Savannah Lawrence Senior Recital Program
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The D’Angelo Department of Music at Mercyhurst University presents Senior Recital Savannah Lawrence, viola Dr. Elizabeth Etter, piano LIVESTREAM from Walker Recital Hall Saturday, April 24, 2021, 4:00 pm Senior Recital Program Savannah Lawrence, viola Dr. Elizabeth Etter, piano Viola Concerto William Walton I. Andante Comodo (1902-1983) II. Vivo, con moto preciso III. Allegro Moderato Intermission 8 Pieces from Romeo and Juliet Sergey Prokofiev I. Introduction (1891-1953) II. The Street Awakens III. Julia the Young Girl IV. Arrival of the Guests V. Dance of the Knights William Turner Walton is an English composer from Lancashire. He was born into a musical family, and showed early talent as a singer. Walton attended Christ Church Cathedral College. However, he never graduated, as he put aside his electives and focused on his more music based subjects. After meeting a writer and art critic by the name of Sacheverell Sitwell, he became a tenant in the Sitwell’s attic in London. Through his connections at the Sitwell’s attic, he met influential composers such as Stravinksy. He also was given opportunities to collaborate with some of the Sitwells. It was a collaboration with Edith Sitwell that produced his first success with Façade which is an ensemble made up of 6 players with spoken word accompaniment through a megaphone. It was only successful because of its controversy with the press. They condemned it and called it “relentless cacophony.” Walton had better rapport with the Viola Concerto. This concerto was written for the viola virtuoso Lionel Tertis after Sir Thomas Beecham proposed to Walton to do so. As stated by Susana Walton’s book, William Walton: Behind the Façade, Walton had known little to nothing about the viola except that it made a rather awful sound. Still, the concerto was still sent to Lionel Tertis, who was quick to return it, stating it to be too modern. Walton then sent it to Hindemith, who accepted! The Viola Concerto gave its first performance on October, 3rd, 1929, at a Promenade Concert in the Queen’s Hall with the Henry Wood Symphony Orchestra. Walton had actually written all the orchestral parts wrong just in time for the first rehearsal, so he stayed up all night the night before the premier correcting them. He was also conducting the first performance which had its own set of problems. The concerto is dedicated ‘To Christabel’, or to Christable McLaren, whom Walton was in love with. Sadly, these were unrequited feelings. Michael Kennedy wrote that “there is no need to know this to appreciate the lyrical melancholy and poetic longing at the heart of the music.” William Walton was actually inspired by many of Prokofiev’s works. Walton’s concerto contains a lyrical opening melody. Prokofiev is summoned many times in the concerto as a whole. The concerto is full of rich chromatic harmonies. There is this constant polarity between major and minor keys which only makes the melodies more bewildering. The first movement, Andante comodo, meaning at a comfortable speed, opens with the piano playing a chromatic subject. The viola enters shortly after with a passionate melody that shapes the main theme of the whole concerto. This melody almost seems haunting, and by the end of this concerto it will be haunting your memory. The concerto as a whole contains striking melodic lines as well as many techniques highlighting the violas many unique possibilities. The second movement is a short Scherzo which is reminiscent of a Bach toccata. It is much faster than the other two movements which is not the standard of a concerto’s structure. Usually, the first and last movements are at a faster tempo. In the final movement, Prokofiev is referenced much like the first movement. The return of the concerto’s opening theme is reintroduced but this time with the finale’s theme serving as an accompaniment. William Shakespeare’s Romeo and Juliet was written in 1595, and still to this day, remains an impacting piece of secular work. The nearly five centuries since it was written have done nothing to reduce the influence of the epic tragedy that has inspired authors, composers, and filmmakers for years. It’s rather shocking that Sergei Prokofiev would be the first to write a ballet about the two star-crossed lovers. After settling in Moscow with his family, Prokofiev brought with him Romeo and Juliet. The ballet had been rejected twice already. It was Prokofiev’s happy ending that was distasteful to many. Prokofiev’s version had Juliet reviving in time to stop Romeo from drinking the poison. The composer stated that Juliet’s revival was absolutely crucial because dead people are incapable of dancing. But the ballet companies were fearful the Soviet Union might condemn them for changing the original story. Prokofiev did eventually change it back to how Shakespeare intended, and the ballet premiered in 1938 in Brno, Czechoslovakia. But there were more revisions on their way! Prokofiev was still struggling to find his own happy ending with his composition. He wanted to get the music to the public ears, without the ballet! Prokofiev arranged many orchestra concert suites, even 10 Pieces for Piano all loosely based on his original ballet. Prokofiev’s 8 Pieces from Romeo and Juliet for viola and piano isn’t a well-known composition of his. It is a collection of 8 pieces for advanced viola. I. Introduction is derived from an Interlude that follows the Prince of Verona’s warning to the warring Montague and Capulet families. This movement introduces us to the manners of the common folk of Verona, the setting of Romeo and Juliet. The main theme is influenced by folk with its simple two-voice texture and the other elements played by the viola and piano. II. The Street Awakens is loosely based off of the Introduction of Prokofiev's ballet. This movement is simpler with a lively mood paired with a spirited accompaniment. III. In Juliet, the young girl, Juliet’s theme, reveals her naive, and passionate nature. There are several alternating sections. The middle section transforms the mood from an enthusiastic young girl to a reflective section bringing back the theme in the Introduction. This theme is rather solemn, which could be described as a self-discovery section in the context of Juliet. This section suggests the young woman is growing up. It then returns to Juliet’s theme before coming to a close. IV. Arrival of the Guests, like the name suggests, is about the arrival of the guests invited to a ball hosted by the Capulets. It begins with a stately like theme, and has contrasting episodes following it. In the middle section you can hear the theme in the Introduction being reinstated once again! V. Dance of the Knights is the best-known music from the ballet, it has a very pompous angular theme. "Dance of the Knights" is intended to accompany the fateful encounter between the two warring clans of Shakespeare's romantic drama, then follow the action to the Capulets' masquerade ball, where Juliet encounters Romeo. .