Sunday, April 30, 2017 1:00 p.m. Mika Allison Certificate Recital DePaul Concert Hall 800 West Belden Avenue Chicago
Sunday, April 30, 2017 1:00 p.m. DePaul Concert Hall PROGRAM Paul Hindemith (1895-1963) Oboe Sonata (1938) I. Munter II. Sehr Langsam Mika Allison, oboe Certificate Recital George Lepauw, piano Jack Sutey, bassoon George Lepauw, piano Wolfgang Amadeus Mozart (1756-1791) Oboe Concerto in C Major, K. 314 (1777) Allegro aperto Adagio non troppo Rondo: Allegretto George Lepauw, piano Intermission Georg Philipp Telemann (1681-1767) 12 Fantasias, No. 2 in A Minor, TWV 40:3 (ca. 1733) Grave, Vivace, Adagio, Allegro 12 Fantasias, No. 7 in D Major, TWV 40:8 (ca. 1733) Alla francese, Presto
Francis Poulenc (1899-1963) Trio for Oboe, Bassoon, and Piano, FP 43 (1926) Presto Andante Rondo Jack Sutey, bassoon George Lepauw, piano Mika Allison April 30, 2017 Program Mika Allison is from the studios of John Dee and Grace Hong. This recital is presented in partial fulfillment of the degree Certificate in Performance. As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you.
Mika Allison April 30, 2017 PROGRAM NOTES Paul Hindemith (1895-1963) Oboe Sonata (1938) Duration: 12 minutes While known primarily as a composer, Paul Hindemith was also an avid performer, teacher, and conductor throughout his life. He gained notoriety quickly in his 20 s, performing, composing, and presenting at various festivals alongside his well known contemporaries. His career was affected by the Nazi regime, who deemed his music degenerate despite his vast popularity. Because of this, Hindemith lived between Switzerland and the U.S. during his most active years, gaining U.S. citizenship in 1946. Hindemith developed his unique harmonic language throughout his career, morphing from late Romantic into neoclassical, while maintaining his own, unique system of achieving harmony. His prolific output includes a range of genres, including chamber music, operas, and orchestral pieces. An oft performed standard in oboe repertoire, Hindemith s sonata was among a string of instrumental sonatas written in the late 1930 s. The sonata has two movements with differing forms. The first is a short movement following a tight A-B-A format, while the second could be categorized as a theme and variations, displaying diverse tempi and styles. Hindemith s compositional style can be heard clearly in this sonata, with loosely tonal harmonies and ample play between dissonance and consonance. Wolfgang Amadeus Mozart (1756-1791) Oboe Concerto in C Major, K. 314 (1977) Duration: 20 minutes As the story goes, Mozart s Concerto for Flute in D was considered an original composition, and one of two full concertos written for a flautist Mozart was affiliated with. In 1920, solo and orchestral parts for an oboe concerto were found in Salzburg that bore much similarity to the flute
Mika Allison April 30, 2017 Program Notes concerto in D. After consulting correspondence between Mozart and his family, historians determined that the oboe concerto predated the flute concerto and was deemed the original of the two. Since its discovery, this concerto has become perhaps the most widely performed piece in the oboe repertoire. The piece follows traditional concerto format, with three movements in a fast-slow-fast sequence. The first movement begins with an orchestral introduction, preparing the audience for the oboe s beginning flourish ascending to a high C, held for four measures before continuing with the jaunty theme. The movement highlights the instrument s dexterity, with quick and light articulated passages outlining the passing harmonies. The second movement opens with a simple yet expressive theme, interweaving leaping intervals and elegant moving passages. The themes throughout the movement follow this scheme, with graceful melodies and soft cadences throughout, setting the audience up for a joyful and robust third movement. With its beautiful melodies and well-rounded form, it is not surprising that this concerto has made its way into oboist s hearts and repertoire in the last century. Georg Philipp Telemann (1681-1767) 12 Fantasias, No. 7 in D Major, TWV 40:8 (ca. 1733) 12 Fantasias, No. 2 in A Minor, TWV 40:3 (ca. 1733) Duration: 10 minutes Telemann s 12 Fantasies for Flute are a monumental example of the Baroque style in music. Each fantasia includes multiple sections of contrasting styles and tempi and can stand on its own as a complete piece. The complete set of works display an impressive survey of forms and styles used often in the Baroque era. As a flautist himself, Telemann took into consideration the characteristics of the instrument when writing these short pieces.with its limited keywork, the baroque flute was best played in keys
Mika Allison April 30, 2017 Program Notes with fewer flats and sharps. Strategically, Telemann wrote these 12 Fantasias for major and minor keys that reflected this limitation. He also considered the somewhat limited range of the instrument, which matches the range of the modern oboe seamlessly. Fantasia No. 7 in D major is unique among this set of pieces in a few ways. It is one of only two of the fantasias that includes only two movements, the first being much longer than the second. Additionally, the first movement of this piece is the only movement of all twelve Fantasias that follows the French overture form used regularly in the Baroque era, with a slow first section that includes dotted rhythms and a fast segment in triple meter. These sections are repeated to round out the movement. The piece concludes with a short Presto movement. Fantasia No. 2 in A minor includes four movements, the first serving as a slow and dramatic introduction to the minor key. The second movement is in triple meter and offers a lilting theme, sharply contrasting the heavily ornamented Adagio movement that follows. The piece concludes with a quick movement in binary form. Francis Poulenc (1899-1963) Trio for Oboe, Bassoon, and Piano (1926) Duration: 12 minutes Romantic composer Francis Poulenc s music represents a wide variety of genres, including piano pieces, chamber music, orchestral works, operas, among others. He was a member of Les Six and a leader in the neoclassical movement of the early 20th century. Poulenc was known to have a witty, humorous spirit which spilled over into his compositional style. His early music tended to be lighthearted, focusing on simple, yet expressive melodies. Poulenc went through a significant compositional transition in the 1930s, as he reconnected with his religious roots. Some of his
Mika Allison April 30, 2017 Program Notes compositions from this period and throughout the rest of his career include serious, religious undertones, a stark contrast from his previous works. Poulenc s Trio for Oboe, Bassoon, and Piano is among his early compositions and is thought to truly represent the composer s personality. The piece has three movements, following the fast-slow-fast format. The first movement, Presto, opens with a slow introduction, leading into a lively melody shared by oboe and bassoon. Poulenc characterized the second movement as sweet and melancholic with a lyrical melody weaving through the group. The third movement opens with a bubbly, rhythmic melody that transforms slowly into a brooding minor section. The movement concludes with a triumphant recap. Notes by Mika Allison.
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