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A Flute Recital Analysis Marcia G Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1966 A Flute Recital Analysis Marcia G. Stilgebauer Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Stilgebauer, Marcia G., "A Flute Recital Analysis" (1966). Masters Theses. 4251. https://thekeep.eiu.edu/theses/4251 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. FLUTE A RECITALANALYSIS (TITLE) BY Mareia o. Stilgebauer - THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF KAS'Ih:R OFARTS IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS �6EA R6 I HEREBY RECOMMEND THIS THESIS BE·ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE Ma7DAE 6, l� /L818b1.C57XS8564>C2/ -----·-· _____ __ J PAPER CERTIFICATE #3 To: Graduate Degree Candidates who have written formal theses. Subject: Permission to reproduce theses. The University Library is rece1v1ng a nwnber of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. ' Please sign one of the following statements. Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. ( Date 1 I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because ------------ Date Author PAPER CERTIFICATE #3 To: Graduate Degree Candidates who have written formal theses. Subject: Permission to reproduce theses. is rec v n numbe uests from The University Library ei i g a r of req other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements. Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because ��- ' Date Author TABLE OF CONTENTS a e P g • • • • • 111 LIST OF rrABL.l:.S • • • • • • • • • • • • • • • • •• LIST OF ILLUSTRATIONS • • • • • • • • • • • • • • iv Chapter I. INTRODUCTIOl-l • • • • • • • • • • • • • • • • • l STA T}... • II. M.b.NT U.fi' PROGRAM • • • • • • • • • • • • 2 CONC�RTO 1.li � III. PLUfE MAJOR li• .:J.!l.t ••••••• 3 • IV. • • • • • • • • 2�- SONATA £:Ql1 TRAV�RSO .!iQ. �, OPUS l • • v. • • • • • • t»\NSE POUR KATIA • • • VI • • • • • • • • • • • • APPENDIXl!.3 .. Lli"J.'Tl::R FROH B. SCH 56 A. O'I'l11.3 SOHN ii: • • • • • • • • LETTER FROH • 57 B. EDI1'IONS BILLAUD01' • • • • • • BIBLIOGRAPHY 58 • • • • • • • • • • • • • • • • • • • • 11 TABLES LIST OF 'fable Page A Concise of l. Analysis Concerto in D major, !::.• . • • • .the • . • • Flute• . • • • • . .:ilk 22 �.ii LIST OF ILLUSTRATIONS Concerto zart Page Flute 1!112 :major, �· J.lit - Mo First movement • • • • Fir st subject • • • • • • • • • • • • • • 8 Second subject • • • • • • • • • • • • • • • • • 9 Closing subject • • • • • . .. • • . .. • • 10 Short �ecurring figure • • • • • • • • • • • • • 10 Second movement First subjec t • • • • • • • • • • • • • • • • • • 12 Part I of Second subject • • • • • • • • • • • • 13 Part II of Second subject • • • • • • • • • • • 14 Part Second subject • • • • • • • • • • • III of 15 Third movement • • • • Principal subj ct • • • • • • • • • • • • e 19 Second subject • • • • • • • • • • • • • • • • • 20 Closing subject • . • • • • • • • • • • • • • .. 21 und Klavier - Hindemith SonQte --tur Flote First movement subject • • • • • • • • • • • • • • • • • • First 26 • • •• • • • • • • • • • • • • • • • Figure 26 Second subject • • • • • • • • • • • • • • • • • 27 Second !T\ovement First subject ••••••••••• • •• • • • • • 29 ec nd subjec t • • • • • • • • • • • • • • • • • 30 S o Third !'!lovemen t Pr incipal subject ••• • • • • • • • • • • • • � 31 iv v corlt.) l'h1rd movsm�nt First episode( ••• •••• ••• • •••••••• 32 • • • • • • • • • • • • • • • • • 33 Seoond episode Fourth movement Pirst subject •••••••• • • • • • • • • • • Second subject • • • • • • • • • • • • • • • • 35 • onata !2.£. Trayer10 E.s?.· s_. Opus 1 - Handel First moYensent aubjeot • • • • • • • • • • • • • • • • • Opening .39 Second movement Tho au):\ject • • • • • • • • • • • • • • • • • • • 40 'rh1rd movel08 t n F1rat subject • • • ••• • • • • • • • • • • • • 42 aubjec t • • • • • • . •••••••••••43 Second Pour-th r.iovemttnt E' r t aubjeet • • • • • • • • • • • • • • • • • • 1 s 44 Second aubject •••••••••• • • • • • • • • 45 It1'1fth moYemeot Firat subject • • • • • • • • • • • • • • • • • • of Second subJect • • • • • • • • • • • • lt7 Part I II of ••••• • •• • • • • Part Second eubj�ot 46 na Da t pour Ktat1! - Bournonville I subject • • • • • • • • • • • • • Part of First SO Part P1r3t aub ect • • • • •••• • • • • $1 II ot j Part I of subject • • • • • • • • • • • • So<lond 52 Second jeot • • • • • • • • • • Part II ot eub • .5.3 CHAPTER I ltH1RODUCrl'lON This paper 1a s study of the four compositions per­ formed by the author on her graduate flute recital of March 20, The following items were used as a basis for anelysis. 1966. , ..\.. brief b1ographlcel sketch of each compos�r A Tl-le circumatances under which each co osition 2. m was ritten p Thew formal organization of the music 3. of the melodies The nature 4. The nature ot the harmcn1es s. The nature of the rhythm. 6. Texture 7. Orchestration 8. Relationship of selection to the composer's other works 9. 10. Pe.rf orme.nce practices compositions list&d b&low in the order 'l'he four are in t.Jh ich they WtI'e pE.�rfor!r.ed. Concert0 HaJor £2.t Flute !m.Q Orchestra, - .1n 12 !• Jl4 r,:ozart Allegro aperto I. o II. Andante ma non tr po Allegro p III. Sonate fur Flote .1illQ Klavier - Hindemith I. Reiter bewegt Sehr langaam II. III. Sehr lebhaft IV. Marsch Sonata Traverso - Handel .f..Q!: No. _2, Opus l I. Adagio II. Allegro III. Andante IV. Bourree Menuett v. Danae pour Katia - Bournonv1lle l STATEMEN1r OF PROGRAM The author's choice of comp ositions to be performed on her graduate flute recital was determined with the able assistance of her flute instructor, Mr. John 'J. Schuster. The four works were chosen as re re sente i v compositions p t e from different periods of music history. �he level of difficulty of the comp ositi ons was also a determining factor. The Coggert o .!!l Q Ma o r tor Flute ang Orghes tra, j by Mozart e re ents a work from the olassloal period. K· ..3,lk r p s The difficulty lies in teohn1oally conquering the places of passare work and correctl7 playing the ornaments. Becau e s of ts length, this concerto was performed first on the i program. Sonate fUr Flo te und Klav1er by Hindemith makes many demands on the player, some or which are: e pan io of x s n range , ability to display vnrious dynan11c adjust­ contraats, ing to sudden changes mood, and the displaying of one's or ability to play sundry rhythmic patterns. This o ompos ition is taken from the modern or contemporary period. The author chose o ta Traverso !.2• 2, Opus l by Handel because of S na ..f.2!:. its charming movements which are so delightful for listeninp performs.nee. This sonata is from the baroque per'� and Danae pour Katia by Bournonville waa for its chosen li�ht and brilliant fitting c lo e to quality as a s 2 CHAPTER III CONCERTO IN PLUrE D MAJOR K. 314 Wolf gang Amadeus Mozart Traditional Classical Interpr etation by Ary Van Leeuwen Johann Chrysoatum Wolfgang Theophilus Mozart, known as Wolfgang Amadeus Mozart, was bonl at Salzburg on January 27, 1756. His father, Leopold Mozart, was a professional . musician who was court-composer to the Archbishop or Salzburg and also author of a School tor the Violin which was known throughout Burope. He consider ed the education or his son as primary business or his life. the The Leopold Mozarte had a total of seven children, but ti 0 them died in infancy due to the dampness snd ve r lack of sanitation in their home. Nanneral and Wolfgang were the two surviving children. Wolfgang was extremely capable in music at an earl7 a�e. When he wae fiTe years old, he was improvising little minuets on the piano, while hie proud rather wae writing them down. Leopold was detennined to make virtuoso performer of a his son. He has been charged with penuriousness, with narrowness and bigotry, and with having forced his son to be a prodi@Y tor the sake of gainJ but there ia no evidence that he ever acted unconsc1ent1ously, the tPoroughnesa and very and almost mechanical regularity ot training he gave Wolfgang were invaluable in layingthe the founda­ tions of his remarkable teehnique.l From the time he was six years old, Wolfgang traveled all over Europe w1th his father. They tour ed such places as Munich in 1762, Schonbrur.n, and Vienna. Suddenly Wolfgang
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