Program Notes CPE Bach Flute Sonata

The De Anza Music Department Presents Program Notes A Faculty Recital C.P.E Bach Flute Sonata Program Carl Philipp Emanuel Bach (1714-1788) was the second Flute Sonata in G, 'Hamburger' Wq133(1786) surviving son of Johann Sebastian Bach (1685-1750) and Maria By C.P.E. Bach Barbara Bach (1684-1720). Like his godfather George Philip Grace Lai, flute Telemann (1681-1767), C.P.E. Bach is credited with helping to Antoni Ostrowski, piano make the transition from the Baroque ear to the Pre-Classical era. Bach studied music with his father and performed many of From Suite Number 1 BWV 1007 his works in the church and in the collegium musicum. By the By J.S. Bach 1740s, he was a prominent keyboardist and was employed by Benett Zussman, guitar Frederick the Great, who dictated much of Berlin’s musical life. C.P.E. Bach became the music director in Hamburg in 1768, Scene from Act I of Simon Boccanegra where he was able to embrace new aesthetic ideals that music By Giuseppe Verdi "touch the heart" and "awaken the passions. The Flute Sonata in Paul Setziol – Simon Boccanegra G, 'Hamburger' Wq133(1786) incorporates several new features Ruriko Katsuragi – Amelia known as the “galant” which increased rapidly in the chamber David Newton – Orchestra (on piano) and solo literature during the third quarter of the 18th century. This meant simpler, more pleasing melodies, a reduced Through the Lens of Time harmonic vocabulary emphasizing tonic and dominant, and a By Jim Schneider clear distinction between soloist and accompaniment. Águas de Março (Water of March) By Antonio Carlos Jobim Jim Schneider, piano Selections from Johann Sebastian Bach Cello Suite number 1 BWV 1007 Two Pieces Selections to be introduced in performance Mason Razavi, Saxophone Although Bach did not write for the guitar, his cello pieces, when transposed, fall nicely on the fret board. Scene from Act I of Simon Boccanegra Águas de Março (Waters of March) Águas de Março is one of the most famous and most Fourteenth century Italy was a time of constant struggle between innovative and brilliant compositions by the great Brazilian and within city states. In the opera Simon Boccanegra, Genoa bossa nova composer, Antonio Carlos Jobim. It is meant to and Venice are the two city states. Intrigue among and within convey the "waters of March" - the heavy rains in March that families was included in the mix, both within and between city mark the end of summer in Brazil. It is written in a kind of states and this makes for a very complicated plot and cast of stream of consciousness manner where various similar- characters. Throw in mistaken and false identities and it sounding melodic and harmonic fragments repeat, but not in becomes far too complex to explain here. entirely regular ways, and for that it is famously beguiling to the performer to remember exactly what comes next! The In this scene, Simon, one of the most powerful men in Genoa, is cyclic effect of the composition can also be seen to represent meeting with Amelia, who he knows as a member of a different the cyclic nature of life. powerful family. Amelia comes into the scene to confess that she is an orphan adopted by the Grimaldi family and therefore not a real Grimaldi. As she tells her story, Simon realizes that she is, in fact, his daughter, who he was forced to give up many years before. He shares this with her. They are both overjoyed at the news and end up embracing. Through the Lens of Time Schneider writes: “This is my own composition that was inspired by the music of another great Brazilian songwriter, Ivan Lins. I originally thought about naming it "Through the Lins of Time", as a reference to Ivan Lins, but common sense prevailed! It is a ballad / slow bossa nova, like several of Ivan Lins's compositions.” .

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