Thursday, May 11, 2017 • 9:00 p.m ​ Rachael Dobosz Senior Recital DePaul Recital Hall 804 West Belden Avenue • Chicago Thursday, May 11, 2017 • 9:00 p.m. ​ DePaul Recital Hall Rachael Dobosz, flute Senior Recital Beilin Han, piano Sofie Yang, violin Caleb Henry, viola Philip Lee, cello PROGRAM César Franck (1822-1890) Sonata for Flute and Piano Allegretto ben Moderato Allegro Ben Moderato: Recitativo- Fantasia Allegretto poco mosso Beilin Han, piano Lowell Liebermann (B. 1961) Sonata for Flute and Piano Op.23 Lento Presto Beilin Han, piano Intermission John La Montaine (1920-2013) Sonata for Piccolo and Piano Op.61 With driving force, not fast ​ Sorrowing Searching Playful Beilin Han, piano Rachael Dobosz • May 11, 2017 Program Wolfgang Amadeus Mozart (1756-1791) Quartet in C Major, KV 285b Allegro Andantino, Theme and Variations Sofie Yang, violin Caleb Henry, viola Philip Lee, cello Rachael Dobosz is from the studio of Alyce Johnson. 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. Rachael Dobosz • May 11, 2017 Program notes PROGRAM NOTES César Franck (1822-1890) Sonata for Flute and Piano Duration: 30 minutes César Franck was a well known organist in Paris who taught at the Paris Conservatory and was appointed to the organist position at the Basilica of Sainte-Clotilde. From a young age, Franck showed promise as a great composer and was enrolled in the Paris Conservatory by his father where he studied with Anton Reicha. After several years studying composition at the Conservatory he withdrew from his studies and began to focus on the Organ and teachings. Franck became a sought after organ performer and was known for his improvisation skills. As a teacher at the Conservatory he gained affection from his students Including Vincent D’Indy. He later returned to composition in his later life and wrote several works including a symphony, string quartet, and violin Sonata. The Violin Sonata in A major is one of Franck’s most well-known compositions and was written for violinist Eugene Ysaye as a wedding present in 1886. The piece was presented to the violinist on the morning of his wedding and was later performed that day for wedding guests. The sonata was later given its first public performance by Ysaye at the Museum of Modern Painting in Brussels on December 16th, 1886 and has since become one of the greatest standard pieces in the violin repertoire. The four movement sonata is centered around the theme expressed in the first movement. This rocking theme is used throughout the other movements, often with the transformation and imitation composition techniques. The four movements are written to contrast with each other and shift between slower and faster movements. The sonata has been transcribed for several instruments including, the flute, cello, viola, saxophone, and more. Rachael Dobosz • May 11, 2017 Program Notes Lowell Liebermann (1961) Sonata, 0p. 28 for Flute and Piano Duration: 15 minutes Lowell Liebermann is an American composer from New York City who has studied at the Juilliard School with notable composers Vincent Persichetti and David Diamond. He is one of the most performed living composers of today with his pieces being performed and recorded by orchestras such as the New York Philharmonic and the Philadelphia Orchestra. The Liebermann flute sonata has quickly made its way into the standard flute repertoire since its premiere in 1988. The sonata was premiered on May 20th at the Spoleto Festival in South Carolina By Paula Robison and won the first prize in the Newly Published Works competition for the National Flute Association. Since its premiere in 1988 the sonata has been featured on 12 professional recordings. The sonata for flute and piano was composed in a traditional sonata form which is representative of Liebermann’s composition style and influences. The piece has many dramatic and contrasting characters, with a very lyrical and still main theme in the Lento first movement and a driving theme and fast tempo in the second movement. The sonata is also shows the contrasting characters throughout each movement. In the Lento, the still and mysterious main theme is quickly contrasted with a fortissimo and triple forte section with hard accented articulation. Both musical characters appear several times throughout the movement in extreme opposition to each other. The second movement is similarly structured with a short and fast triplet pattern that is juxtaposed with a lyrical longer tripet theme. Similar to the first movement, these ideas are in stark contrast to each other and appear throughout the movement. Rachael Dobosz • May 11, 2017 ​ Program Notes John La Montaine (1920-2013) Sonata for Piccolo and Piano, Op. 61 Duration: 13 minutes John La Montaine was an American composer from Oak Park, Illinois who wrote works for many types of ensembles and instrumentation, including orchestral music, sonatas, opera, chamber music, and organ music. The Piccolo Sonata was commissioned by the National Flute Association Piccolo Committee members Zart Dombourian-Eby, Jan Gippo, Tammy Kirk, and Jan Smith. The Sonata was a performance requirement for the first biennial piccolo artist competition for the NFA convention held in Boston in August of 1993. The piece was dedicated to Lois Schaefer, the former piccolo player of the Boston Symphony who was awarded the NFA lifetime achievement award during the 1993 Boston convention. Schaefer held the the principal piccolo position for 25 years in the Boston Symphony until she retired in 1990. La Montaine describes the piccolo as an instrument that has evolved into a “highly valued” and versatile instrument that can be expressive in all registers, rather than its stereotypical high register value. “From my point of view every note of the piccolo has a value uniquely to its own. The piccolo can be bold, or uncertain and shy. The piccolo can cut like a knife, or whisper. The piccolo can grieve and the piccolo can leap with joy.” The three movement sonata explores the range of the piccolo throughout all movements with contrasting themes. The first movement titled With ​ Driving Force, not Fast, is written in a sonata form. This movement is lively ​ and provides a strong and exciting opening for the sonata. The second movement sorrowing explores the low register of the piccolo. The third ​ ​ movement begins with a cadenza introduction titled searching. The ​ ​ movement quickly goes into a playful section which the composer describes as a “merry romp”. This movement is a set of variations on the main Rachael Dobosz • May 11, 2017 Program Notes theme introduced at the beginning of the movement, going through all of the major keys in the circle of fifths until returning to the beginning. Wolfgang Amadeus Mozart (1756-1791) Flute Quartet in C Major Duration: 15 minutes W.A Mozart is one of the most celebrated composers in Western music, with hundreds of works including sonatas, orchestral works, concertos, operas, and chamber pieces. Mozart began composing from a young age after he was discovered as a performance prodigy. His composition career started when he began to work for the court in Salzburg as a court musician. He later took his work from Salzburg to Vienna where he composed and premiered new works and taught students. During Mozart’s transition from Salzburg and Vienna between 1777 and 1778, he we commissioned by an amature flutist Ferdinand Dejean to write a total of six pieces for flute in the form of concertos or chamber music. Almost all of the works that Mozart wrote for this commission were origional, excluding the Flute Quartet in D Major K.285 which was taken from the oboe concerto ​ ​ and the Quartet in C Major. ​ The Quartet in C is composed in two movements; the Allegro followed by ​ ​ ​ the Andantino, Theme and Variations. The Theme and Variations portion of ​ ​ the quartet is directly taken from the sixth movement of Mozart’s Serenade ​ No. 10 in Bb major also commonly known as the Gran Partita with both the ​ ​ ​ Serenade and Quartet being written around the same time in 1781. In the quartet the flute plays many of the clarinet and oboe solos that appear in the Serenade and the strings imitate the bass voices. Notes by Rachael Dobosz. 804 West Belden Avenue Chicago, IL 60614 773.325.7260 music.depaul.edu.