Friday, May 19, :00 p.m. Michelle Dodson. Junior Recital. DePaul Recital Hall 804 West Belden Avenue Chicago

Transcription

1 Friday, May 19, :00 p.m Michelle Dodson Junior Recital DePaul Recital Hall 804 West Belden Avenue Chicago

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3 Friday, May 19, :00 p.m. DePaul Recital Hall Michelle Dodson, cello Junior Recital SeungWha Baek, piano PROGRAM Arcangelo Corelli ( ) Sonata in D minor, Op. 5 No. 8 (1700) Preludio Allemanda Sarabanda Giga SeungWha Baek, piano Claude Debussy ( ) Sonate pour violoncelle et piano (1915) Prologue Serenade Finale SeungWha Baek, piano Paul Hindemith ( ) Sonata for Solo Cello, Op. 25 No. 3 (1923) Lebhaft, sehr markiert Mäßig schnell, Gemächlich Langsam Lebhafte Viertel Mäßig schnell

4 Michelle Dodson May 19, 2017 Program Pyotr Ilyich Tchaikovsky ( ) Variations on a Rococo Theme, Op. 33 (1877) Thema Var. 1 Tempo della Thema Var. 2 Tempo della Thema Var. 3 Andante sostenuto Var. 4 Andante grazioso Var. 5 Allegro moderato Var. 6 Andante Var. 7 Allegro vivo SeungWha Baek, piano Michelle Dodson 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.

5 Michelle Dodson May 19, 2017 PROGRAM NOTES Claude Debussy ( ) Sonate pour violoncelle et piano (1915) Duration: 12 minutes Debussy wrote his Sonata for cello and piano in 1915, only three years before his death. His inspirations ranged from France in the late 1600s with the works of Couperin to his contemporaries in Java, Indonesia with their gamelan music. Although many of his later works had experimental qualities or foreign (non-western) influences, his last set of three sonatas were more reminiscent of his earlier works, with hints of looking forward to the 20th century. Known for being a strikingly short piece, this sonata is filled with such extended techniques as portamento, flautando, and spiccato bow strokes, left hand pizzicato, and false harmonics. There is frequent dialogue between cello and piano, and the piano part shares importance and beauty in the piece. The character throughout the sonata is lively and filled with energy. There is constant movement and a fleeting nature of any melodies heard. Of note, there is no break between the second and third movements, with only an attacca and character change to indicate the finale. Paul Hindemith ( ) Sonata for Solo Cello, Op. 25 No. 3 (1923) Duration: 10 minutes The bold, bordering on reckless nature of the music is characteristic of Hindemith s early works. He wrote this piece when he was 27 years old. This piece is one of three sonatas for solo string instruments included in the Opus 25. Four of the five movements of this piece were said to have been composed in a single day. In this piece, Hindemith explored the capabilities of the cello and pushed its boundaries, given the large range of the instrument. Hindemith was a personal friend of famed cellist Emanuel

6 Michelle Dodson May 19, 2017 Program Notes Feuermann from their days of performing chamber music, as Hindemith was also a violist. Feuermann s recording of this piece in 1934 has remained the best example of Hindemith s intended style for the performance of the piece. The first movement features restless stirring on the bottom strings and high singing lines. The second movement depicts perhaps a devious, sneaky character with a lilting melody. The central third movement begins with a slow, lamenting line, but then becomes more agitated and troubled in character. The fourth movement is a mechanical, unwavering movement with his instruction literally translating to without any expression. The fifth and final movement is cacophonous and raucous before settling down to an uneasy finish of the work. Pyotr Ilyich Tchaikovsky ( ) V ariations on a Rococo Theme, Op. 33 (1877) Duration: 20 minutes This piece is an homage to Tchaikovsky supposed favorite Classical era composer, Amadeus Mozart. Rococo is an early to late 1700s French style of art, including painting, architecture, literature, music and theater. Its notable qualities were light colors, asymmetry, curved lines and most often created scenes of light-hearted love, youth, and nature. Indeed, this piece introduces a frivolous, fun theme that develops through a range of emotions, including joy in the first variation, raucousness in the second variation, amorousness in the third variation, playfulness in the fourth variation, silliness in the fifth variation, solemnity in the sixth variation, and finally back to joyfulness and triumph in the seventh variation. The theme remains recognizable throughout the variations, and Tchaikovsky expertly maintains the character of the Rococo style throughout the variations. Tchaikovsky wrote this piece for Wilhelm Fitzenhagen, a famed contemporary German cellist. Fitzenhagen actually rearranged the order of

7 Michelle Dodson May 19, 2017 Program Notes Tchaikovsky s original variations into what is typically performed today, and he deleted an entire variation from the work. Essentially, he moved Tchaikovsky s sixth and seventh variations to become variations three and four, and the original fourth and fifth variations proceed. The third variation then became the finale because it was the flashiest and best fit the incredible ending of the piece. Notes by Michelle Dodson.

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