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Flute « Commen:E Q!Rald and Roaemary Duris David and Margaret Thoulesa S

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Flute « Commen:E Q!Rald and Roaemary Duris David and Margaret Thoulesa S FRIENDS OF MUSIC its 38th program of the 1988-89 season: ",... 0j-~.­ BENEFACTORS Donald and Renate McVittie William and Mary Hallauer Petei' and Anna Marie Marton Darlene E. Hamilton c Aura &nell Morrison Kathleen Munro Dorthea C Hawley 11'3 Hans and Thelma Lehmann Daniel and Arundhati Neuman Ernest and Elaine Henley THE UNIVERSITY MASTERS PATRONS J_L.Odlin Randolph and Dorothy Z-2-~ I:IokanIIm Brechemin Family Foundation Sheffield and Patria Phelps Carl and Marian P.ruzan DebbieHu SERIES PRESENTS: Bradley and Leslie Johnson SPONSORS Jean PolIter Radford Alan T. Robertson Solomon Katz &mer F. Edwanis Mic:hael and Fran Rosel1a David and Joelle Keene JoimGraham SlIm Rubinstein Maurice and Jeane Kutner MaryHelene Scheumann Irwin and Buban Saraaon Cathy M. lacefield On the Town Ralph and Pearl Schau The Ladies Musical Oub Grace S. Langfeldt i RmIee MyenI SoIo.!nm SJJJIPOR1DS Thonuu; and Gretta Stitnson Leroy and Rebecca Lehman RmIald O. ThoInpeon Ann V. L.emoo AIUDIJ1i AncxIyrnJus William P. Mahrt ERIC SHUMSKY, FacuJ.ty/StaH Anonymous Welles R. Wiley Carl B. Zytowski David and Allce Malone Bryant and Mild:nrd Dunn Brent and Karen McCullough MIl Phi Epsilon DONORS Albert and Meridith Melhart Gene and Marguerite Ruthanna C. Metzger viola En:kerIbrack Don and Jane Abel Steve Paul Moen Richard and Judith Evans Arksey Arthur and Laura J::r. and Mari_Morin Kenneth and Margarett Fisher Joeeph and Beverly An:aIade Nea and Debbie O'Doan The Babb Foundation Shah Asadullah John C. Paulaon John and Ann Hauherg Daniel and Violet Backman Robert and FIoreI'Ice Pelton Albert and Audrey Kerry Richard B. Barnes Helen T. Prillaman Lester and Belle Levine J-and Jane Beale Curt A. Pryde E. Mahlik DAVID GROSS, piano WlllIam Kenneth Benahoof limyand Ann Pry6 L Miller IJnda Andrew Biles Man: and Usa Pryde John M. Palenlon Howard and Carol Bogert Natalie Pryde Maynan:l and Ellen Pennell Wallace and Betty Bostick Eberhard K. Riedel Andrew and Marianna Price Cad Bowman Earl H. Robinson Melville and Mary Price lllabell Hopkins Bradahaw Ralph and Virginia RosInbum John and Mary RobInson Kalman and Amy Brauner Sandra K. Ruconich Gilbert J. Roth J-and Danna BrudYl.k. Joel W. Schaaf with Seattle Youth Symphony PhIlIp and Mary Jo Carlsen Kenneth H. Schellberg Stanley and Ellae ChIng Alaatair and Julia Schnebly mNDJBlJTOBs Robert and Mary Oeland Black GeQrge H. Al\laon Louiae CollIns David Lawrence Schott Henry and Matilda Coetanu ~rita Andrijic Elizabeth Anne Seldelhuber Nlranjan and Shantha Benegal CIIfIm and J-w O:ook Scott P. Sellevold Carl and Conine Berg Herbert and Gini Curl Jerrold K. Sherson STEVEN STARYK, violin NIcolas and Gizele Berman William and Helen Dahlberg Robert and Cheryl Smith-Ecke Faye W. Bichon Glen and Maren Davis Emmett and Elizabeth Robert and MaryLou Block Joeeph E. Donown Sullivan Peter Can1is Carey and Marty Donworth Jan P. Swanaon Greater University awnber Robert DuIaberg Diane Thome FELIX SKOWRONEK, flute « Commen:e Q!rald and Roaemary Duris David and Margaret Thoulesa S. Merle Chriatensen Tom and VirginiI Dziekonsld }aleph and Manha Uriacher Parker and Mild:nrd Cook Keith and Karen Eillenhrey Denny and Catherine Watt Dale and Penny DeGraff BriSltte Cedl.la Elwell Richard and Jean Weick Robert and JenyE_ Jerry Shaw Evans Ryan Layne Whitney UW Faculty Cub Harold and Geraldine Fardal Richard and Janet Wilke Melvin and Margaret Figley Can Kmg Floyd George and Colleen Frederic Blanchett Foundation Jo R. Freidman Willoughby Stanley and Adele Golub ComeiiWl Gaddum-~ Antoinette Wills Robert Margaret JOIII GiKomini ! and Graham Stanley and April Yantla Eva HeinilZ Neal D. Gordm Gregory and Becky Youtz February 23, 1989 Edward and Fl(ftl'tce Groes J-and Jayne Holland Kirby and Edith Holmes Finn SIgun:l GundenerI 8:00 PM, Meany Theater Oarence and Barhua Howell Mary Ann Hagan Robert F. Jones Gina Marie Haines James R. McColley Mark and Jan Hale ~- t-­ DAT ~ I), Lfoq-(r<wrci.eJ lV\ UY\d-ecod-ec\ M-S) C~ if I t '1 f/! b (. cl<z.1:~ e.d. T\:) '-I R. ) PROGRAM Serenade in D Major,Op. 25, is BEETHOVEN's only chamber work featuring the flute with strings. Published in 1802, the Op. 25 is decep­ BEETHOVEN SERENADE FOR FLurE, Z;-i tive. It really belongs to an earlier period of another serenade, the String Trio, Op. 8, of 1797. These are the only two times that (1770-1827) VIOLIN, VIOLA, Op. 25 Beethoven used the serenade form, or at least labeled them as such. Entrata-Allegro They are both in the inherited style of Haydn and Mozart. The flute Tempo ordinario d'un serenade is probably the most winsome of all his chamber works for it is Minuetto lighthearted throughout its six movements. Allegro molto The mood is established immediately by the vivadous opening solo Andante con variazioni flute melody. The flute also introduces the second movement: a minuet Allegro scherzando e vivace with two trios, the strings taking a more active part in both. The third movement is in da capo form and, for a little spice, makes a short jour­ Adagio, Allegro vivace­ney in the minor mode but quickly returns to the major. The next move­ desinvolto ment, the fourth, is a theme with three variations. It is the most developed of the sections and has more of the later Beethoven in it, I SHOSTAKOVICH SONATA FOR VIOLA AND 2-1 reminiscent of the Op. 18 string quartets to come. The fifth movement is (1906-1975) PIANO, Op. 47 a scherzo instead of the usual second minuet in a serenade. The last Moderato movement is a happy rondo, preceded by a short meditative opening that quickly bursts into a' gay, skipping allegro with the instruments ~.,\&..iz.A Allt':8re~ " ~.---."- trading off and ending in a unison coda. John Erling sIdLE> XiIagio The viola sonata of Dmitri SHOST AKOVICH is the last work ••••• which was written by the composer. It is an austere work reminiscent of his later symphOnies. Certain introductory notes are necessary to describe the work. First of all, I do not feel that this sonata is an SCHUBERT SONATA (FOR ARPEGGIONE) ",' 'audience piece: Certainly not in the sense of some of his earlier works. (1797-1828) VIOLA AND PIANO 1.; Upon first hearing it some years ago, I found my mind wandering and Allegro moderato often thought that the work was repetitive and monotonous. Having Adagio studied this sonata in depth, I now find that it was my lack of under­ Allegretto standing which kept me from realizing the work's greatness. More than almost any other composer, Shostakovich expressed his life through music. Certainly his life was not peaceful, and perhaps a sense of FRITZ KREISLER PRAauoWM AND ALLEGRO, fp' (1875-1962) drudgery and struggle pervaded his character. VIOLA AND PIANO The first movement (moderato) starts with the viola playing pizzicato open strings (not unlike the opening of the Berg Violin Con­ certo). Contrasted by the piano's chromatically descending motive in piano, these motives are extended and lead to the development which has now reached forte. Again Shostakovich returns to the A Section, 4,.V\ l(j'\.L· ~ I 8iv4~1tv\'.>- Scr.A.C'\·~ ? but this time with the viola playing the descending chromatic line in ponticello. The effect is haunting-the iddes of a frozen wasteland. This section is followed by a quasi cadenza for viola in which the introductory open string motive and chromatically descending motives are skillfully woven together, and eventually, with minute support l from the piano, the movement fades away. .a The second movement (allegretto) is the most easily accessible. It avoid an excess of leger lines and clef changes Schubert wrote the is march-like in character, but Shostakovich breaks up the meter from arpeggione part almost exclusively in the treble clef which the per­ 2/4 to 5/8 to 3/4 time to time to keep it from being mundane. The pri­ former was expected to read an octave lower than written. The work, mary march material gives way to a repeating two-note accompani­ printed with both violin and cello parts in 1871, was edited for the ment in the piano, which although originally of secondary importance viola when it came into its own as a solo instrument around the tum of eventually becomes obsessive in terms of its repetitiveness. It also the century. This music remains a standard work in the viola repertoire serves to link the A and B Sections, culminating the movement with the because its sound qualities and range make it beautifully suited for that distant fading of the military march. instrument. Paul Doktor Movement No.3 (adagio) is in a way the most fascinating. I see two n motives being contrasted against one another The opening motive is Although KREISLER's charming and brilliant showpiece, Prae­ played by the solo viola, and its descending fourths strike me as the t ludium and Allegro, is labeled as a work by Pugnani, it is a well-known inversion of the ascending fifths from the opening bars of the first fact that Fritz Kreisler wrote many compositions using other composers' movement. It also serves as a prologue to the secondary motive, which names. In Kreisler's own words, lilt was necessary to expand the reper­ is a direct quote from Beethoven's Moonlight Sonata, Op. 27, No.2. toire for violin, and I was not famous at that time. I was obliged com­ Shostakovich holds us in suspense and just when we think we have rec­ mercially to write in the style of Vivaldi, Tartini Pugnani, etc." ognized the famous quote, he modulates back to the primary motive.
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