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Keegan O'donald, Cello Saturday, May 5, 2018 • 3:00 p.m ​ Keegan O’Donald Graduate Recital DePaul Concert Hall 800 West Belden Avenue • Chicago Saturday, May 5, 2018 • 3:00 p.m. ​ DePaul Concert Hall Keegan O’Donald, cello Graduate Recital Seungwha Baek, piano PROGRAM Ludwig van Beethoven (1770-1827) Cello Sonata No. 4 in C, Op. 102 No. 2 (1815) Andante - Allegro Vivace Adagio - Allegro Vivace Seungwha Baek, piano Alexander Tcherepnin (1899-1977) Suite for Solo Cello, Op. 76 (1946) I. Quasi Cadenza, ♩ = 80 II. ♩= 96 III. ♪ = 42 IV. Vivace, ♩ = 104 Intermission Keegan O’Donald • May 5, 2018 Program Benjamin Britten (1913-1976) Cello Suite No. 1, Op. 72 (1964) Canto Primo Fuga Lamento Canto Secondo Serenata Marcia Canto Terzo Bordone Moto Perpetuo e Canto Quatro Keegan O’Donald is from the studio of Stephen Balderston This recital is presented in partial fulfillment of the degree Master 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. Keegan O’Donald • May 5, 2018 PROGRAM NOTES Ludwig van Beethoven (1770-1827) Cello Sonata No. 4 in C, Op. 102 No. 2 (1815) Duration: 17 minutes Ludwig van Beethoven (1770-1827) composed the first notable duo sonatas for cello and piano, and to this day, the five sonatas are the core of many cellists’ recital repertoire. Beethoven’s compositional career is invariably divided into the Early formational period, Middle ‘heroic’ period, and the profound Late period. Although this segmentation often fails to accurately portray Beethoven’s entire compositional output, in the case of the cello sonatas, it’s a useful classification. The ‘early’ sonatas, Op. 5, No. 1 & 2, are modeled on Haydn and Mozart, while the ‘Middle’ sonata, Op. 69, displays the lyricism and heroic narrative made famous by the “Eroica” and Fifth Symphonies. Beethoven’s Late period is characterized by works incorporating innovations in form and references to music of antiquity, as demonstrated by the contrapuntal textures and fugues. But beyond compositional technique, the Late period works are beloved for moments of exquisite serenity. This calm, tender atmosphere may be surprising for a man described as an “unlicked bear” and whose scowl is a cultural image of the uncompromising artist. But for all of the exterior gruff, Beethoven had a rich emotional and spiritual life, resulting in part from his increasing deafness and social isolation. The Sonata in C major for cello and piano, Op. 102, No. 1 features both of Beethoven’s tender and unabashed sides, and is one of the first entries of his Late period. Its two movements progress in slow-fast-slow-fast tempos, which is similar to the 17th-century church sonata but unfolds here like a fantasia. The sonata begins with solo cello playing a theme consisting of simple scales. The piano answers the cello and initiates the conversational texture that predominates the work. The peaceful opening is followed by an agitated Allegro, uniquely in the relative minor key of A minor. This section Keegan O’Donald • May 5, 2018 Program proceeds as a sonata form, albeit with more brevity compared to similar works. The second movement opens again in a slow tempo, but here the melodies are more disjointed and amorphous. Listen for the return of the first movement’s opening theme which leads to another Allegro section, this time jaunty and humorous. In this movement, Beethoven explores the wide range of the cello and uses the strings tuned in fifths to create some playful modulations. After a brief recollection of the tender atmosphere, the movement concludes with a flourish. Alexander Tcherepnin (1899-1977) Suite for Solo Cello, Op. 76 (1946) Duration: 7 minutes Alexander Tcherepnin (1899-1977) was a Russian composer best known for incorporating Russian and Asian folk music elements into his compositions. Born in St. Petersburg, Tcherepnin’s received training in piano and composition from an early age, and his family home was a gathering place for many musicians, including Rimsky-Korsakov, Stravinsky and Prokofiev. Following the upheavals of the 1917 Russia Revolution, the family lived for a time in Tbilisi, Georgia before settling in Paris. In Tbilisi, Tcherepnin would first encounter non-Western scales and harmonies. This interest would eventually lead him to reside in Japan and China during the 1930s, and his studies of Chinese classical music is evidenced by the pentatonic scales prevalent in many of his compositions. The war years were spent in Paris, during which time he ceased to compose but made musical arrangements. In 1948, DePaul University offered Tcherepnin a position to teach music theory and composition. He would spend the next 15 years in Chicago, becoming an American citizen in 1958. Following his retirement from DePaul, Tcherepnin continued with international composing and conducting activities, and died in Paris in 1977. His musical legacy has been preserved by his sons and grandsons, some of whom are also composers. Keegan O’Donald • May 5, 2018 Program The Cello Suite Op. 76 was composed in 1946, and it displays many pan-Eurasian qualities. The first movement, Quasi Cadenza, has no meter and flows freely like an improvisation. The music employs pentatonic scales, a result of Tcherepnin’s Far Eastern studies, but the alternations between major and minor modes recall Schubert and Tchaikovsky. The second ​ movement is more jovial, featuring spiccato, or jumping, bow technique and left hand pizzicato. The slower third movement employs double stops, with resulting harmony that has more fourths and fifths than the thirds common in the Western repertoire. With its calm atmosphere, this movement is evocative of a pastoral song accompanied by a folk instrument. The final movement is quick, and like the first movement, alternates frequently between major and minor pentatonic scales. This movement owes much of its excitement to its rhythmic energy, and its rapid pizzicato technique is unparalleled in the repertoire. Benjamin Britten (1913-1976) Cello Suite No. 1, Op. 72 (1964) Duration: 22 minutes One of history’s greatest musical friendships was the collaboration between Russian cellist Mstislav Rostropovich and English composer Benjamin Britten. Their relationship yielded three solo cello suites, a sonata, and a massive symphony for solo cello and orchestra. Britten’s solo suites were inspired by Rostropovich’s performances of Bach’s suites, and they have much in common with their Baroque predecessors. The First Suite for Solo Cello, Op. 72 (1964) adopts the movement titles and characters from Baroque Italy, but presents them in a 20th century harmonic language with the full technical and timbral capabilities of the modern cello. The suite is organized around Cantos, or songs, which return frequently throughout in altered yet recognizable forms. After the opening canto is a fuga (fugue). Playing a multi-voice fugue on a single cello is impossible, so Britten cleverly implies a polyphonic texture through shifts in register, bariolage bowing, and double stops. The Lamento presents an anguished but introverted melody and creates the impression of a solo voice crying out. Following the second canto is the serenata, which is played Keegan O’Donald • May 5, 2018 Program pizzicato throughout and often imitates guitar strumming. The marcia (March) uses timbre to paint an image of a military procession going by: high harmonics imitate a flute, while col legno strokes, employing the wood of the bow, add percussive rhythm. Given the “wrong note” quality of the harmony, one can speculate that Britten, a pacifist, may have been making a political statement at the height of the Cold War. The third canto leads to the bordone, or drone movement. Here, the cellist must sustain the open D-string for the entire movement while creating a conversation between pizzicato and tremolo flourishes. The final movement is a highly chromatic ‘perpetual motion’ movement, with interjections of the Canto theme. Eventually, the perpetual motion rhythms combine with the canto melody and the suite concludes dramatically. Notes by Keegan O’Donald. 804 West Belden Avenue Chicago, IL 60614 773.325.7260 music.depaul.edu.
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