Presents March 28, 2021 Macel Falwell Recital Hall MUSIC
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presents March 28, 2021 Macel Falwell Recital Hall MUSIC 305 4:00 PM Suite No. 3 in C Major BWV 1009 J.S. Bach (1865-1750) I. Prélude arr. Simon Rowland-Jones II. Sarabande III. Gigue Trauermusik Music for Viola and Strings Paul Hindemith I. Langsam (1895-1963) II. Ruhig Bewegt III. Lebgraft IV. Sehr Langsam Caroline Petrick, piano Viola Sonata in Eb Major, Op. 120, No. 2 Johannes Brahms I. Allegro Amabile (1833-2897) II. Allegro Appassionato Caroline Petrick, piano Cello Suite No. 3 in C Major, BWV 1009 J.S. Bach composed a total of six suites for the cello from 1720 to 1721, although little is known about how they came to be. These suites are the first true suites for solo cello. They were later arranged for viola as each suite can still be properly performed on the instrument. Prelude The Prelude to this suite begins with a simple descending C major scale, outlining the key signature for the entire suite. Bach focuses on this scale, building and driving the key signature through many variations. Bach uses the 16th note as his main note value in this movement and explores the different possibilities offered by the key of C. The buildup through rolled chords and a prolonged crescendo move to a slight pause before ending the movement with the same C major scale heard in the beginning. Sarabande The Sarabande is the fourth movement of the suite and serves as a slower, more relaxed movement. The pureness of chords and double-stops shows off the beautiful tone and resonance of the viola. The Sarabande rhythm (dotted eight and sixteenth note), places the emphasis on beat two of each measure. Through the movement, the harmony shifts momentarily from C major to G major before returning to C at the end of the B section. Gigue The lively Gigue is the sixth and final movement of the suite. Using a ¾ signature and energetic 8th notes, Bach perfectly captures the playful and delightful nature of the C major key. The movement features rapid moving passages across different strings. Tension builds up through the use of double stops and quick moving eight notes before being released once and for all with the return to C major at the end of the movement. Trauermusik for Viola and Strings Hindemith was in London in January 1936 for the British premiere of his viola concerto Der Schwanendreher. When King George V unexpectedly died the night before the concert, it seemed inappropriate to keep the viola concerto on the program. In just a few hours Hindemith composed the Trauermusik for viola and strings in memory of the deceased King and performed it on a public radio broadcast two days later. There are four short movements in Trauermusik that convey feelings of grieving, earning its subtitle, Music of Mourning. Each movement progresses the emotional expression of the music in a flow that is unbroken. The fourth movement is the heart and soul of the piece and quotes the J.S. Bach chorale, "Für deinen Thron tret ich hiermit,” (Here I Stand Before Your Throne), or what is also known today as The Old One Hundredth. Viola Sonata in E flat major, Op. 120, No. 2 The viola sonata op. 120 no. 2 in E flat major was one of the last chamber works that Brahms composed before his death in 1897. Despite being originally written for clarinet, Brahms arranged the two sonatas po. 120 for Viola. These sonatas have found a permanent place in the standard repertoire for viola. The E-flat major sonata has three movements and a full performance can last up to twenty-one minutes. The first movement, marked Allegro amabile, is warm and lyrical, with the melody passing between the viola and piano frequently. Brahms musical attributes in this movement are pastoral and song-like. Melodic lines flow off the viola and piano in an array of colors and timbres, making this first movement a pleasure to the ears. The second movement is in the form of a Scherzo with the character of a passionate waltz. The trio has a choral- like quality, with viola and piano solemnly singing through the broad melody. After a brief transition, a varied recapitulation of the first section ends the movement. First and foremost, I would like to thank God for the musical abilities that have been given to me and I am humbled to present these abilities in worship. Liberty Universtiy and the School of Music faculty have been such a blessing in my life and I am very thankful to have had the chance to study music education with so many fantastic Professors. I would like to personally thank Dr. Trombetta for four years of instruction on the Viola and for being so patient with me in the process. A huge thank you goes to my entire family for being so supportive of my decision to attend LU and study music education. Every letter, card, email, and care package meant the world to me. A special thanks goes out to my Mom and Dad as they have been my biggest support financially, spiritually, and emotionally over the past four years. To my friends in the Mitten, thank you for the love and the crazy amount of support from three states away. And to all my LU friends, thank you for being spiritual leaders in my life and for encouraging me to follow God’s plan. It should be noted that my high school music teachers paved the way for this musical journey, and an extended thank you belongs to them. Thank you all! Jonathan Schwartzkopf is a student of Dr. Luca Trombetta. This recital is presented in partial fulfillment of the requirements for the Bachelor of Music in Instrumental Music: Music Education Cognate degree. We would like to thank the Liberty University Administration for their faithful support of the School of Music. Dr. Jerry Prevo, Acting President Dr. Scott Hicks, Provost and Chief Academic Officer Dr. Stephen Müller, Dean, School of Music The School of Music Administration, Faculty, and Staff .