Ronald Caltabiano, DMA, Dean Saturday, March 7, 2020 • 2:00 PM

Meghan Andreachi Junior Recital

Brennan Family Recital Hall 2330 North Halsted Street • Chicago Saturday, March 7, 2020 • 2:00 PM Brennan Recital Hall Meghan Andreachi, oboe & english horn Junior Recital Lillia Woolschlager, piano Declan Ryan, piano Bethany Sorman, flute

Program Declan Ryan (b. 1999) The leaves would chat throughout the year, (2020)* I. The splendid Ginkgo, speaking clear, II. The Willow leaves all babbling wildly, III. The Oak politely mutt’ring mildly. IV. The leaves would gossip every day V. ‘Til Autumn winds blew them away. Declan Ryan, piano

Paul Hindemith (1895-1963) Oboe Sonata (1938) I. Munter II. Sehr langsam Lillia Woolschlager, piano

- Intermission -

Meghan Andreachi is from the studio of Anna Velzo and Alex Klein. This recital is presented in partial fulfillment of the degree Bachelor of Music.

As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you. Meghan Andreachi • March 7, 2020 Program

Clémence de Grandval (1828-1907); arr. Meghan Andreachi Four Pieces for English Horn and Piano (1878) I. Lamento II. Valse III. Andante Espressivo (Air d’Atala) IV. Finale Lillia Woolschlager, piano

Madeleine Dring (1923-1977) Trio for Flute, Oboe, and Piano (1968) I. Allegro con brio II. Andante semplice III. Allegro Giocoso Bethany Sorman, flute Declan Ryan, piano

*Denotes World Premiere

Meghan Andreachi • March 7, 2020

Program Notes

Declan Ryan (b. 1999) The leaves would chat throughout the year, (2020) Duration: 13 minutes The piece is an exploration into leaves and the silent conversations they are regularly having amongst themselves. The first three movements introduce the personalities of a few leaves, somewhat influenced by the physical shape of the leaves themselves. The last two movements are a tour through the various corners of the foliar discourse, before the conversations (and the leaves themselves) are carried away, their pronouncements swept into worlds unknown. -Declan Ryan, composer

In order to bring more oboe repertoire into the world and to support our fellow colleagues in the composition department, the oboe studio has partnered with DePaul’s own student composers to create a new music project in which each oboe student recital will premiere a new piece of music written in collaboration with the composer for the oboist. Due to my close friendship with Declan Ryan and my experience performing some of his recent works, our partnership was a no-brainer.

This piece began with our shared love for nature - when I sent Declan a picture of some ginkgo leaves last fall, we both expressed our admiration of the leaves’ distinct fan shape. We got to naming our other favorite leaves, and quickly we realized that their personalities could make for some very interesting music. These miniatures tell a story that occurs every autumn in the branches, boughs, and canopies above. Meghan Andreachi • March 7, 2020 Program Notes

Paul Hindemith (1895-1963) Oboe Sonata (1938) Duration: 12 minutes Paul Hindemith was a German composer, conductor, instrumentalist, and teacher who is well-known for having written works for a wide variety of chamber ensembles, orchestras, concert band, unusual and uncommon instruments, and sonatas for every instrument in the orchestra. His style is considered to be neoclassical, though not in the same character as Stravinsky’s neoclassicism; Hindemith draws more from the contrapuntal style of Bach.

1938, the year the Oboe Sonata was written, was a critical time in Hindemith’s life. Although his vastly popular opera Mathis der Maler was premiered with success, Hindemith’s music was publicly denounced by the Nazi party of the German government. Labelled as an “atonal noisemaker”, his music had been featured at the Entartete Musik (Degenerate Music) exhibition in 1936, and he was facing major issues publishing new music. In addition, 1938 was also the year he emigrated to Switzerland because his wife was of Jewish ancestry, leaving the country they had lived in for 43 years. While Hindemith did not claim any programmatic meaning to his instrumental sonatas, it is meaningful to view them with Hindemith’s life context in mind.

Movement I. is short, jaunty, and satirical. This movement starts and ends with a fast section that seems to make joking jabs and criticisms at something as if characterized by a jester who mocks the court they serve. Movement II. is much longer than the first, and can be described as a theme and variations that is elaborated through a variety of different styles. Hindemith utilizes a slow, deliberate opening followed by a buoyant scherzo, a recitative section, a fugato, and finally, an ostinato of a repeating tone series which drives the piece to the end.

Meghan Andreachi • March 7, 2020 Program Notes

Clémence de Grandval (1828-1907) Four Pieces for English Horn and Piano (1878) Duration: 13 minutes Clémence de Grandval was a French composer of the Romantic era who was well-known and of high status during her time. However, due to her social position and the emergence of better-known male composers of the late Romantic era, her music is less remembered and more difficult to find. Displaying a natural talent for music in her youth, Grandval studied piano with Friedrich von Flotow in London. Later, she returned to France and studied piano and composition with Frédéric Chopin and Camille Saint-Saëns who gave her public praise. Grandval wrote mostly sacred music in her early composition years, but she became well-known for her comic operas. She also wrote orchestral music (which has sadly been lost), chamber music, and over 60 songs. Today she is mostly known for her music for wind instruments, especially for oboe.

The Four Pieces for English Horn was originally only published with two movements, but was eventually completed when the original performer and close family friend Georges Gillet gifted the piece to an oboist who emigrated to the United States. However, even today the piece is hard to come by, and many performers have to read the music off of the manuscript. I have fully transcribed the piece for English horn and piano, and the lack of recordings and knowledge of the piece has allowed me to explore my own interpretation without outside influence. Meghan Andreachi • March 7, 2020 Program Notes

Madeleine Dring (1923-1977) Trio for Flute, Oboe, and Piano (1968) Duration: 11 minutes Madeleine Dring was an English composer as well as an actress, mime, cartoonist, violinist, pianist, and singer. She showed immense musical talent from a young age, so at the age of 10, she won a scholarship to study violin at the Royal College of Music (RCM) in London. Later, Dring studied composition with Herbert Howells, Gordon Jacobs, and Ralph Vaughan Williams. However, her works show little influence from her RCM teachers; Dring’s compositional style was heavily inspired by Francis Poulenc and her works have been described as Gershwin and Cole Porter-esque.

After her time at RCM, Dring spent much of her career acting on stage, composing revues, operas, and incidental music for TV and radio, and writing stage plays. Her dramatic style and choice of career is evident in one of her most popular works - the Trio for Flute, Oboe, and Piano.

Movement I. begins with dancing, homorhythmic flute and oboe lines over a lilting piano rhythm. As lines begin to separate and interweave, the dance feel becomes both suave and flamboyant. Movement II. contains a simplistic lyricism of a repeated melody that gets passed back and forth in conversation between flute and oboe. Movement III. is filled with exuberance from the first measure of a driving piano line. This movement exemplifies the sophistication as well as the hustle and bustle of Dring’s career. The piece ends with a flute and oboe double cadenza that is concluded by the whole ensemble in a brilliant finish.

Notes by Meghan Andreachi

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