THE PLANNING, PREPARATION, AND PRESENTATION OF A FLUTE RECITAL

Marsaretta Baker Redwine A. B. \University ot Calltornla), 19~9

PROJECT

Submitted in partial satisfaction ot the requirements tor the degree ot

MASTER OF ARTS AT TEE SACRAMENTO STATE COLLEGE

Approved: Frederick W. Westphal, Chair James Adair Paschal Monk ______

SACRAMENTO STATE CO LLEGE ARCHIVES TABLE OF CONTENTS

CHAPTER PAGE

I. THE PROJEC'l' • • • • • • • • • • • • • • • • • • • 1 Statement of the project • • • • • • • • • • • 1

Importance ot the project •• • • • • • • • • • 2 Sources ot data • • • • • • • • • • • • • • • • 4 Organization or remainder of the paper • • • • 4 II. PREPARATION AND PROCEDURES ••••••••• • • 5

Background knowledge and basic skills • • • • • 5

Background knowledge • • • • • • • • • • • • 5 Basic technical knowledge • • • • • • • • • • 6 Basic skills • • • • • • • • • • • • • • • • 6 Planning and organization • . ' . • • • • • • • 7 Preliminary research • • • • • • • • • • • • 7

Criteria for selection of music • • • • • • • 8 Evaluation and selection of compositions ... 9 Time limit • • • • • • • • • • • • • • • • • 10

Adjustment of selections • • • • • • • • • • 10 Research on composers and compositions • • • 10 Planning the recital date and place • • • • • 11 Requesting the assistance ot other performers 11 Programming • • • • • • • • • • • • • • • • • 11

Procedures in preparing the .music • • • • • • • 11 Practice • • • • • • • • • • • • • • • • • • 11 Rehearsal with other performers • • • • • • • 12 iii CHAPTER PAGE

Dress rehearsal • • • • • • • • • • • • • • • 13 Technical arrangements for presentation • • • • 13 Publicity • • • • • • • • • • • • • • • • • • 13 Programs • • • • • • • • • • • • • • • • • • 13

Ushers • • • • • • • • • • • • • • • • • • • 13 Tape recording • • • • • • • • • • • • • • • 13 Setting the stage • • • • • • • • • • • • • • 14 III. REPORT OF BACKGROUND RESEARCH ON COMPOSERS • • • 15 Georg Philipp Telemann • • • • • • • • • • • • 15

Domenico Cimarosa • • • • • • • • • • • • • • • 20 Gabriel Urbain Faure • • • • • • • • • • • • • 22 Kent Wheeler Kennan • • • • • • • • • • • • • • 26 IV. ANALYSIS OF WORKS PERFORMED • • • • • • • • • • • 28 Suite in A Minor, by Georg Philipp Telemann •• 28

Concerto in ~ · Major, by Domenico Cimarosa • • • 31 Fantasie, by Gabriel Faure •••••••• • • 34 Nig,ht Soliloquy, by Kent Kennan • • • • • • • • 35 V. ·SUMMARY AND CONCLUSIONS ••••••••••••• 37

Summary • • • • • • • • • • • • • • • • • • • • 37 Conclusions • • • • • • • • • • • • • • • • • • 37 BIBLIOGRAPHY • • • • • • • • • • • • • • • • • • • • • 39 APPENDIX .A ·. SUrvey of Solo Flute Literature •• • • • 42 APPENDIX B. Check List · •••••••••••• • • • 50 APPENDIX c. The Program • • • • • • • • • • • • • • • 52 CHA.PrER I

THE PROJECT

The process of education and growth in the under­ standing ot music can be furthered in many ways. The basis tor its development is a study of the many aspects of the field of musical kn.owledge--trom the history and evolution of musical form, notation, and theory to the techniques involved in the composition and performance of music. But the process cannot stop there, if thorough musical under­ standing is to be realized. In order to strengthen the process ot musical growth, it is necessary to apply the knowledge and the techniques

I which have been acquired through study. In musio this application oan follow various paths. It can be accom­ plished through actual composition of music, .through con­ ducting, or, as in the current project, through performance. By the practical application of musical knowledge and skills, broader understanding ot the subject and growing insight in the field can be acquired. It was with this aim in mind

that the project, ~ recital in the performance of flute music, was undertaken.

Statement .2! the project. The purpose of the project was to plan, prepare, and present a public recital consisting 2 of the performance of selected chamber musie compositions for the flute. More specifically, the development of the project included an attempt to answer the following ques­ tions: (1) What background .knowledge and what basic skills should be acquired before attempting the public performance of instrumental chamber music? (2) What steps should be taken in planning such a public music recital? (3) What procedures should be followed in preparing the music for performance? (4J What technical arrangements need to be made regarding the actual presentation of the program?

Importance .2! !l!!, project. A music recital can be a demonstration and a synthesis of all the complex musical knowledge and understanding which has been previously gained. Musical performance can exhibit not only a compre­ hension of the specific compositions performed but also a perception of the meaning of music in general. In order to demonstrate such a level ot development, it was felt that chamber music, providing a major role tor the flute, should be performed.l The medium of chamber music was chosen because, of all musical forms, chamber music probably demands

1 The term chamber music, as used here in its broad ' sense, can be applied to music requiring the coordinated eftorts ot two or more players in performing music adapted to small audience situations. the most of the performer. Homer Ulrich states, • • • chamber music provides a medium tor the ex­ pression of particularly intimate musical ideas • • • • In chamber music there is room only tor essentials; all mere padding is avoided. One is aware of the musical essence, of the composer's inm.os~ intentions, and is not distracted by extraneous .glamor. The performance of chamber music can be one of the strongest possible challenges to technique and· interpretation in re­ quiring a constant awaren.ess Qf the ensemble ettort. Thus, it can serve to demonstrate an understanding of these aspects of musical knowledge. The performance of music can also contribute to further understanding and comprehension of the subject. The actual application of the knowledge and the skills previously gained oan be a contribution to further growth in the art. The sharing of a musical experience can bring not only pleasure and enjoyment, but also a broader insight int·o the subject tor both listener and performer. Since the writer had never before presented a music recital, it was felt that the experience in developing such a project would have great value in furthering musical growth and in contributing to the total musical education. A music recital can, then, (l) demonstrate an under-

2 Homer Ulrich, Chamber Music, The Growth and Praotioe 2!, an Intimate ~ - (New York: . Columbia~ivers!ty'!Sre~s, 1948}, pp.I;-$...... ~

4 standing of the meaning of the art of music in general, as well as of the specific compositions performed; (2) contrib­ ute to a fUrther and broader insight into the subject, through actual application of knowledge and skills previous­ ly gained; and ()) contribute to total musical growth through the new experiences involved in the presentation of a music recital.

Sources ~ data. The data gathered concerned the background and the styles of the composers whose works were performed. They were derived from the standard, authori­ tative reference books in musio history and biography. In addition, certain specific biographies and music commen­ taries were consulted in the investigation.

Organization 21_ remainder 21 ~ paper. The remainder of the paper will consist of the following sections: Chapter II will be concerned with a discussion of the background, planning, procedures and arrangements necessary for the prepa­ ration of the music recital; Chapter III will be a report of the investigation made of the composers' lives; and Chapter IV will be a discussion of the works performed in the recital. CHAPTER II

PREPARATION AND PROCEDURES

The preparation and procedures for the recital en­ tailed consideration of the tollowing points: {l) necessary background knowledge and basic skills; {2) steps in planning the recital; (3) procedures in preparing the music; and (4) technical arrangements for presentation of the recital.

I. BACKGROUND KNOWLEDGE AND BASIC SKILLS

The first problem in the development of the project was to determine the essential background knowledge and basic skills which should be acquired before attempting performance of instrumental chamber music. Such consider­ ation is paramount if success is to be achieved.

Bac.kground knewledge. Knowledge of the history ot music, particularly in regard to style periods~ is a ne­ cessity if music is to be performed correctly. Haydon confirms this view as follows: The primary concern of the great majority of musicians is, undoubtedly, musical performance; •••• The prepa­ ration for performance means, primarily, the study ot a musical instrument. Yet the training in theory and history of music required in college and conservatory curricula is essential to intelligent musicianship.

1 Glen Haydon, Introduction !2_ Mu.sicology, (New York: Prentice-Hall, Inc., 1956), p. 11 • . · . . 6 The importanee ot this baekgrouad knowledge can be observed, for instance, in playing certain figurations, such as trill and turn ornamentations, which vary in interpretation trom one style period to another. A grasp ot these different interpretations is essential in conforming to the style ot the period of the composition in question. A specific example of this point was found in the Telemann number which was chosen for performance. In order to interpret the turns and trills correctly, it was necessary to know that in music of the Baroque Period, such figurations were begun from the note above the written note.

Bas!~ technical knowledge. Certain basic technical knowledge is another requisite in the preparation of music tor public performance. Generally, a background including knowledge of the essentials of harmony, form and design in music, themes, motives, contrasts, and rhythms is indis­ pensable. Specifically, a perception of key and tonality, of intricate notation, and ot dynamic markings is basic to successful interpretation of a musical composition. This technical knowledge is necessary in understanding the eom­ poser' s intentions, and therefore in rendering a valid interpretation and performance of his mu.sic.

Basic skills. Finally, a thorough command of the instrument, including technique and facility, control of 7 tone, oontrol of dynamics, and body movement, is essential in the effectiveness of the performance. Playing chamber music, particularly, is an extremely exacting art. It requires a technique which is preoise, yet flexible enough to accomplish all the fine shadings and delicate adjustments necessary between players. In flute playing, specifically, proficiency in the f-ollowing basic skills is essential: (1) breath control, for phrasing, dynamics, and a clear flexible tone; (2) ability to hear correct pitch and adJust ' ' intonation accordingly; {J) control of_embouchure in narrow pitch adjustments and in change of register; (4) technical facility in fingering; and (5) ability to articulate rapid passages.

II. PLANNING AND ORGANIZATION

The following steps were taken preliminary to the actual preparation and rehearsal of music for performance.

Preliminary research. The first step necessary was a survey of the available solo literature for the flute. This was accomplished through a study of' graded lists ot flute compositions and through actually obtaining a quanti­ ty of music "on approval" for personal evaluation.2

2 The findings of this survey, a compilation of flute music according to the period of its composition, may be found in Appendix A. 8 Criteria !2£ selection ot music. The next step was the development ot criteria for the selection of music tor the recital. These criteria were the basis for the inclu­ sion of certain compositions: (l) musical worth or value; (2) level ot difficulty; (3) increase of repertoire; and (4) program interest. The. musical value ot a composition probably is best determined by finding whether or not it has stood the test of time. However, exceptions to this rule do exist, and of course the rule cannot be applied readily to contemporary music. Therefore, form and interest of each com.position were considered. The difficulty ot the composition was anot·her primary concern. The music considered, {and subsequently selected), was music which would challenge the performer to a higher level ot competency. It is only through new and challenging experiences that any growth can occur, and since .musical growth was one of the basic reasons for undertaking the project, music already learned and performed could con­ tribute very little toward this end • .A third consideration in reviewing music for selection was whether or not it would increase the performer's reper­ toire. It is only with the study of new selections that a musical repertoire can be expanded. 9 Finally, the suitability of the music for recital performance had to be determined. This involved considering variety, contrast, and compatibility of selections, as well as probable audience appeal.

Evaluation ,!!!!. selection 2! compositions. From the survey of solo flute literature, a selection or compositions was then made according to the criteria described above. An attempt was made to select works which are not performed constantly, but rather, those which are seldom heard. By the performance of relatively unfamiliar works, contribution can be made to the musical growth of both performer and :. listener. Particular care was taken to select some unusual contemporary works, since understanding of such music, for the performer and the audience, can come only through acquaintance with it. In light of this search, the works chosen for performance were: Suite !!! A Minor for flute and strings, by Telema.nn;3 Concerto !!! g; Major for two flutes, or flute ~d oboe, by Cima.rosa;4 Fantasie, by Faure;5 and Night Solilogur, by Kennan.6 3,G. P. ·Telemann, Suite in A Minor, edited by John Wummer, (Cincinnati: Albert J. Andraud, 1942). . 4 Domenico Cima.rosa, Conoer.to in G Major, edited by Louis Moyse, (Cincinnati: Albert J:-Aidraud, 1951). 5 Gabriel Faur6, Fantasie (New York: Balwin, Inc.) 6 Kent Kennan, Night Soliloquy (New ·York: Carl Fischer Inc., 1947). 10

~ limit. The next step was a decision upon an over-all time limit for the performance. This decision was based on two considerations: (1) the length of time favor­ able 'to the performers, in the amount ef physical tension and effort advisable; and (2) the length of time favorable to the audience, in the amount of attention and interest whioh could be expected.

Adjustment 2! selections. When the time limit was deoided upon, eaoh piece of music was timed according to the number of minutes required for each movement. Cutting of some of the selections was done for two reasons: -(1) to adjust the music to the over-all time limit, and (2) to omit those sections which did not include flute.? This cutting required attention to adjustments which would not interrupt the continuity or hamper the meaning of the music.

Research ~ composers ~ compositions. In order to acquire insight into the composer's style and his intentions, it was necessary to investigate material concerning the background of the composers and the conditions under which the seleoted musical works were composed. A general analysis ot the form of each composition was made as an aid in gaining a more complete understanding of the music to be performed.a

7 This cutting was necessary in the Telemann composition, which included many complete sections for strings alone. 8 The pertinent findings of this research will be reported in the following chapters. 11

Plannilig ~ recital ~ and place. The next step was the planning of a date and plaee for the recital. This involved arranging tor a time which was mutually agreeable to the conductor, the accompanist, the string ensemble, and the soloist. A decision also had to be made upon a room of adequate size, accessibility and desirable acoustics. When these decisions were ma.de, it was necessary to obtain veri­ fication of the availability of the room, to request and to receive permission tor its use.

Requesting !!:!.! assistance £!. other performers. It was necessary to request several other musicians to assist in the perform.a.nee of the recital. These included an accom­ panist, a conductor, and a complete string ensemble.

Prosramm.i.ng. First, the programming of the selected numbers involved their arrangement according to logical musical sequence and technical detail. Secondly, audience interest and appeal were again considered.

III. PROCEDURES IN PREPARING THE MUSIC

Practice. The actual preparation of the music for performance entailed, first, a large amount of individual practice. This step is a prerequisite to performance in any art, and is absolutely necessary in order to polish technique and to achieve sueoesstul interpretation of the musical 12 selections to be performed.

Rehearsal with other performers. When comm.and of the works selected for the recital was fairly well established, arrangements were made for rehearsal with the players who were to take part in each selection. Two of the works chosen

for performance, Cimarosa's Concerto in~ Ma.Jor, and Faure's Fantasie, required piano accompaniment, which necessitated arranging time for frequent rehearsal with the accompanist. The Cimarosa selection called tor two solo instruments (two flutes, or, as performed, flute and oboe) which required additional planning and adjustment ot rehearsal time. Two of the selections, Telemann's Suite !!!. A Minor, and Kennan's Night Soliloguy called for a combination of flute and strillgs, although the works have been transcribed for flute and piano. While the problem of coordination and arrangement of rehearsal time would have been greatly simpli­ fied by the use of piano accompaniment, rather than strings, it was felt that a performance of sueh compositions should aim teward authentic! ty '· and should represent the composer's intentions and original manuscript as closely as possible. -Therefore, it was necessary to arrange rehearsal times suitable to five string players, a conductor, a pianist, and the soloist. 13 Dress rehearsal. When the compositions had been re­ hearsed and polished as muoh as possible, arrangements were ma.de for a dress rehearsal to be held in the room whieh had been chosen for the recital. During this rehearsal, final adjustments were made tor numerous technical details, sueh as acoustics, placement of players, and position of piano.

IV. TECHNICAL ARRANGEMENTS FOR PRESENTATION

The presentation of the program involved several steps and details of management.

Publicity. Publicity for the recital was provided through notices to local newspapers, mimeographed programs circulated at the college, announcement in the faculty bulletin, and personal invitations to friends and relatives.

Programs. The printing of programs for the recital involv•d details of spacing and inclusion of material per­ tinent to the musical selections. Sufficient time also had to be allowed for the printing to be done.

Ushers. Arrangements were made for securing ushers to pass out programs at the performance.

Tape recording. It was necessary to secure a tape recorder and an operator to record the recital for the files of the music department. 14

Setting ~ stage. Finally, arrangements were ma.de tor the actual setting ot the stage. These included adjust­ ment of lighting, placement of the tape recorder and micro-

; phone, arra.mging the positions of the piano, the chairs, and the stands ot the performers. 9

9. A . check list ot steps to toll'OW in preparing tor a music recital will be tound in Appendix B. CHAPTER III

REPORT OF BACKGROUND RESEARCH ON COMPOSERS

Georg Philipp Telelllailll (1681-1767). Georg Philipp Telemann was born in Magdeburg, Germany, on March 14, 1681, the son and grandson ot Lutheran pastors. His early interest in music prompted him to learn to play the violin, zither, and flute. However, his first formal clavier lessons were not very successful. Telemann showed little respect for the past, and his teacher's somewhat archaic style soon impelled the young pupil to leave this formal instruction in favor ot his own treer self-directed study.1 Telemann's lack of thorough formal training did not deter his diligent study of the scores of those whom he considered the great masters--among these were Lully and Campra.2 His mastery ot the science of music came through the study ot such works, and he began to compose in his early teens. His mother, however, regarded with extreme aversion the idea of a musical career tor her son. This attitude was typical of many German families of the time.3

1 David Ewen, publisher, Romain Rolland's Essr;.s on Music, (New York: Allen, Towne and Heath, Inc.,. 1948~p. "'T22. 2 H. c. Collea, editor, Grove's Dictionary of-Music and Musicians, (New York: The Macfil11an .CompaJQ", .192;81, ... VOI. 5, p. 297. . 3 Ewen, --loc. cit. 16 Desiring to conform to the family wishes, Telemann deter­ mined to undertake another type of study, and in 1701 went to the University of Leipzig with the firm intention of studying law. At Leipzig this decision was weakened by the discovery that his roommate was a student of music and pos­ sessed numerous musical instruments. The temptation proved too muoh for Telemann, and when he brought out one of his compositions, a psalm, his companion promptly took the work to the burgomaster ot St. Thomas' Church. Upon hearing the work, the burgomaster sent for Telemann and commissioned him to write a composition for the church every fortnight. At this point, Telemann could resist no longer, and began his musical career in earnest. The cantor of St. Thomas' Church at- -this time was Kuhnau, and the popularity and acclaim accorded Telemann's. music caused the older, celebrated master to feel consider­ able bitterness. The situation was aggravated even more when Telemann obtained the directorship of the local opera and attraeted students by his youthful fame--over Kuhnau's protestations. From this time on, Telemann continued his act!vi ties at a teYerish pace. In Leipzig he tounde.d a Collegium Musicum in 1704. He became Kapell.Jlleister to Grat Erdmann von Promnitz, a wealthy nobleman whose recent return trom France and love ot French music prompted Telemann to 17 write twe hundred French overtures within two years.4 Later, - at the court or Eisenach, his writings were further influ­ enced by an environment permeated with French style. While at Eisenach, Telemann became acquainted with Johann Sebastian Bach, and in 1714 became god-rather to one of his sons, Karl Philipp Emanuel. Telemann then became Kapellmeister of several churches in Leipzig, where he founded another Col­ legium Musicum. and continued to compose music in every re­ ceived form ot the day. Ia 1721 he lert Frankfort tor Hamburg, where he was to form a lasting connection. He retained his positions as Kapellmeister, cantor and director of musical education at the gymnasium. for the remainder of his life. On Kuhnau's death in 1723, Telemann. was asked to become his successor as Kapellmeister ot St. Thomas' Church, but he chose to remain in Hamburg, and Kuhnau•s post was subsequently ottered to Bach. This priority Telemann had over Bach is an in­ dication of the esteem in which he was held during his life- time. An extended visit to Paris in 1738 further influenced Telemann's style and in turn helped to advance the acceptance ot French music ia Germany.5 He continued to compose up

4 _Ibi4.,, p. 127. 5 Ibid., p. 132. 18 through the year of his death at the age of eighty-six. His extraordinarily large catalogue of works includes: twelve complete yearly sets of church services, twenty ordi­ nation and anniversary services, numerous passions, over 600 unattached French overtures, several operas, cantatas, many dance suites, trio sonatas and other instrumental pieces. Telemann has become the object of one of the most sharply drawn of history's curious paradoxes--that of a musician who was highly esteemed during his lifetime, but who has been placed in relative obscurity by posterity's acclaim for another musician of his time. The prolific outpourings of Telemann which were admired through0ut Europe in his day have been all but forgotten alongside the contributions of his contemporary, Johann Sebastian Bach. Perhaps Telemann was a victim of his own productivity. Had he not attempted to write so prolifically and accepted so many tasks, his name might have left a deeper mark on history. Finney compares the two composers in this way: ' . Facility in the handling of musical materials, glib- ness in the use of harmonic sequences, rhythmic patterns and melodic figures--the acquisition and effortless use of a large "bag of musical tricks"--.might be the accom­ plishment of men like G. P. Telemann, a composer whose fame in his own day was far __ greater than Bach's, but Bach went much further. .ilthough ' his music was neces­ sarily related to the idiQm of the time, the whole matter ot technical procedure was made secondary to an expres­ sive purpose. Mu.sic was for him not a pleasant pastime, 19 but a great vehicle of artistic expression. In the hands of Johann Sebastian Bach music "grew up." That it took several generations for musicians to gragp the significance or that maturity is not surprising. The immense impact and influence of Bach's music can hardly be disputed. But the eonsequent overshadowing ot a great deal of enjoyable and worthwhile music written in bis time can be deplored. Many works, such as Telemann's Suite ,!!! A Minor tor flute and strings, certainly deserve to be not only remembered, but understood and frequently performed. Telemann was a highly skilled contrapuntalist, and a prominent representative of the Hamburg school in its prime during the first half of the 18th century.? He showed a mastery of all the accepted forms of composition in his day. However, with all his undoubted ability and practically un­ equalled fertility, Telemann originated very little. His . writings were generally confined to these accepted forms, and he made little effort to experiment. with any new forms. What originality he showed lay largely in his harmonic in­ novations--his employment of previously uncommon intervals. His strongest contribution was probably his aid in the ad­ vance and expansion ot the French overture form.

6 Theodore M. Finney, A History of Music (New York: Harcourt, . Brace and, Company, f9J5), pp. )JS-339. . 7 Collea, 1.2.2.• cit. 20 Domenico Cimarosa (1749-1801). Domenico Cimarosa was primarily an operatic composer. However, his works were not limited to this form alone. He wrote several oratorios and cantatas, as well as chamber music, though few ot these works are performed today. Cimarosa was born in Aversa, Naples, on Deoember 17, 1749, approximately six years before Mozart. The son of poor working people, he reoeived his early training at the Conservatorio Santa Maria di Loreto, a conservatory which was founded in 1537, " • • • to receive the sons of the poorest citizens and educate them in religion and the fine arts."8 This was one of four such conservatories in Naples,

~ dedicated to the musical training of poor children. In the eleven year period spent at the conservatory Cimarosa acquired a thorough knowledge of the old Italian masters.

Between the years 1772 and 1780 he resided alter­ nately in Naples and in Rome, during which time his popu­ larity as a composer was advanced through a steady out­ pouring ot operas. In 1787, at the invitation of Catherine the Great, Cimarosa went to St. Petersbur,g as "chamber oomposer,"9 where he produced the greater part ' or his chamber compositions. After sever9.l years in St. Petersburg,

.'! Ewen1 -21• .ill•, p. 76. 9 Collea, 2.R.• .ill,., Vol. 1, p. 650. 21 he was appointed court Kapellmeister to Emperor Leopold II in Vienna, where he composed his most successful opera, and best known work today, Il matrimonio segreto (The Secret Marriage). After the termination of his position, at the death of the emperor, Cimarosa returned to Naples and was received with great flouri•ll. In Naples, he was appointed Kapell­ meister to the king and teacher to the princesses. During this period of service he continued to write successfully and prolifically. However, a change of fortune occurred when the French republican army invaded Naples in 1799. At that time, Cimarosa openly and avidly expressed his repub­ lican sentiments and was promptly thrown into prison and condemned to death. King Ferdinand was prevailed upon, however, and the composer was given his liberty but banished from Naples. His spirit broken, he died in Venice within I two years, in January, 1801. Cimarosa's style can be compared to that of Mozart, though, as Rosenfeld remarks, it is a matter of "· •• a musical Power by the side of a musical Dominatioi •••• •10

- ~ Where Cimarosa's works, particularly his operas, are almost incessantly light in style, Mozart wove pathos and depth into the comedy. In spite of Cimarosa's talent for comedy--his

· Io Paul Rosenfeld, Discoveries of a Music Critic New York: Harcourt, Brace and Company,-Y-9)6}, pp. _62-63.

SACRAMENTO $TAT1U COLLEGE ARCHIVES 22 sparkling humor which was the essence of Italian "opera buffa"--his works lack the fervor of Mozart's compositions. This may be one of the primary reasons for Cimarosa's music being almost completely overshadowed after a century and a half. However, the extreme popularity of his music in his own time is evidence of the fact that the musical ideal of the period and region was not profundity, but rather a combi­ nation of wit, liveliness, and melodic flow. Although he may haTe lacked the musical constructive power which has immortalized Mozart's name and works, still, there is a geniality in Cimarosa's music which is delightfully fresh. The charm of his music lies in its pleasant spontaneity, which serves to implement the grace and elegance of his style.

Gabriel Urbain Faure (1845-1924). Gabriel Faure was born in Pamiers, Ariege District, in the South of France, on May 12, 1845, the youngest of six children of poor but cultivated parents. When Faure was four years old his father was appointed director of l'Ecole Normale at Mont­ gauzy. The school was located in an old, disestablished convent, whose chapel, however, still functioned. Faure's introduction to music came in this chapel, where he delighted in spending hours listening to the modest harmonium, and improvising at the instrument. It was during one of these 23 sessions that an elderly lady, who was herself an excellent musician, caanoed to hear him. She was so impressed by his talents that she suggested to his parents that he be sent to l'Ecole Niedermeyer in Paris, a school which enjoyed a high reputation.11 Faure•s father, though reluctant, wrote to Niedermeyer, the director, who coincidentally was giving a concert tour which brought him to Foix, near .Montgauzy. When Niedermeyer heard Faure and verified his exceptional talent, "The young musician's future appeared so bright that, seeing the difficulties of the household, he took upon himself the expenses of his education--a tine generosity which smoothed away all obstacles.nl2 The curriculum of the school was austere, but proved most valuable to Faure throughout his lite. The required study of the Gregorian modes was to have a definite effect on his composition in later years. It was at l'Eoole Nieder­ meyer that he was fortunate enough to be admitted to the piano class of Camille Saint-Saens, a teacher whose influence was to be felt profoundly by Faure. At this school, Faure -, won the first prize for piano, organ, harmony and composition. Upon leaving the •ohool, he began his professional career in music as organist at Saint-Sauveur's Church. He was dismissed

11 -Charles Koechlin, Gabriel Faure (London: Dennis Dobson LiDQ,ted, 1946), p. l. 12 2· cit. 24 from this post after causing a slight scandal by appearing at his organ seat one morning dressed in black coat and white tie, having spent all night at a ball at the Pretec­ ture.13 His career continued with appointments as organist tor various churches, including the St. Sulpice and the .Madeleine . in Paris. At this time, having renewed his acquaintance with Saint-Saens, he began his composing career in earnest with a set of songs composed about the year 1865. During the next few years he returned to l'Ecole Niedermeyer as pro­ fessor of composition. His composing activity steadily continued, and in due course of time he first was appointed professor, and later, in 1905, director of the famed Paris Conservatoire. Included among French musicians who studied under Faure, and who undoubtedly felt his influence, were: Maurice Ravel, Florent Schmitt, Roger Ducasse and Nadia Boulanger.14 In 1909, Faure was elected to the Aoadem.ie des

Beaux-Arts, and thirteen years later, tt ••• was promoted

~ to the highest class in the order of the Legion d'Honneur, a national homage paid to him through the-Sorbonne in 1922."15

n !2.!!•, p. 3. 14 D~vid Ewen, The Complete Book 2! ~ Century Mu.sic (New York: .Prentice-Ha!I"; Inc., 1952J7p. 124. 15 .Colles, 2..£· .!.!!·~ pp. 206-207. 25 Deafness and tailing health foroed his retirement from the conservatory in 1920, and he died in Paris on November 4, 1924. Faure's works in small form, (songs, chamber music, and choral work), are more numereus than those in larger form. His first .major work in a large form was his Requielll, composed in 1887, and considered today to be one of his masterpieoes.16 A list of his complete worksl7 covers a period from 1865 until the year ot his .death, 1924, the most prolific period being between 1880 and 1900. Faure's music is characterized by a restraint in expression which "could have originated nowhere but in thorough sympathy with French classiciam."18 His style reveals a blending of modern technique with the elassio spirit. Ewen describes Faure's/ style thus: His purity of expression, his fastidious attention to detail, and his exquisite workm.anship--all these qualities betray the nationality of the composer. Indeed, so French is Faure's art that it is sometimes 19 said that only a Frenchman .can properly appreciate it. Faure's music is forthright, yet delicate in expres­ sion. His works reveal a spirit of sensitivity rather than 16 Ewen, --loo. cit. · 17 Koeohlin, 2.E.• ·ill·, pp. 87-92. 18 Donald N. Ferguson, A History of Musical Thought (New York: .Appleton-Century-Critts, Ino.-;-1948), p • . 579. 19 .Ewen, ~· oit. 26 sentimentality. His style is fluent, yet shows an objec­ tivity and retinement,"eonsidered and controlled manipu­ lation"20 of technical -devices. It is not an overwhelming music, but rather a reflective type of art. Faure's music is not without feeling or emotion, but the shadings are finely drawn. There is a "reconciliation ot modern harmony with striking lyricism,n21 -which is a part ot the over-all balance and logical design in his music. His music is not without originality. The novelty in his treatment of har­ monies is subtle and rational rather than revolutionarr. -Kent Wheeler------Kennan (1913--). Kent Kennan was born in Milwaukee, Wisconsin, on April 18, 1913. After studying ' piano and organ... at the Wisconsin Conservatory of Music, he attended the University of .Miohigan from 1930-1932. In 1932, he went to the Eastman School ot Music in Rochester, New York, after being awarded a partial scholarship in oomposition. He received his Bachelor ot Music degree from

Eastman in 193~. He then took a six-month trip to Europe in 1935, and returned to Eastman School that year as a teaching fellow in theory, completing his Master of Music degree in l9J6. That year he won the Prix de Rome. It was

20 Ho.ni.er Ulrich, Chamber Music, The Growth and Practice 2! an Intimate !!:!, (New York: .Columbia tfiiI'verl!Slty Prise, 1948), p. );9. ., , 21 Finney, 2.R.• cit., p. 524. 27 during this eventful period, that he composed his Night Soliloguy tor flute and strings. He spent three years in Europe, studying tor a time with Pizzetti at the Royal Academy ot St. Cecilia in Rome, after which he returned to this country .to take a teaching position in theory and piano at Kent State University, Kent, Ohio.22 He also taught composition and theory at the University ot Texas. Kennan's Night Soliloguy has been given major per­ formances by the Detroit Symphony, National Symphony, Philadelphia Orchestra, New York Philharmonic Orchestra, NBC Symphony, -and the Rochester Philharmonic Orchestra.23

Among his other major works are his Sruhony fil!.~ · !,,

(1939), Quintet !2!:, Piano~ Strings, (1936), Concertino tor piano and orchestra, (1942), and Dance DiTertimento tor two pianos, (1938). It was almost impossible to judge Kennan's style in any general way, since very few of his works are published, many being still in .manuscript form. Consideration of his style will be limited to a discussion ot the work Night Soliloquy.

· 22 Baker's Bio,ra~hioal Diotionart g:£. Musicians, Fourth Edition, ,.(New ~or : G. Schirmer, ~no., 1940), p. 579.

' . ' 23 Claire R. Reis, Composers in America (New York: The Macllillan Company, 1947), p. 206;- CHAPTER IV

.ANALYSIS OF WORKS PERFORMED

Suite in A Minor, ,2z Georg Philipp Telemann. G. P. Telemann's Suite in A _Mi_n_· _or_, tor tlute and strings, is a typical expression ot that • • • most delicate and retined taste tor recreation music which was cherished by the upper classes or German society, atter the pattern given by the Frenoh.l This is, indeed, music tor the entertainment of others, but it is deeply rooted in the social habits and customs of the period. Several or the movements, Les Plaisirs, .Menuet, Passepied I !a!, ,!!, and Polonaise reveal typical features ot the traditional movements prevailing at that time. The presentation or the subject and its establishment in the tonic, the repeat or the first section, the excursion to the dominant (or in the case of a .minor key, as in this suite, to the relative major), partial cadence, return to the original subject in the tonic, the final oadenoe, and the repeat of the second section are all characteristic features of the early dance forBlS. The historical insight which can be gained from a recognition of these characteristics is

l Paul Kettl, The s'or{ of Dance Mu.sic (New York: Philosophical tibrary;-In,,., 9t'f), p. 197. 29 emphasized by Ferguson: The essential elements of this form which are involved in later evelution are (1) the two repeated sections and (2) the essential key contrasts. We must remember that in 1700 the sense ot definite key was a tact much more conspicuous to the hearer than it is now; and that key contrasts therefore were more vital elements than they are with us.2 The sequence of dances of various rhythms and types reflects a long course of development of the torm. The variety and differentiation in melodic and rhythmic detail '. of the movements of Telemann's suite suggest the progress made by this late stage of the Baroque Period, over the earlier and stiffer dance torms. The beauty and stylistic perfection which pervade the music ot this instrumental suite are evidence of the advance of musical expression. The French titles of movements 1n the suite clearly indi­ cate Telemann's response and adherence to the French intlu- ence in this style of music. The Ouverture of the suite evidences a strong Lullian influence in its· slow introduction, followed by a rapid fugal section. The opening is slightly suggestive of Bach's

~ Minor Suit~, also written for flute and strings. The fast section,. succeeding in 6/S, contains a good deal of interplay among the strings before the flute enters. Throughout the

2 Donald N. Ferguson, A Risto~ ot Musical Thou,ht (New York: Appleton-Century-Ciotta, c-;-; 1948), p. 28 • 30 movement, the contrapuntal exchange is largely among the strings, the flute being respected as a solo voice. .The Ouverture, in spite of its French title, refleets more ot the heavier German style than the lighter and more gracetul native French style. Les Plaisirs begins with a presto section for strings alone, and is followed by an !!!!, breve trio for flute and eembalo. The eontinuo is sketehed in as a bass for the chords. The presto section is then repeated.

~~!'Italian. This movement opens with a broad announcement of the subject in the strings. It continues with a good deal of ornamented writing for the flute, and closes the slow section with a cadence by the strings alone. The following section is a bright allegro, the first portion ot the suite which moves to C major, and is succeeded by a repetition of the largo. The slow "aria" sections of this movement are extremely lyrical and are without' speeitic dance character. Menuet. Although this movement is marked moderato, it emerges as a rather brisk moving minuet because of its continual eighth and sixteenth note rhythmic patterns. The movement is entirely dominated by the flute. Passepied f, Passepied !!· This dance, in 3/4 time, was originally a sailor's dance of upper Bretagne in which 31 ". • • one toot was passed- across in front of the other. ,.3 It resembles a minuet in taster tempo. The Passepied I! moves to A major, and is written for flute with bass accom­ paniment. The Polonaise, marked moderato, is eharaeterized by a squareness of rhythm and accent. The flute is reserved for the trio, where it embellishe~ the subject introduced by the strings in the first seetion.4 Rejouissanoe. This movement, marked presto, is often used in place of' the Polonaise as the final movement of the suite, because of' its suitable and distinctive brilliance.5 The word "rejouissance" means, simply, "rejoicing," and is .. characterized musically by a fast-moving exchange of lines and melodic patterns between the flute and strings.

Concerto in ~ Major, E.z Domenico Cimarosa. Concerto !!!, ~Major was written for two flutes, or flute and .oboe.6 The word "concerto,• in its original, literal sense, referred not just to the form of the music, but to the fact that it

3 Nettl, !R.• .2!l•t p. 170. 4 It was neces~ary to cut and adjust these movements, Passelied-I, Passepied II, and Polonaise, in accordance with the d acusiion .ln the section nllJustment of Selections," p.10. 5 This arrangement of movements was followed in tfte recital. 6 The latter combination of instruments was used in this recital. 32 was produced by a group of players in "concerted" effort.

~ With the taking of more prominent parts by individual players, a duality of subject matter developed, and the principle of contrasting tutti sections with solo subjects evolved. Some­ times individual soloists were employed, while other compo­ sitions called for a small group ot solo instruments con­ trasted with the tutti, the latter being the torm of the concerto under consideration. This form gave opportunity tor the display of individual instrumental work beyond what had been announced by the tutti. The first movement, marked allegro !.!!!,, conforms very closely to the sonata-allegro form which was being developed and advanced during the time of Cimarosa's ausi­ eal career. The movement opens with a lengthy tutti whieh announce~ the first theme in an ornamental manner. The orchestra then elaborates various phrases which hint ot later solo passage.a., after which the solo instruments enter in imitation, with a simplified version of the first theme. Attar a tutti passage which moves to the dominant, the second theme is introduced by the solo instruments. .A development. section follows which mov:es through various re­ lated major and minor keys, with considerable interplay between solo instruments and tutti. The recapitulation comes in typical sonata-allegro form with the original and subordinate themes both returning in the tonic. This leads 33 t.o a long cadenza for the solo instruments followed by a brilliant coda. The second movement, a slow 3/4, is in the key ot E flat major, rather distant trom the original key. This movement is extremely lyrical, strongly suggestive of a vocal line in places, perhaps reflecting the influence ot the composer's primary interest--that of operatic composi­ tion. The movement travels through several related minor keys with embellishments ot the original lyrical theme. Toward .the close of the movement there is a passage iA G minor which ends with a fer.ma.ta on the dominant chord, leading directly into the last movement. The final rondo movement moves rapidly and lightly, and proceeds through the simple rondo form: A B A 0 A. The original dance-like subject is followed by an ornamental section in the dominant. Following a return of the original subject there is a section in the tonic minor, which suggests the first subject, moves suddenly to B flat major, and back through G minor to a short solo cadenza. Each theme is first introduced by the solo voices and repeated by the tutti. A return of the first subject leads to a brisk and brilliant close. Each movement of the concerto offers the customary interplay between tutti and solo instruments, the tutti punc.tuating the lighter texture ot the solo passages w1 th 34 more vigorous outbursts. The entire concerto is typical ot Cimarosa•s style, and of the Italian music of the late 18th century. _ The melodic flow and liveliness of the music reflect the spirit of the times, particularly in Italy, where "opera buffa" was flourishing. The influence of court life upon Cimarosa•s music can be readily seen in the ele­ gance and grace of this concerto.

Fantasia, :ez Gabriel Faure. Fantasia, opus 79, for flute and piano, was written in 1898, "• •• tor the exami­ nations at the Conservatoire."7 This explanatory note accounts tor the attention the composer has given to tech­ nical detail, and for the emphasis placed on intricate and rapid solo passages for the tlute. It is a brilliant and showy piece of music, which is interesting without being very profound. In the solo part there is a good deal ot expressive lyricism in melodic line, interspersed with contrasting flourishes of rapid sixteenth notes. This balance in design, a delicate and sensitive craftsmanship, combined with a fluency of expl\ession, is typical of Faure's style, as discussed earlier. The piece opens with a quiet andantino in which the flowing, dolce melody of the flute gradually becomes more

7 Charles Koechlin, Gabriel Faure (London: Dennis Dobson Limited, 1946), p. 90. :35 and more ornamented. This section, although largely in E .minor, in several places hints of the Dorian mode. This· modal tendency can perhaps be traced to the influenoe ~hich his early study of the Gregorian modes at l'Eoole Niedermeyer had on Faure. The andantino ends as quietly as it begins, and is followed by a bright and rapid allegro in G major. The sprightly, staccato motive of the melodic line again reflects the refinement of Faure's style. The allegro section develops in dynamic level and intricate technical passages t0 a final brilliant and flashy coda.

Night Soliloquy, B.I ~ Kennan. Night Soliloquy, while original in form, reflects the influence of Debussy and Griffes on the composer, Kent Kennan. 8 The effect is one of color rather than form, ot atmosphere rather than definite structure. The composition is extremely well written for the flute, offering ample opportunity for the realization of all the expressive possibilities of the instrument. O'Connell makes this observation: It is no wonder that Howard Hanson, director of the Eastman School of Music, upon examining the score of Kennan's Mig!t Soliloquy, remarked: "One of the l~ve­ liest wor .s n this form that I have- ever heard."

8 Charles O'Connell, The Victor Book of Overtures, Tone Poem.sand Other Orehestra!Works (~: Sim:on -and ~ster, l~), p. 24J. 9 Loe. cit. 36 The composition is written in a 2/4 larghetto. The strings begin very quietly with a series ot steady quarter note chords which can be moat readily described as tone clusters. To this background the flute brings a smooth, fluid melody of eighths and sixteenths. This melody flows generally through the key of F sharp minor, although the harmony is by no means static. There are rippling passages tor the flute consisting of runs or thirty-second notes in groups of five, seven, sometimes nine, '·or ten. The runs may be largely chromatic, but at times oon.tain tre.gments of whole tone scales. The music gradually becomes more agitated, with sudden tremolos in the strings and long flute runs. This builds to a fortissimo climax followed by a long expressive passage tor flute alone, marked .!2a, alcuna licenza (with some license). The flute melody fades out, and again the strings enter with the initial chords of the piece. The flute melody returns with the original theme, this time an. octave higher and more florid. A high trill in the flute, followed by descending runs, bring the work to a close with an extended piu lento and a diminuendo on low F sharp, until the flute tone literally disappears. The music is highly rewarding for the flute, and its haunting quality of tenderness and eloquence persists long after the work is completed. CHAPTER V

SUMMARY AND CONCLUSIONS

Summary. It was the purpose ot the project to plan, prepare, and present a public recital consisting ot the per­ torma.nce ot selected chamber music compositions tor the flute. The project was undertaken in an attempt to further musical growth through the actual application or musical knowledge and skills previously acquired. It was telt that a public flute recital could: (1) demonstrate an understanding of the meaning ot the art of music in generB.l, as well as that of the specific com­ positions pertormed; (2) contribute to a further and broader insight into the subject through the actual application ot knowledge and skills previously gained; and (3) contribute to total musical growth through the new experiences involved in the presentation ot a music recital. The specific steps in the development or the project included consideration ot: (1) necessary background know­ ledge and basic skills; (2) steps in planning the recital; (3) procedures in preparing the music; and (4) technical arrangements tor presentation or the recital.

Conclusions. The following general conclusions appeared pertinent upon completion ot the project: 38 1. Competency in presenting a recital ot instrumental chamber music depends upon a number of factors in addition to the ability to play an instrument skilltully. 2. Atter having attained a high level of skill in playing an instrument, the steps in presenting a recital or music follow a logical development it caretully planned. 3. Musical growth is considerably aided by a syn­ thesizing process acquired- through studying music history, torm, and theory in relation to the more practical applica­ tion in performance. BIBLIOG.RAPHY 40 A. BOOKS

Baker's Biographical Dictionary 21 .Musicians. Fourth ed!tlon; New York: G. Schirmer,- Inc., 1940. 1298 pp. Bukotzer, Manfred F., Music in the Baro,ue Era. New York: W. w. Norton and Company-;-IiiC:", 194 • 489 pp. . Colles, H. c., editor, Grove's Dictionary ot .Mu.sic and Mnsiciana. Five volWlles;New York: TheMacMil1ail Company, 1948. De Lorenzo, Leonardo, M.,r Complete Story ot the Flute. New York: The Citadel Freas, Inc., 1'951:--493 pp. Ewen, David, publisher, Romain Rolland's Essays on Music. New York: Allen, Towne a.Dd Heath, Inc., 1948:- 371 pp.

~~---' The Complete Book ot 20th Century Mu.sic. New York: Prentice-Hall, Iiic:-;-1'9~. ~8 pp.

~-----' editor, The Year in American Music, ~Edition. New York: Allen, Towne and Heath, Inc., 1948. .551 pp.

Ferguson, Donald N., A Histor~ .2!, Musical Thouglit. New York: . Appleton-Century-Crotts,nc., 1948. 647 pp. Finney, Theodore M., A History of Music. New York: Harcourt, Brace and Company; 1935. 6.,-, pp. Haydon, Glen, Introduction 12, Musicology. New York: Prentice- Hall, Inc., 19$0. 329 pp. - Koeohlin, Charles, Gabriel Faure. (Translated trom the French by Leslie Orrey.J London: Dennis Dobson Limited, 1946. 98 pp. Nettl, Paul, The Story ot Dance Music. New York: Philosophi­ cal. Library, Inc., ]]'47. 376 pp •. O'Connell, Charles, The Victor Book of Overtures, Tone Poems . and Other Orchestral. Works.--wiw-York: Sim:on ~chus- ter, .1956. 614 pp. . , - Reis, Claire R., Comyosers in America. New York: The Mac- Millan Company, 947. ~9 _ pp. 41 Rosenfeld, Paul, Discoveries of a Mu.sic Critic. New York: Harcourt, Brace and Company,-1936. 402 pp. Ulrich, Homer, Chamber Music, The Growth and Practice of an Intimate Art. New York: Columbia. University Press~ - 1948. 430 pp.

B. PUBLICATION OF LEARNED ORGANIZATION

National Association of Schools of Music, Solo Literature tor ~Wind Instruments. Bulletin NumEi'er 31, January, mi. 32 pp • .

C. UNPUBLISHED MATERIALS

Flewelling, Dale,"Oral Interpretations." Unpublished Master's project, Sacramento State College, 1952. 68 pp. Schenk, Louis F., "Problems Involvad in the Preparation and Presentation of a Piano Recital." Unpublished Master's project, Sacramento State College, 1952. 28 pp.

D. MUSIC

Cimarosa, Domenico, Concerto in G Major, tor Two Flutes and Orchestra., edited by LOui'i""'.MOyse. Cincinnati: Albert J. Andraud, 1951. ,, . Faure, Gabriel, Fantasie. New York: Balwin, Inc. Kennan, Kent, Night Soliloquy. New York: Carl Fischer Inc., 1947. . . . . Telemann, Georg Philipp, Suite in ! Minor, edited by John Wummer. Cinoinnati: Albert-:-:. Andraud, 1942.

43 SURVEY OF SOLO FLUTE LITERATURE

The data which appear below were compiled from a survey of major solo and eham.ber music flute compositions. The survey did not include those pieces found ill published eolleotions of flute music. The survey does not represent an exhaustive study, but rather is intended as an aid in reviewing the field of flute literature. Organization of the data is according to period of composition, a form in which suoh material has not appeared previously, to the writer's knowledge. The sources ot data were the following works: .Baker's Biographical Dictionary of Musicians (New York: G. Schirmer, Inc., 1940); Claire R: Reis, Composers ~America (New York: The MacMillan Company, 1947); Leonardo de L.orenzo, Ml Complete ~yory ot the Flute \New York: The Citadel Press, Ino., 195 ; anO:-Natlonal Association of Schools of .Music, Solo Literature tor the Wind Instruments, Bulletin No. 31, Jiiiiiiry, 1951. ~ ~ ~ . .

Composer Title Publisher BAROQ.UE PERIOD:

Qoncertos ~ Suites: Bach, Johann s. Suite in B Minor Cundy-Bettoney, (1685-1750) (flute--S:nd' strings) Boosey-Hawkes Leclair, Jean- Concerto in C Andraud Marie (1697-1764) Q.uantz, Johann Concerto Cundy-Bettoney (1697-17~3} Scarlatti, Alessandro (1659-1725) Suite in A Boosey-Hawkes (tiute---S:nd' strings) Telemann, Georg P. Suite in A Minor Andraud (1681-1767) . (tluteand strln$s), . (flute and piano) . Vivaldi, Antonio Concerti IV and V Schott (flute anrsffings) 44

BARO~UE PERIOD: {Cont.) Sonatas: {For flute and piano unless otherwise noted.) Bach, Johann s. Sonatas I-VI Andraud {1685-1750) - Baoh, Johann s. Sonata in A Minor Schirmer ( tlute &Ione1 Blavet, Michel Sonatas .!:!. CUndy-Bettoney . (1700-1768) Handel, George F. Sonat!!, I-VII Andraud (1685-1759) Leclair, J. M. Sonata in Q: Schott (1697-1764) Loeillet, Jean­ Sonata VIII Hargail Baptiste {1680-1730) Sonata n-- Andraud Marcello, Benedetto Sonata in F Oxf'ord {1686-17 39) Purcell, Daniel Sonata in F Oxford {1660-1717) Vinci, Leonardo Sonate Leduc {1690-1730) Vivaldi, Antonio Sonata in G Minor McGinnis and fl676-1741) Marx

CLASSICAL PERIOD: Concertos: Boecherini, Luigi Concerto in D Andraud (1743-1805J - (flute with string orchestra or piano) Mozart, Wolfgang A. Concerto in G Cundy-Bettoney (1756-1791) Concerto Iii ~ 45 CLASSICAL PERIOD: (Cont.) Sonatas: Bach, K. P. E. Sonata in C Cundy-Bettoney (1714-1788) Haydn, Franz Joseph Sonata in G Boosey-Hawkes (1732-1809) (transcription of string quartet)

ROMANTIC PERIOD Concertos and Concertinos: Gretry, Andre E.M. Concerto in Q .Andraud (1741-1813) Molique, Wilhelm B. First Concerto Cundy-Bettoney (1802-1869) Soussmann, Heinrich Concerti no An.draud (1796-1848} Smaller works: Bizet, Georges Minuet from Fischer (1838-1875) &'Ariesieiiiie Suite Godard, Benjamin Valse Fischer (1849-1895) MODERN EUROPEAN WORKS: Concertos and Conoertinos: Boughton, Rutland Concerto Boosey-Hawkes (1878--) Casadesus, Robert Concerto Andraud (1899--) Cham.inade, Cecile Coneertino Boosey-Hawkes {1857-1944) Hue, Georges-Adolphe Fantasia Baron (1858-?) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ --- ~~

"I

: 46 MODERN EUROPEAN WORKS: (Cont.) Concertos: (Cont.) Ibert, Jacques Concerto (19.3.3) Baron (1890--)

Sonatas ~ Sonatinas: Dutilleux, Henri Sonatina ' Baron (1916~-) Gaubert, Philippe Sona tine Andraud (1879-1941) Sonata I! Heugel-Andraud Hindemith, Paul Sonata (19.36) Associated (1895--) Jarnacht Philipp Sonatina Baron (1892--J Milhaudt Darius Sonatina for Flute Manuscript (1892--J and Plano- Pijer, Willem Sonata Manuscript (1894-1946)

Schulhoft, Erwin Sonata !!! ~ Chester (1894--) . Weinberser, Jaromir Sonatina·· Fischer (1896--) Smaller forms: (With piano unless otherwise noted.) .. Boulanger, Lili D'Un Matin d& Andraud (1893-1918) Pr!iitemps -- Brun, Fritz Roma.nee Rubank (1878--) Debussy, Claude §z!:inx Andraud (1862-1918) Enesco, Georges Cantabile and Baron ( 1881--) Presto - Faure, Gabriel Fantasia Belwin (1845-1924) 47 MODERN EUROPEAN WORKS: (Cont.) Smaller forms: (Cont.}

Ganne, Louis Gaston Andante ~ Scherzo Cundy-Bettoney (1862-1923) Gaubert, Philippe Fantasia, Ma.drifal, Baron (1879-1941) Nocturne and Al egro Scherzando;- Baron Romance, Baron Suite Andraud Goossens, Eugene Three Pictures (1893--} ( tlute and piano) Andraud (tlute and string orchestra) J and W Chester Grovlezf Gabriel Romance !! Scherzo Baron (1879--J Ibert, Jacques Piece tor Flute Baron (1890--) Alone - Honegger, Arthur Danae de la .Andraud (1892--) chevre- - (tiute alone) Ravel, Maurice Piece in Form Baron (1875-1935} ot Habanera- Scott, Cfl'il Meir The Ecstatic .Andraud ( 1879--) S'iiipherd (flute alone) Soot.ch Pastorale Associated Shostakovich, Dmitri Four Preludes· Atf iliated (1906--) -

Tovey, Dan~el Francis Variations on a Manuscript (1875-1940:) The.me of Gluck- . --- ,. Widor, Charles Suite An.draud (1844-1937) 48 CONTEMPORARY AMERICAN WORKS: Sonatas: Bailey, Parker Sonata (1929) Schirmer (1902--) Bate, Stanley Sonata L'Oiseau-Lyre (1912--) Bowles, Paul Sonata tor Flute Manuscript (1911--) and Piano Cazden, Norman Sonata tor Flute American Music (1914--) and Piano;" . Center \'Opus 36, 1941) Fuleihan, Anis Pastoral Sonata for Manuscript (1900--) Flute ~ Plano ~40) Gideon, Miriam Sonata tor Flute Manuscript {1906--) and Plano-(1943} Guarnieri, Camargo Sonatina tor Flute Music Press (1907--) and Plano- · (South American) Hill, Edward B. Sonata in E Flat Manuscript (1872--) tor Flute inr- Hino (19201 La Violette, Wesley Sonata (1942) Manuscript {1894--) Piston, Walter Sonata (1930) Cos Cob Press (1894--) Stevens, Halsey Sonatina (1943) Broude (1908--J . Thompson, Virgil Sonata (1943) Elkan-Vogel (1896--} (flute alone)

Miscelle,neous forms: Dello Joie, Norman Conoertino tor Flute Manuscript (1913--) and Orchestri"""{1946) - . 49 CONTEMPORARY AMERICAN WORKS: (Cont.} Miscellaneous forms: (Cont.) Foote, Arthur fight Piece Schmidt (1853-1937} e. and strings} Griffes, Charles Poem (flute with Schirm.er (1884-1920} strIIlgs, horn and harp) Hanson, Howard Serenade Fischer (1896--) Kennan, Kent ifht Soliloquf Fischer (1913--) f e .and strngs or ·piano) Labunski, Felix R. Divertimento Manuscript (1892--) (flute and strings) La Violette, Wesley Serenade (1945} Manuscript (1894--) (flute and string quartet) Mennin, Peter Conoertino for Hargail Music (1923--) Flute and Oreiiestra Press (1945)- Rogers, Bernard Soliloquy Fischer (1893--) (flute and strings) Smith, David Stanley Fete Galante, op. 48, Manuscript (1877-1950) "{"!'92o)(tor tiute and orchestra) Tuthill, Burnet Nocturne (1933) Composer (1888--J (with string quartet or orchestra) Woltmann, Frederick Poem (1935} Manuscript (1908--} t?IU'te and .orchestra} ..

. . " 51 CHECK LIST (Steps to follow in preparing tor a music recital)

l. Preliminary research. Survey and investigate the availa- ble literature for the instrument. 2. Evaluate and aelect music tor pertormanoe. · J. Set over-all time limit for selections. 4. Time and adjust music to tit time limit. 5. Investigate background ot composers and compositions to be performed. 6. Plan recital date and place. 1. Request assistanoe.-0t other necessary performers. 8. Request use of room selected for pertormanoe. 9. PrDgram selected numbers according to logical musical sequence and teQhnical detail. 10. Practice individually to polish technique and interpretation. 11. Rehearse with other performers involved in recital. 12. Arrange tor publicizing recital. lJ. Arrange tor printing programs. 14. Arrange tor ushers. 15. Arrange tor dress rehearsal in room where recital is to be presented. 16. Arrange for tape recorder and operator. 17. Set the stage, making sure sufficient chairs, stands, and lighting are available.

18. Place microphone and ta~e recorder.

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