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Carl Anderson, Double Bass Senior Recital Jonathan Hannau, Piano Rudy Albach, Bass

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Carl Anderson, Double Bass Senior Recital Jonathan Hannau, Piano Rudy Albach, Bass Sunday, May 28, 2017 • 2:00 p.m ​ Carl Anderson Senior Recital DePaul Recital Hall 804 West Belden Avenue • Chicago Sunday, May 28, 2017 • 2:00 p.m. ​ DePaul Recital Hall Carl Anderson, double bass Senior Recital Jonathan Hannau, piano Rudy Albach, bass PROGRAM Johann Sebastian Bach (1685-1750) Suite No. 2 in D minor, BWV 1008 (1717-1723) Prelude Allemande Courante Sarabande Minuets Gigue Giovanni Bottesini (1821-1889) Concerto No. 2 (1845) Allegro Andante Allegro Jonathan Hannau, piano Intermission Carl Anderson• May 28, 2017 Program Luciano Berio (1925-2003) Psy (1989) Giovanni Bottesini (1821-1889) Passione Amorosa (1880) Rudy Albach, bass Jonathan Hannau, piano Carl Anderson is from the studio of Alexander Hanna. 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. Carl Anderson • May 28, 2017 PROGRAM NOTES Giovanni Bottesini (1821-1889) Concerto No. 2 (1845) Duration: 15 minutes Known as the “Paganini of the double bass,” Giovanni Bottesini was an Italian double bassist, composer, and conductor, best known for his facility on the double bass and for his contribution to double bass technique. ​ ​ ​ ​ Having composed operas, chamber music, and solo works for a variety of instruments, he is best known for his extensive list of solo bass works which have been adopted as foundation of solo bass playing. During his career he met Giuseppe Verdi and they became friends, ultimately leading to Bottesini’s conducting the premiere of Verdi’s opera ‘Aida’ in Cairo in 1871. Concerto No. 2 has arguably become one of his most often played pieces (in recitals and orchestra auditions alike). In standard Bottesini style, the concerto displays the virtuosity of the bassist. He utilizes all registers of the bass to show off it’s wide spectrum of timbres. Johann Sebastian Bach (1685-1750) Suite No. 2 in D minor, BWV 1008 (1717-1723) Duration: 22 minutes The music of Johann Sebastian Bach is revered for its technical command, ​ intellectual depth, and artistry. During his lifetime he enjoyed relative fame, though following his death his music was often seen as old-fashioned. He was not widely recognised as a great composer until a revival of interest in and performances of his music in the beginning of the 19th century. Bach wrote six unaccompanied cello suites. Cellist Pablo Casals became the first to record all six cello suites and catalyzed the rebirth of the modern performances of the suites. Bach’s Suite No. 2 in D Minor is a series of baroque dance movements written for unaccompanied cello, but has since been adopted into the standard solo repertoire for other instruments. Even with the multitude of technical challenges the suite poses for the player, the minor tonality pairs itself well with the deep resonance the double bass has to offer. Carl Anderson • May 28, 2017 Program Notes Luciano Berio (1925-2003) Psy (1989) Duration: 2 minutes Italian composer Luciano Berio is best known for his experimental work Sinfonia, written in 1968. Berio was extremely interested in electronic music ​ after his schooling at the Darmstadt School where he met Pierre Boulez, Karlheinz Stockhausen, and György Ligeti. Berio is also well known for his virtuosic solo pieces titled Sequenza. Psy is Berio’s only solo double bass ​ ​ work. Through the repetition of unison pitches, and the neighboring tones, Berio has achieved a jagged, yet wonderfully melodic piece. Although extremely short, Psy manages to poignantly display the chordal, and song-like qualities a bass can offer. The tempestuous and sporadic nature of the piece offers derivations of a baroque theme, reminiscent of Bach. Giovanni Bottesini (1821-1889) Passione Amorosa (1880) Duration: 12 minutes Passione Amorosa evokes the composer’s true love for Bel Canto opera. In three lively contrasting movements the composer allows each player the chance to show off in a quasi-cadenza stretch. The piece begins with a short introduction from the piano, which heralds the grandiose entrance of the bassists. The piano and bassists trade off until an arrival of the primary theme. Each bass player is given a short solo moment before a lively finish. The second movement is a dramatic aria that combines a simple melody in one bass, and harmonic flourishes in another. The third movement is a playful fugue which evolves into an accelerated race to the finish, in true Bottesini fashion. Notes by Carl Anderson. 804 West Belden Avenue Chicago, IL 60614 773.325.7260 music.depaul.edu.
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