Saturday, May 6, 2017 • 1:00 p.m ​ Stephanie Diebel Graduate Recital DePaul Concert Hall 800 West Belden Avenue • Chicago Saturday, May 6, 2017 • 1:00 p.m. ​ DePaul Concert Hall Stephanie Diebel, horn Graduate Recital Jonathan LiVolsi, bassoon Beilin Han, piano PROGRAM Olivier Messiaen (1908-1992) Des Canyons aux étoiles (1971) VI: Appel Interstellaire Ignaz Lachner (1807-1895) Concertino für Horn, Fagott und Orchester, op. 43 (1850) Allegro spirituoso Romanza, Andante Allegro moderato Polacca Jonathan LiVolsi, bassoon Beilin Han, piano Intermission Richard Strauss (1864-1949) Horn Concerto No. 1 in E-flat Major, Op. 11 (1882-83) Allegro Adagio Allegro Beilin Han, piano Stephanie Diebel is from the studio of James Smelser. This recital is presented in partial fulfillment of the degree Master 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. Stephanie Diebel • May 6, 2017 PROGRAM NOTES Oliver Messiaen (1908-1992) Des Canyons aux étoiles (1971) Duration: 7 minutes Des Canyons aux étoiles was commissioned in 1971 by Alice Tully, an American singer and philanthropist. It was written in celebration of the bicentenary of the Declaration of Independence. Messiaen found inspiration for the piece during his visit to Utah, and much of the work encompasses what landscape he encountered and the overall vastness of the Bryce Canyon. Appel Interstellaire is the sixth installment in this twelve-movement piece, but had been previously written for a different purpose and later adapted and incorporated into Des Canyons aux étoiles. The movement was originally a standalone short work in memory of Messiaen’s young friend Jean-Pierre Guézec who had passed away. It is for this reason that the movement is often played as a solo piece despite it also being a part of a larger work. The movement itself represents the vastness of space, interspersed with clamorous calls, coyote howls, and the song of the Canyon wren through extended techniques. Ignaz Lachner (1807-1895) Concertino für Horn, Fagott und Orchester, Op. 43 (1850) Duration: 18 minutes Ignaz Lachner was a German composer, second chapel master of the Court Opera in Vienna and Stadttheater in Frankfurt, and a friend of Franz Schubert. Most notably known for his string quartets, and overshadowed by his more successful brother Franz, the Concertino Op. 43 is the only piece he wrote involving the orchestra, and is one of very few pieces ever written Stephanie Diebel • May 6, 2017 Program Notes for bassoon and horn. It was possibly written in 1850, but the date is uncertain. The Concertino is in two parts, with four distinct tempo changes. An overall agile piece, the horn and bassoon frequently play homo-rhythmically or echo off of one another, and in the middle section both are given soloistic opportunities. Richard Strauss (1864-1949) Horn Concerto No. 1 in E-flat Major, Op. 11 (1882-83) Duration: 18 minutes At the age of 18, Richard Strauss completed his first horn concerto. It was inspired by and intended for his father, Franz Strauss, who was the principal horn player of the Munich Court Orchestra at the time. Incidentally, his father chose not to premiere the work, deeming it to be too difficult, and instead Gustav Leinhos premiered the concerto on March 4, 1885. Indeed, the music would have been difficult to play on the horns of the 1880s, but the more modern invention of the double horn has allowed for the concerto to become the staple repertoire that it is today. Horn Concerto No. 1 is a three movement work, and embraces the typical Romantic style with its lyrical passages and dark contrasts. However, contrary to many of its contemporaries, all three movements segue into one another with little or no break, and instead of an orchestral exposition, Strauss immediately introduces the horn with a short but declamatory horn call that is then developed by the accompaniment. Strauss would not write another horn concerto until a few years before his death--the style and structure of which differs palpably from his first. Notes by Stephanie Diebel. .