The D’Angelo Department of Music at Mercyhurst University
Presents
Senior Recital Of Morgan Dowches, Flute
Featuring
Elizabeth Etter, piano Jacob Perry, piano Ethan Wicker, drum set
Walker Recital Hall Saturday, April 24, 2021 1:00pm
PROGRAM
Fantaisie pastorale hongroise Op. 26 Albert Franz Doppler (1821-1883) Morgan Dowches, flute Elizabeth Etter, piano
Concerto in D major, op.283 Carl Reinecke (1824-1910) I. Allegro molto moderato II. Lento e mesto III. Moderato
Morgan Dowches, flute Elizabeth Etter, piano
**Intermission**
Romance, Op. 37 Camille Saint- Saëns (1835-1921) Morgan Dowches, flute Elizabeth Etter, piano
Sonatine for Flute and Piano Henri Dutilleux (1916-2013) Morgan Dowches, flute Elizabeth Etter, piano
Death Whistle Nicole Chamberlin (b 1977) I. Ear Knife II. Ballistophobia III #PiccolOhMyGod
Morgan Dowches, piccolo
Moments Notice John Coltrane (1926-1967) Morgan Dowches, flute Jacob Perry, piano Ethan Wicker, drum set NOTES
Albert Franz Doppler was a composer and a flute virtuoso. His composition Fantasie pastorale hongroise is believed to be inspired by his concert tour days when he would play with his brother Carl because originally it was composed for two flutists. Today this composition has arrangements for flute and orchestra and solo flute and piano. The work was influenced by nationalism by utilizing Hungarian folk songs and rhythms while incorporating elements of French flute compositions virtuosity. When thinking about the work one can separate it into many different sections or movements, but it is to be performed with no pauses. The beginning is mysterious and very improvisatory. The melody begins in minor but as the piece progresses not only does it shift to a major key, but the tempo gradually gets fast and builds all the way to the end. This composition showcases many different colors and skills of a flutist by having small cadenza sections, embellishments, flourishes, and frequently utilizes the range of the entire instrument.
Concerto in D major was composed by Carl Reinecke in 1908 and dedicated to the flutist Maximillian Schwedler. Though Carl Reinecke is more well known for being a teacher, this composition is one of the only Romantic flute concertos that is still performed. The Concerto in its entirety has 3 movements: Allegro moderato, Lento e mesto, and Moderato. The first, Allegro moderato contains two gorgeous themes and follows the typical form of exposition, development, and recapitulation. The second movement, Lento e mesto, contains a gorgeous melodic line that allows the performer to float above their complement. This movement gives the performer space to communicate their own emotions, taking the piece to a new level of difficulty. In the third and final movement, Finale is very playful and light. It contains many small embellishments and dotted rhythms. In contrast, the second theme is very expressive and should soar. A characteristic of the composition that adds to why it is still performed, other than its beautiful complexity, is that it is one of the only Concertos written within a Romantic-era style.
Camille Saint-Saëns is one of the most prolific romantic composers of the 19th century. Romance Opus 37 for Flute and Piano was composed in 1874 for Flute and Piano and later was arranged for Flute and orchestra. The composition was dedicated to a Belgian Flutist named Anthony de Vroye. The piece itself has a beautiful melody that plays in the sweet spot of the range of the flute. When playing the piece it has clear and natural phrasing that creates a story arch that pulls the listener in until the very last note.
Henri Dutilleux was a French composer who was influenced by other great composers such as Claude Debussy and Maurice Ravel. Dutilleux attended the Paris Conservatory in 1933 and through those connections head made was commissioned by Claude Delvincourt to write music that challenged young musicians to work on new works. To say that this piece is a challenge might be an understatement. Throughout the work, there are “traps” that young players can fall in. Sonatine for Flute and Piano is structured as if there are three movements with no pauses, each section showcasing a different skill for the performer. The piece is full of complex rhythms, symmetry, modality, a mix of atonal and tonal sections yet the melodies are still poetic and pleasant to hear. This piece is one of the only pieces that is still performed that was composed pre-World War II because Dutilleux denounced these commissions because he felt as if they did not represent his style as a composer.
Death Whistle composed by Nicole Chamberlain stretches what a piccolo can truly do. Within the piece, there are many extended techniques that are showcased like tongue stops, flutter tonguing, semitones, and many percussive consonants. The piece was commissioned by Dr. Elizabeth Robinson. The idea for the piece has to do with the bad rep piccolo players are notorious for getting, though when listening to the pieces even if they were designed to be humorous have a life of their own. The first movement, the Ear knife showcases the piccolo’s ability to cut through anything with razor-sharp high notes. There is also a sense of intensity as the driving rhythmic passage gets louder and more intense one can have the sense that something may be after you and keeps the listener at the edge of their set. Next is Ballistophobia, the fear of being shot. The fear can either be for the performer or for the listener. For the listener throughout the movement showcased by extended techniques, one can hear a gun being loaded, fired, and the shell hitting the floor. For the performer, they fear being shot. There is a classic joke “How do you tune two piccolos? You shoot one”. The final movement, #PiccolOhMyGod should make the listener in fact say that phrase when it’s over solely based on its virtuosity.
John Coltrane is often remembered for being a jazz tenor saxophonist, bandleader, and composer. Today he has become one of the most iconic figures of 20th-century jazz. Moments Notice was recorded in 1957 on the record “Blue Train”. Like Coltrane’s later work “Giant Steps”, “Moments Notice” contains chord changes that challenge improvisers and set the mood for what we now think when thinking about the style, Hard Bop. The progression itself is mostly centered around an ii-V progression in keys that are only a half-step apart. Then to add another layer of “fun” the chords themselves can change at times twice a measure. Though this song is only recorded by Coltrane himself on this album there have been many other notable improvisers that have taken on this challenge such as, Dexter Gordon, Harry Connick Jr, and Kent Jordan.
BIOGRAPHIES
Morgan Dowches is a Senior Music Education Major with a concentration in Flute. Morgan grew up in Owego New York and attended Owego Free Academy where she started to play the flute 12 years ago. At Mercyhurst Morgan is a part of the Wind Ensemble where she has participated in many ensembles on a variety of instruments. On-campus she has been an active member of many performing ensembles such as the Mercyhurst Civic Orchestra, Wind Ensemble, Jazz Ensemble, Flute Ensemble, and the Mercyhurst Athletic Band. In these ensembles, she plays a variety of instruments like the Flute, Piccolo, Alto Saxophone, and on occasion the Oboe. At Mercyhurst, she has had the pleasure of holding office in many different organizations. Her sophomore year she was the Vice President of the Music therapy club for a semester, and her Junior year she was the Vice President of NAfMe for a year. Morgan has also been an active member of the Mercyhurst Athletic band working her way through the ranks as a section appointed section leader, Commanding office, and now is a Drum Major. At Mercyhurst Morgan has had many performance opportunities outside of ensembles including a masterclass, many audition days, a soloist in the Tri State Prism concert, and participated in the concerto competition before the pandemic. In her spare time Morgan enjoys jamming and performing with her Jazz Combo DTS. After Graduating from Mercyhurst University Morgan plans on going on to do her Master in Flute Performance.
Elizabeth Etter holds a Doctor of Musical Arts in Harpsichord Performance and a Master of Music as a double major in Collaborative Piano and Harpsichord performance from the Cleveland Institute of Music, where she studied with Anne Epperson and Doris Ornstein. She graduated from Allegheny College with a B.A., where she subsequently served on the piano faculty while maintaining a thriving independent studio from which many students were launched with illustrious careers. She founded the Summer Music Festival and Music Outreach Program at Allegheny College and served as Executive and Artistic Director of the celebrated international festival for young chamber musicians. She has performed on many stages throughout the eastern United States including the Chautauqua Institution, Cleveland Museum of Art, and Carnegie Music Hall. She has mentored and taught hundreds of young performers, and has served as a juror for national and international competitions, presented arts-in-education workshops for preschool through college audiences, and moderated as a panelist for national music conferences. Her performances and interviews have been aired on WQED, WCLV, and WQLN. Specializing in early keyboard performance and chamber music, her passion lies in the collaboration and communication involved in playing chamber music. Her performances include the Erie Philharmonic, Chicago Chamber Orchestra, Chautauqua Chamber Orchestra, Pittsburgh Baroque Ensemble, Cleveland Camerata, Erie Chamber Orchestra, and the Holter Chamber Music Festival in Italy. Dr. Etter currently serves as piano faculty at Edinboro University and is a staff pianist at Mercyhurst University and Duquesne University.
Acknowledgments
To my Family: I know that through the years supporting someone with a big dream like pursuing music isn’t easy. There have been many ups and downs and there will be many more to come but knowing at the end of the day that I have a support system to come back to when I need some help or when I want to celebrate like today makes it a little easier. Thank you for being there even when my beginning notes did not exactly sound like the music you will hear today and thank you for giving me things I need along the way.
To my Mom: Thank you for speaking up for me when I would not. Through out my life I never felt comfortable asking for help or comfortable standing up for myself. You have shown be how to advocate for what I need and deserve.
To my Dad: Thank you for giving me the opportunity to explore music. By being with you through your experiences I got to see music in different ways from a young age. Thank you for letting me tag along in jam sessions and having the chance to solo in those settings. Without those experiences, I never would have explored playing jazz flute, which has been one of my favorite types of music to play and helped me make some of the best friendships I could ask for. Playing my first “combo” gig in elementary school is when my love for performing began. If this were a typical recital that is how I would like to end this chapter of my career the same way it started, performing with you. I am extremely fortunate to have you here in live in the audience to share this experience with.
To Mr. Moser: Thank you for pushing me to the best I could be in Orchestra. At first, I did not like getting some of your feedback because it challenged me and forced me to be a better musician. I miss being in the Civic Orchestra because right when I finally started to make real music, we were sent home due to Covid-19. In Orchestra I made many musical memories that I will never forget. Experiences like the Planets, Gisele, and our last rehearsal together helped guide me toward the decision to pursue performance in the future.
To Music Department Staff: Thank you for being there. Sometimes as a student you need to have people there for you when you need some advice on some exciting situations and challenging ones, an open door to walk into when you need to let off some steam about an assignment or situation, or people to have a good laugh with. I knew that any kind of question I had I could walk down the office hallway and be able to find someone who either knew the answer or knew where to look for one.
To Dr. Hess Thank you for being there with me every step of the way through this journey. You helped me become a double major my first semester here, helped me change my majors to Music Education, guided me through the terrors of class piano, and helped me find solutions to many issues I have had through the years. Your support is a major reason why I am here today performing, and the reason why I will be successful in getting my degree in Music Education. I know it is a part of your job to help students, but you truly go above and beyond.
To Amanda: Thank you for being extremely kind and supportive. You gave me space and opportunity to explore my own passions in music and never once discouraged it, even when it was challenging (like the program today). In these last four years, I have grown exponentially as a flute player. You helped me have confidence in my abilities and that is something that is invaluable. When I started playing here, I would use my stand as a shield and would be so worried about performing that I would shake and be a mess on stage, and now look where I am.
To Dr. Etter: Thank you for being my accompanist. In the past, I did not have a lot of experience playing with an accompanist and the experiences I did have were not the best. I always look forward to the time we have together because you are always extremely prepared. I have never once been worried about the accompaniment because you are an incredible player and there to find me when I skip a rest or two. You deserve so much credit for everything you do and I am extremely grateful to have had the opportunity to grow and play with you.
To DTS: Thank you for being the best musician friends. When I switched majors it was a scary time but you guys were there and adopted me into your family. You all show me every day how important it is to show students what a strong female music educator looks like. I know that between all of our brains there is not a question or situation we can not work through. The experiences I have had with all of you are the things I will remember when telling my future students about what college was like. There is not a day that I don’t miss you all, but I do know this, it doesn’t matter if we are all in the same town or thousands of miles away, we will always be connected through music. I can not wait until we have our next Pittsburg day adventure.
To the Stage Crew: Thank you for being here today. I know that this may not be the most exciting way to spend your Saturday by I am thankful that you are here to help out because without you none of this would be possible.
To Jake and Ethan: Thank you for performing with me today. I know that you both live remarkably busy lives but having this trio on stage adds another amazing element to this program. As a trio, we create infectious energy even with a small audience of 2 that helps remind people why we even play music.
To Lindsay Williams: Thank you for encouraging me and supporting my flute playing from the start. I think about how much progress I made at the onset of my journey and much of that credit goes to you. Thank you for still supporting me through virtual performance opportunities and giving me the opportunity to be part of your summer flute camp. You are and have been an amazing role model to look up to.
To the audience at home: Thank you for supporting live music to the best of your abilities. Having you watch this from your homes and seeing all the hours of hard work that went into preparing for this program makes it worth it. Though it would be more favorable to see your smiling faces in person, I am still glad that I get to share my music with you in some way.
For a full list of department performances, visit our website at www.mercyhurst.edu/music.