before being attributed to Benedetto Marcello). Being an admirer of Vivaldi, J.S.Bach even transcribed this concerto for solo harpsichord and labeled it XVI Concerto nach A. Vivaldi thinking that it was composed by Vivaldi. The work follows the typical concerto format, having fast outer movements and a slow middle movement. The first movement, titled Andante e spiccato, has a sprightly mood to it and most resemble the style of Vivaldi. The middle movement, titled Adagio, is probably the most well-known movement of the work as transcriptions of Bach with ornamentations are often always published together with Marcello’s own composition. It was also used in the film “Love in Venice”. The last movement, titled Presto, is lively and in triple metre. The relentless exchange between continuo and solo oboe brings the work to a grandiose close. Britten – Temporal Variations Benjamin Britten’s contribution to the oboe repertoire was a significant one, with Temporal Variations being one of the four major works that he had composed for oboe. However, the piece was only premiered and performed once in Britten’s lifetime, and was published posthumously. The piece is dedicated to Montagu Slator who was an English poet, novelist, playwright and librettist. It is said that Slator had originally asked Britten to write a ‘War Requiem’. While his requiem did not appear until some 28 years later, the variations was composed at a time of Spanish Civil War and has hints of chaos and tension of war. The piece shows a great range of colour and techniques from the oboe. The theme of the piece is introduced in a quietly but agitated manner, with the repetition of ‘d’ throughout the whole movement. The repeated figure (which comes back in the last variation “Resolution”) demands different colours and dynamic range from the oboe, without which the performance would be a dull one. The eight variations that follow are dark and grim, even ironic and whimsical at times. Britten has given each of the variation a title, namely “Oration”, “March”, “Exercises”, “Commination”, “Chorale”, “Waltz”, “Polka”, and “Resolution”.
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