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Vincent Ramirez-Boyce Friday, April 27, 2018 • 7:00 p.m ​ Vincent Ramirez-Boyce Junior Recital DePaul Recital Hall 804 West Belden Avenue • Chicago Friday, April 27, 2018 • 7:00 p.m ​ DePaul Recital Hall Vincent Ramirez-Boyce, cello Junior Recital John-Paul Pendowski, piano SeungWha Baek, piano PROGRAM Bela Bartok (1881-1945); trans. Luigi Silva Romanian Folk Dances (1915) Jocul cu bâta (Stick Dance) Braul (Sash Dance) Pe loc (In One Spot) Buciumeana (Horn Dance) Poarca Romaneasca (Romanian Polka) Maruntel (Fast Dance) John-Paul Pendowski, piano Samuel Barber (1910-1981) Cello Sonata in C Minor, Op. 6 (1932) Allegro ma non troppo Adagio Allegro Appassionato SeungWha Baek, piano Vincent Ramirez-Boyce • April 27, 2018 Program Camille Saint-Saëns (1835-1921) Cello Sonata No. 2 in F Major, Op. 123 (1905) Maestoso, Largemente Scherzo con Variazioni Romanza, poco adagio Allegro non troppo, grazioso SeungWha Baek, piano Vincent Ramirez-Boyce is from the studio of Stephen Balderston. 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. PROGRAM NOTES Bela Bartok (1881-1945); trans. Luigi Silva Romanian Folk Dances (1915) Duration: 6 minutes Bartok wrote the Romanian Folk Dances as a suite of six short piano pieces, but later orchestrated it for an ensemble. Since then, the piece has made its way from standard violin repertoire to celebrated cello repertoire. It is based on seven Romanian Tunes from Transylvania and was originally titled “ Romanian Folk Dances from Hungary“. However, when Romania annexed Transylvania around 1918, Bartok changed it to “Romanian Folk Dances”. The melody of the first movement should sound similar to a gypsy violinist playing in a village; this is how Bartok first stumbled upon it. The second movement is a traditional Romanian dance, and in the third movement Bartok recreates the sound of the flute. Here you began to hear Middle Eastern influences. The fourth movement is a dance from Buscany; the fifth dance is an old Romanian dance and the sixth movement is a combination of two different melodies, one from ​Belényes and one from Neagra village. Bartok transitions between these melodies with little to no break. This suite presents interesting stylistic challenges for the performer, and has many different moods that must be captured in a very short duration of time. Samuel Barber (1910-1981) Cello Sonata in C Minor, Op. 6 (1932) Duration: 19 Minutes Barber entered the Curtis Institute of Music at age 14 where he studied ​voice, piano, and composition. Under the guidance of Rosario Scalero, he composed his cello sonata; it was one of the last pieces that he wrote during his time with Scalero. Unlike many other composers of his time, Barber was much less patriotic, and drew inspiration from European techniques and traditions rather than fully embodying the “American Style”. As a teacher, Scalero emphasized the study of counterpoint more than harmony, and you can see this in how Barber organizes the first movement. He originally composed the first movement entirely without piano, and added the piano later on. Barber worked closely with cellist Orlando Cole, who premiered this Vincent Ramirez-Boyce • April 27, 2018 Program Notes piece but also helped him to understand the depth and capabilities of the cello. Throughout the sonata Barber explores the virtuosity of the instrument, often composing very lengthy phrases, followed by quick technical and rhythmically challenging passages. Camille Saint-Saëns (1835-1921) Cello Sonata No. 2 in F Major, Op. 123 (1905) Duration: 33 Minutes 30 years after composing his Cello Concerto and First Cello Sonata, Saint-Saëns returned with hesitation to writing this piece, having promised his publisher Auguste Durand a second work. Saint-Saëns began writing this piece in the spring of 1905, March 4th to be exact, and on March 18th Saint-Saëns wrote his publisher saying, “Finally it is finished, this damned sonata! Will it please or not? That is the question.” He dedicated the piece to Jules Griset, cellist, choir director, and lifelong friend of Saint Saëns. Often regarded as having a “rare freshness and originality”, this piece breaks away from the repetitive qualities of many sonatas. Although his Second Sonata was not able to recreate the traction or the widespread success of his first, when listening one is able to hear the maturity of Saint-Saëns’ writing. Notes by Vincent Ramirez-Boyce. 804 West Belden Avenue Chicago, IL 60614 773.325.7260 music.depaul.edu.
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