upcoming events
DECEMBER 2011
4 Sunday
7:30 PM
A Capella Candelight Christmas
UT
Concerts at the Recital Hall are free and open to the public (unless otherwise noted
with $).
UT = LSU Union Theater, LSU Union Building
EMBODYING MUSIC
FROM BACH TO SCRIABIN
Inessa Bazayev, director
Tuesday, November 29, 2011
The LSU Performing Arts Academy offers an exciting new place for children and adults
to learn music, dramatic arts skills and creative technology. Academy teachers are the
most highly educated professionals working in their fields. To learn more and sign up for
classes, visit the website at cmda.lsu.edu/PAA or call (225) 578-3230.
|
7:30 p.m.
| Recital Hall
about the concert
Tonight’s concert is a final project for students in my Analysis and Performance
seminar this semester. The title of the concert reflects one of the covered topics: musical embodiment, describing musical performance as a physical experience that creates meaning. We believe that all music has meaning, that analysis
can reveal these meanings, and that the best performances can reflect analysis.
The aim of the course was to discuss, analyze, and study music in a manner that might influence performance decisions. Among the areas in music
theory that we studied are rhetoric, form analysis, musical topics, embodiment, and gender and sexuality. Each performer has analyzed their performed
piece (in the form of a final paper), and tonight’s performance will reflect their
individual analysis of the work. I encourage you to read the concert notes
ahead of time to further appreciate each performer’s performance decisions.
Inessa Bazayev
Assistant Professor of Music Theory
bios iii
(The Magic Flute) and Angelina (Rosanna) with Opéra Louisiane. Her recent non-operatic credits
include singing as soloist with the LSU Symphony (Rossini’s Stabat Mater), Lousiana Sinfonietta
(Mozart’s Exultate Jubilate), and the Baton Rouge Symphony Orchestra (Discovery Concerts).
CELESTE POWER is a DMA cello student from the studio of Dennis Parker. She
is also a member of the LSU and Baton Rouge Symphony Orchestras. Celeste is a
member of the LSU Cycling team and competes in collegiate and amateur bikes races.
TIMOTHY D. SAEED has received graduate degrees in both Music Theory and Piano
Performance. At present, Timothy is pursuing a Doctoral Degree in Music Theory
at Louisiana State University with a minor concentration in Piano Performance.
ALEJANDRA SAEZ, Argentinian pianist, has maintained an active performance schedule
through Argentina and USA since 2002. She also has played Chamber Music with different
ensembles, among them the recognized Tango Orchestra “Tango y Punto”. In 2002 she won
the contest “Youngest Talents” in Mendoza City and she performed with the Symphonic
Orchestra as soloist. In 2003 she started to work at “Patagonic Institute of Arts” as piano
teacher and piano accompanist where she worked until 2008. Saez became Associated Professor
of the piano department in 2007. She received her Bachelor Degree in Music at National
University of Cuyo in piano performance, her Master in Music in Piano Performance at the
University of Florida, and at this point she is Doctoral Candidate at Louisiana State University.
ESTHER WAITE is a DMA student and teaching assistant at Louisiana State University, studying
flute with Dr. Katherine Kemler and pursuing a minor in music theory. In March 2011 Esther
performed with the LSU Philharmonia as a concerto contest winner. Since arriving in Louisiana,
she has also been appointed as substitute Piccolo/3rd Flute for the Baton Rouge Symphony. She
received her Master’s degree in Flute Performance from the University of North Carolina School
of the Arts, while serving as teaching assistant for Dr. Tadeu Coelho’s flute studio. Esther is on
leave of absence from her position as flute instructor at Bob Jones University in Greenville, SC.
JIN HIN YAP, a native of Malaysia, is currently pursuing the Doctor of Musical Arts degree
at Louisiana State University (LSU). From the studio of Robert Grayson, he has appeared as
Anatol in Vanessa with Nevada Opera, Count Almaviva in The Barber of Seville with the Opéra
Louisiane and the Acadiana Symphony of Lafayette, Roméo in Gounod’s Roméo et Juliette,
Male Chorus in Britten’s The Rape of Lucretia, Alfredo in La traviata, Ferrando in Così fan
tutte, Rodolfo in La bohème, Father of Confessor in Dialogues of the Carmelites and Schmidt
in Werther with the LSU Opera. He was a regional finalist in the Met National Council
Auditions. Last summer, he has performed Alfredo in Verdi’s La traviata with the La Musica
Lirica in Italy. Yap has participated in the Chicago Opera Theater Young Artist Program
(COTYAP) in 2008 and Des Moines Metro Opera Apprentice Artist Program in 2006 and
2008. Besides the opera performance opportunities, he is an active concert performer. He is
a recipient of the Paul Groves Voice Scholarship, Francis Greer Voice Scholarship, the Baton
Rouge Opera Guild (BROG) Career Grant and the Baton Rouge Music Club Scholarship.
bios ii
JAMIE GURT is a master student from the piano studio of Gregory Sioles. A former state
winner of the MTNA collegiate competition, she has performed with the Sewanee Festival
Orchestra, the Hot Springs Festival Orchestra, the Alton Symphony, and the Meremac
Symphony in St. Louis. Gurt obtained her Bachelor Music from LSU and her J.D. from
Georgetown University; she has worked as an attorney in Louisiana and New York.
Taiwanese-Canadian violinist ANNIE HSU hails from the beautiful Vancouver, Canada. A
graduate of the Peabody Institute of the Johns Hopkins University, and currently a Master’s
degree candidate at LSU in the studio of Espen Lilleslatten, Annie is also a member of the
Baton Rouge Symphony Orchestra, and plays regularly with the Louisiana Philharmonic. Her
passion lays in chamber music and opera, but more specifically music of Ives, Verdi, and Mozart.
PEDRO HUFF is a Brazilian cellist living in Baton Rouge. He is currently working toward a
DMA in Cello Performance at LSU. He participated in many important summer festivals
including the Festival de Musica de Curitiba in Brazil and the Texas Music Festival in the
U.S.A. He has played many recitals in Brazil, especially in his dear hometown, Porto Alegre.
He holds a Master degree in Cello Performance from the University of Tennessee Knoxville
and he concluded his undergraduate studies at the Universidade Estadual do Parana, in the
city of Curitiba, Brazil. He frequently plays solos and chamber music recitals, and has an
intense activity at the LSU Symphony Orchestra. Pedro is a student of Professor Dennis Parker.
YOUNG KIM is currently pursuing her DMA in Piano Performance in the studio of Willis Delony.
She has recently declared a minor in Music Theory. Her research interests include exploring aesthetic
and pianistic correlations between the compositional styles of Brahms and Schumann. Previous
degrees were earned at the University ofTennessee- Knoxville andTennesseeTechnological University.
SUSANNAH MONTANDON is currently pursuing a DMA in Cello Performance at Louisiana
State University under the guidance of Dennis Parker.
WILLIAM PLUMMER was director and founder of Musica Antiqua of Berea (Renaissance music),
vocalist in T.E.M.P.O.L. (Medieval music), Artistic Director of the ten-member ensemble Coterie
(vocal jazz, now in their 21st season), and director and vocalist of the Baton Rouge Early Vocal
Ensemble (Renaissance and Baroque music). As a collaborative pianist, he has accompanied
coachings and performances with artists such as Barbara Bonney and Delfeayo Marsalis.
AMY PORTER, a Louisiana native, is currently pursuing her DMA in Voice at LSU, where she earned
her Bachelor’s Degree. Porter received her Master’s Degree and a Professional Studies Diploma from
Mannes College of Music in New York City. As an undergraduate, Porter performed several roles
with LSU Opera, including Alice (Falstaff), Dido (Dido and Aeneas), and Contessa (Le Nozze di
Figaro), and she appeared as Marguerite (Faust), Adina (L’Elisir d’Amore), Violetta (La Traviata),
and Lucia (Lucia di Lammermoor) with Mannes Opera. Since her return to Louisiana, Porter has
performed with LSU Opera as Olivia in the partially televised production of David Amram’s Twelfth
Night as well as Poulenc’s one-woman opera La Voix Humaine. She sang the role of Mimi in LSU
Opera’s most recent production of La Bohème. She has performed the roles of Queen of the Night
program
JOHANN KUHNAU
(1660-1722)
Gott, sei mir gnädig (1705)
FRÉDÉRIC CHOPIN
(1810-1849)
Nocturne in D-flat Major, Op. 27, No. 2
(1835)
LUDWIG VAN BEETHOVEN
(1770-1827)
The Baton Rouge Early Vocal Ensemble
(B.R.E.V.E.)
Timothy D. Saeed, piano
Piano Sonata, Op. 109 (1820)
I. Vivace, ma non troppo – Adagio
espressivo – Tempo I
Young Kim, piano
FRANZ SCHUBERT
(1797-1828)
Sonata in A minor for cello and piano,
“Arpeggione” (1824)
I. Allegro moderato
Celeste Power, cello
Alejandra Saez, piano
JOHANN SEBASTIAN BACH
(1685-1750)
Sonata for flute and basso continuo
(c. 1724)
II. Allegro
Esther Waite, flute
Jamie Gurt, piano
WOLFGANG AMADEUS MOZART
(1756-1791)
Piano Sonata in D Major, K. 576 (1789)
I. Allegro
Joel Bevington, piano
JOSEPH HAYDN
(1732-1809)
JOHANN SEBASTIAN BACH
Sonata No. 52 in E flat major, Hob
XVI/52 (1794)
João Paulo Casarotti, piano
Prelude in D minor, BWV 1008 (c. 1720)
Pedro Huff, cello
GEORGE FRIDERIC HANDEL
(1685-1759)
Se pietà di me non senti from Giulio
Cesare in Egitto (1724)
Megan Barrera, soprano
Ethan Rogers, piano
program, cont.
bios i
INTERMISSION
JOHANN SEBASTIAN BACH
Cantata BWV 51 (1730)
II. Recitative: Wir beten zu dem
Temple an
III. Aria: Höchster, mache deine Güte
Amy Porter, soprano
William Plummer, piano
ALEXANDER SCRIABIN
(1872-1915)
JOHANN SEBASTIAN BACH
Nocturne for the Left Hand, Op. 9 (1894)
Jamie Gurt, piano
Corrent and Double from Partita No. 1 for
Violin Solo (1720)
Annie Hsu, violin
LUDWIG VAN BEETHOVEN
JOHANN SEBASTIAN BACH
Adelaide (1795-6)
Jin Hin Yap, tenor
João Paulo Casarotti, piano
Suite No. 3 in C Major for
Unaccompanied Cello (1717–1723)
I. Prelude
Susannah Montandon, cello
ALEXANDER GLAZUNOV
(1865-1936)
Concerto in E-flat major for Alto
Saxophone, Op. 109 (1934)
I. Allegro moderato
Marcos Colon-Martin, alto saxophone
Alejandra Saez, piano
Cuban-Puerto Rican Soprano MEGAN BARRERA is currently pursuing a Doctorate in Musical Arts
Degree at Louisiana State University in Baton Rouge where she studies in the studio of Ms. Patricia
O’Neill. A native of Miami, FL, Barrera has sung a number of leading roles in the United States and
in Europe, including Susanna in Mozart’s Le Nozze di Figaro and Musetta in Puccini’s La bohème.
She also recently sang the role of Gilda in Verdi’s Rigoletto with La Musica Lirica in Novafeltria, Italy,
and has performed with Florida Grand Opera for the past two seasons. Barrera will also make her
debut in 2012 with Wichita Grand Opera singing the role of Norina in Donizetti’s Don Pasquale.
THE BATON ROUGE EARLY VOCAL ENSEMBLE (B.R.E.V.E.) is a vocal sextet
dedicated to the performance of music of the Baroque and Renaissance eras. Now in
their second year, they and their director are looking forward to numerous performances
both in the Baton Rouge area and New Orleans. In October, the group performed
at the Louisiana American Choral Director’s Association Fall Vocal Conference.
DR. INESSA BAZAYEV is Assistant Professor of Music Theory at LSU. Her research interests
include voice leading in twentieth-century music, Russian and Soviet music, neo-Riemannian
theory, and analysis & performance. Her article on the music of Nicolai Roslavets is
forthcoming in Music Theory Spectrum. She organizes the Music Forum series at LSU.
JOEL BEVINGTON is currently pursuing a Masters degree in Choral Conducing
at LSU under the direction of Dr. Ken Fulton. He is also the organist and
choir master at Rayne United Methodist Church in New Orleans, Louisiana.
JOÃO PAULO CASAROTTI, a Brazilian pianist, received his Master of Music in Piano Performance
and Piano Pedagogy from Temple University and Master of Music in Piano Pedagogy from
the University of North Dakota. He earned a Bachelor of Music in Music Performance from
the University of Sao Paulo, Brazil, a Performance Diploma from the “Maestro Ernst Mahle”
Music School of Piracicaba-Brazil, and a Performance Certificate from the National Academy
of Music in Sofia–Bulgaria. He is an important researcher of Ernst Mahle’s works for piano
and is involved in a project to make them more accessible. He has presented lectures for the
Hawaii International Conference of Arts and Humanities, for the Temple University MTNA
chapter, the Northern Delaware Valley Chapter of the Music Teachers Association, and the
Pennsylvania State Conference of the Music Teachers Association. Currently, Casarotti is a full
time instructor at the Southern University, in Baton Rouge, where he teaches Harmony, Piano
Group Classes, Applied Piano Lessons and Piano Pedagogy. He is also a Doctorate in Musical
Arts in Piano Performance with minor in Organ Performance candidate at Louisiana State
University, under the instruction of Michael Gurt, Dr. Herdon Spillman, and Professor Jan Grimes.
From Caguas, Puerto Rico, saxophonist MARCOS D. COLÓN is currently a Doctor of
Music Arts candidate at Louisiana State University, where he holds the saxophone Teaching
Assistant position. He holds a Bachelor of Music degree from the Puerto Rico Conservatory
of Music and his Master of Music degree from the University of New Mexico. An active
performer and teacher, Colón is a member of the Iridium Quartet and has performed and
taught master classes at various universities such as University of Louisiana-Lafayette, Illinois
State University, and the University of Southern Mississippi. He also worked as visiting
assistant professor of saxophone at Louisiana State University during the fall semester of 2009.
translations ii
program notes i
Durch ein frommes Leben weisen,
Dass wir deine Kinder heißen.
through a devout life will show
that we are called your children.
**
ADELAIDE
Einsam wandelt dein Freund
Im Frühlingsgarten,
Mild vom lieblichen Zauberlicht umflossen,
Das durch wankende
Blüthenzweige zittert,
Adelaide!
Your friend wanders, lonely,
In the springtime garden,
Gently by the lovely, magical light,
Which trembles through
Swaying branches in blossom,
Adelaide!
In der spiegelnden Flut,
Im Schnee der Alpen,
In des sinkenden Tages Goldgewölke,
In Gefilde der Sterne
Strahlt dein Bildnis,
Adelaide!
Abendlüftchen im zarten
Laube flüstern,
Silberglöckchen des Mais im Grase säuseln,
Wellen rauschen und Nachtigallen flöten,
In the reflecting stream,
In the snow of the Alps,
In the golden clouds of the departing
days,
In the fields of the stars
Your image is radiating,
Adelaide!
Adelaide!
Evening breezes whisper
In the delicate foliage,
Silver bells of May rustle in the grass,
Waves murmur and nightingales
warble.
Adelaide!
Einst, o Wunder!
Entblüht auf meinem Grabe,
Eine Blume der Asche meines Herzens.
Deutlich schimmert
Auf jedem Purpurblättchen:
Adelaide!
Some day, o wonder!
A flower will bloom on my grave,
From the ashes of my heart,
On every purple petal
The name will shimmer clearly:
Adelaide!
Johann Kuhnau’s (1660-1722) cantatas do not fall under the “normative” models of the
cantatas of J.S. Bach. Rather than relying on independent musical sections like Bach’s
cantatas, Kuhnau’s works are through-composed. My analysis focuses on Kuhnau’s use
of openness and closure, in the form of half and full cadences, to delineate the text and
give continuity to the cantatas. In Gott, sei mir gnädig (1705), there is extensive use of the
rhetorical device of repetitio between the strings (here performed as a piano reduction) and
the singers. The urgency of the opening petition to God in the text is expressed in the choir’s
interruption of the orchestral prelude before its cadence—a device which would not have
been available to Bach, due to the formal delineations of his closed, independent movements.
During the alto solo (“Wasche mich wohl”), the music departs from the minor mode, only
to return again via diminished harmonies at affective words like “Missetat” (“iniquities”),
“Sünde” (“sin”), and “Übel” (“evil”). Tonight’s performance is of the first half of the cantata.
Frédéric Chopin (1810-1849) is too often remembered today as the oversensitive romantic
artist who died of tuberculosis at the early age of thirty-nine, the lover and friend of the female
writer George Sand, and the composer of the most intimate and innovative piano music ever
written, which have rightfully earned him the title “genius.” His Nocturne in D-flat major, Op.
27, No. 2 was completed in 1835. Although widely and continuously recorded, this favorite
nocturne has been interpreted with many extreme, and arguably, eccentric tempo variations,
and as a result, has left much bewilderment amongst its listeners. In 1874, the Swiss pianist
and pedagogue Mathis Lussy published a treatise advocating that a theory of musical expression
can be summarized into specific rules—rules that could convey a more accurate interpretation
of a composer’s intention (Green 1991). Through the application of Lussy’s theory, I have
applied three specific rules, accent métrique, accent rhythmique, and accent pathéthique, to assist
in formulating a more authentic tempo rendition of Chopin’s nocturne. My performance will
draw attention to those expressive notes which Lussy associates with jeopardizing or interfering
with tonality, meter, or rhythm. Specifically, those notes that obstruct the opening long flowing
melodic lines, and those unstable and chromatic passages that inundate the stormy development
section, building up to huge chordal sonorities, and finally climaxing with immense satisfaction.
L. van Beethoven (1770-1827) composed his Op. 109 Piano Sonata in 1820. Typical of
Beethoven’s late compositional style, the first movement of this sonata experiments with
the traditional conventions of sonata form. The stark contrast between the first and second
themes (tempo, texture, mood) makes the movement sound improvisatory rather than in
strict adherence to the traditional form. However, my analysis utilizing Hepokoski and Darcy’s
Sonata Theory model shows that this movement does indeed adhere to the conventional
form, albeit with some unconventional representations of the medial caesura, EEC, and
ESC. My performance will highlight these formal markers of the Hepokoski and Darcy
Sonata Theory model through careful use of time, tone, dynamics, and phrase shaping.
Franz Schubert (1797-1828) composed the Sonata in A minor for cello and piano in 1824
originally for a now obsolete instrument called the Arpeggione. The Arpeggione is often
described as a bowed guitar, with its six strings and fretted neck, but shares many similarities
with the predecessor to the cello, the viola da gamba. The sonata was published after Schubert’s
death and has been transcribed for a variety of modern instruments. My analysis of the first
program notes ii
movement is based on Hepokoski and Darcy’s approach to sonata form (Sonata Theory) as
outlined in several publications (1997 and 2006). I have focused on Schubert’s somewhat
unorthodox treatment of the thematic zones, and the zone defining cadences that Schubert
continually avoids. Themes within each zone are often repeated, elaborated, and perfect
authentic cadences are continually avoided. Thematic zones are also differentiated by abrupt
changes of character and key, which I will highlight in my performance of this movement.
J. S. Bach (1685-1750) likely composed this sonata for flute and basso continuo around 1724,
during the time he held the position of Thomaskantor in Leipzig. This sonata is essentially effect
a duet between the flute and the left hand of the keyboard, the right hand being a realization
of the figured bass. My analysis of this second movement focuses on gestures prominent in
this movement and the sonata as a whole, such as the frequent “rebound” off of the downbeat
eighth rest, a rhythmic motive that unifies all four movements. Another recurring motive
is the arpeggiated triad, featured in the second movement’s passages of extended sequence.
My performance will highlight the contrapuntal interaction between the flute and continuo
bass line, especially the exchange of thematic ideas in various minor and major tonalities.
W. A. Mozart (1756-1791) composed Sonata for piano in D major, K. 576, in 1789. This
movement is in classic sonata-allegro form and presents the “trumpet call” theme to be
developed upon in the first two measures. The second contrasting theme, which is much more
melodically smooth, can be heard toward the end of the exposition and will continue to dialogue
with the first theme throughout the development. I will be demonstrating Mozart’s ingenious
construction of form by bringing out these contrasting thematic “kernels” as they enter and exit
playfully throughout the exposition, and undergo development through the end of the work.
Joseph Haydn (1732-1809) composed his Sonata No. 52 in E flat major, Hob XVI/52 in London
in 1794. The work was dedicated to Miss Theresa Jansen, a renowned London pianist and former
student of Clementi. This sonata was Haydn’s last piano sonata and is considered to be one of
his most demanding and virtuosistic works for the keyboard. The work has an interesting key
relationship among the movements. The second movement is in the key of E major, an uncommon
key since the first and second movements are in E-flat major. The first movement is written in a
sonata form with a grand opening in arppegiated chords contrasted by the second theme zone, a
humors character. Some of the virtuosistic devices found on this movement are: arpeggiated chords,
quick runs, parallel thirds, constant leaps and changing registers. The analysis of this first movement
is based on Hepokoski and Darcy’s sonata theory model in association with the study of movements
by the American piano pedagogue Dorothy Taubman. Due to the virtuostic character of the work,
it is important to include Taubman’s work, since it will offer the tools necessary for mastering the
work and consequently express the analytical and performance decisions made by the performer.
J. S. Bach (1685-1750) composed his six suites for unaccompanied violoncello around the year of
1720, by the time he was living in Cothën (Oxford Music Online). The prelude in D minor from BWV
1008 features very interesting harmonies, as well as a well-constructed counterpoint and dramatic
changes of range, which makes the piece very convincing. The prelude in D minor is constructed
upon the rhythm of a sarabande, which is considered as a noble dance in slow triple meter, with an
eccentric emphasis in the second beat. During my performance I will use dynamic changes, agogic
translations i
GOTT, SEI MIR GNÄDIG
Gott, sei mir gnäig nach deiner Güte,
und tilge meine Sünde
nach deiner großen Barmherzigkeit.
God, be gracious to me according to
your goodness,
and erase my sin
according to your great mercy.
Wasche mich wohl von meiner Missetat
und reinige mich von meiner Sünde.
Denn ich erkenne meine Missetat
und meine Sünde ist immer vor mir.
An dir allein hab ich gesündiget,
und Übel vor dir getan.
Auf daß du recht behaltest in deinem Worten
und rein bleibest, wenn du gerichtet wirst.
Wash me fully from my iniquities
and cleanse me from my sin.
For I know my iniquities,
and my sin is ever before me.
On you alone have I sinned,
and evil before you done.
You are justified in your words
and pure you remain in your judgment.
**
SE PIETA DI ME NON SENTI
Se pietà di me non senti,
giusto ciel, io morirò,
If you don’t feel pity for me,
Judicious heaven, I will die,
Tu da’ pace a’ miei tormenti,
o quest’alma spirerò.
You need to give peace to my torment,
Or this soul will expire.
**
CANTATA BWV 51
Mvt. 2: Recitative
Wir beten zu dem Tempel an,
Da Gottes Ehre wohnet,
Da dessen Treu,
So täglich neu,
Mit lauter Segen lohnet.
Wir preisen, was er an uns hat getan.
Muss gleich der schwache Mund
von seinen Wundern lalen,
So kann ein schlechtes Lob
ihm dennoch wohlgefallen.
We pray at the temple
where God’s honor dwells,
where his faithfulness
that is renewed every day
Rewards us with unmixed blessing.
We praise what he has done for us.
Even if our weak mouths
have to babble about his wonders,
yet imperfect praise
can still please him.
Mvt. 3: Aria
Höchster, mache deine Güte
Ferner alle Morgen neu.
So soll vor die Vatertreu
Auch ein dankbares Gemüte
Most High God, make your goodness
new every morning from now on.
Then to your fatherly love
a thankful spirit in us in turn
program notes iii
program notes iii
inflections and changes in articulation in order to underline the different phrases and harmonies.
inflections and changes in articulation in order to underline the different phrases and harmonies.
G. F. Handel (1683-1751) composed his renowned three-act opera-seria, Giulio Cesare in Egitto in
1724. Handel’s friend, Nicola Haym (1678-1729) wrote the Italian libretto. The story embodies
true operatic character dealing with death, vengeance, secrecy, and love. Cleopatra sings the da capo
aria, Se pietà di me non senti in act two, scene eight, when she over hears that Cesare died while
trying to escape an assassination plot. She pities over her lost lover. I have analyzed this da capo aria
according to Hatten’s stylistic types and strategic functions of musical gesture; in the accompaniment
the pianto gesture of a falling melodic three note sigh is evident through out. Moreover, I have
studied the characters embodiment of emotional disability in this aria; Cleopatra’s chromatic
rising and falling melodic line represents her characters mental instability over the loss of her lover.
G. F. Handel (1683-1751) composed his renowned three-act opera-seria, Giulio Cesare in Egitto in
1724. Handel’s friend, Nicola Haym (1678-1729) wrote the Italian libretto. The story embodies
true operatic character dealing with death, vengeance, secrecy, and love. Cleopatra sings the da capo
aria, Se pietà di me non senti in act two, scene eight, when she over hears that Cesare died while
trying to escape an assassination plot. She pities over her lost lover. I have analyzed this da capo aria
according to Hatten’s stylistic types and strategic functions of musical gesture; in the accompaniment
the pianto gesture of a falling melodic three note sigh is evident through out. Moreover, I have
studied the characters embodiment of emotional disability in this aria; Cleopatra’s chromatic
rising and falling melodic line represents her characters mental instability over the loss of her lover.
J.S. Bach (1685-1750) wrote this solo cantata in 1730, during a period in his Leipzig career when
his choral forces and instrumental resources were scarce and problematic, as Bach himself detailed in
his “Entwurff,” written less than month beforehand, to the town council. The cantata was performed
on the 15th Sunday after Trinity, but Bach indicated that its use was suitable for any time. The
full cantata consists of four movements, ending with a florid “Allelujah,” and the orchestration
includes a virtuoso trumpet part in the first and last movements. The original instrumentation
calls for violins, viola and continuo on the first part of the recitative and continuo alone for the
second part of the recitative and throughout the aria. In this performance, we will substitute
piano to play for the strings and continuo. I used an historical Baroque analysis (Burmeister,
Scheibe, Mattheson, and other writers) to identify the rhetorical gestures and apply the ideas of
Affektenlehre to interpret this piece. We will perform the inner movements of the cantata, the first
being one of Bach’s most expressive recitatives, the second half of which features a jagged, uneven
vocal line to indicate a broken, stuttering mouth only capable of imperfect praise. The aria that
follows is a lyrical prayer, which is marked by exclamatory calls to God and weaving coloratura.
J.S. Bach (1685-1750) wrote this solo cantata in 1730, during a period in his Leipzig career when
his choral forces and instrumental resources were scarce and problematic, as Bach himself detailed in
his “Entwurff,” written less than month beforehand, to the town council. The cantata was performed
on the 15th Sunday after Trinity, but Bach indicated that its use was suitable for any time. The
full cantata consists of four movements, ending with a florid “Allelujah,” and the orchestration
includes a virtuoso trumpet part in the first and last movements. The original instrumentation
calls for violins, viola and continuo on the first part of the recitative and continuo alone for the
second part of the recitative and throughout the aria. In this performance, we will substitute
piano to play for the strings and continuo. I used an historical Baroque analysis (Burmeister,
Scheibe, Mattheson, and other writers) to identify the rhetorical gestures and apply the ideas of
Affektenlehre to interpret this piece. We will perform the inner movements of the cantata, the first
being one of Bach’s most expressive recitatives, the second half of which features a jagged, uneven
vocal line to indicate a broken, stuttering mouth only capable of imperfect praise. The aria that
follows is a lyrical prayer, which is marked by exclamatory calls to God and weaving coloratura.
Alexander Scriabin (1872-1915) composed the Nocturne for the Left Hand, Op. 9, in 1894,
after having injured his right hand through excessive practice of Liszt and Balakirev’s virtuosic
piano compositions. My analysis is primarily concerned with underlying narratives of disability
in the Nocturne as expressed through concepts of balance and imbalance (Straus 2006).
Although appearing as a formally balanced ternary structure to the listener, the performer
must confront a disconcerting sense of imbalance as the left hand undertakes musical material
typically divided between two hands, attempting to conceal the disability. Yet, in the agitated
chromatic middle section, the left hand must navigate large leaps and dense chordal texture,
expressing a struggle against bodily limits. The cadenza material following this emotional
outburst and returning in the coda conveys the theoretical concept of transcendence of
bodily limits (Howe 2009) as its ultimate musical conclusion, as the left hand undertakes
virtuoso cadenza passagework typically assigned to the right hand, in the upper register.
Alexander Scriabin (1872-1915) composed the Nocturne for the Left Hand, Op. 9, in 1894,
after having injured his right hand through excessive practice of Liszt and Balakirev’s virtuosic
piano compositions. My analysis is primarily concerned with underlying narratives of disability
in the Nocturne as expressed through concepts of balance and imbalance (Straus 2006).
Although appearing as a formally balanced ternary structure to the listener, the performer
must confront a disconcerting sense of imbalance as the left hand undertakes musical material
typically divided between two hands, attempting to conceal the disability. Yet, in the agitated
chromatic middle section, the left hand must navigate large leaps and dense chordal texture,
expressing a struggle against bodily limits. The cadenza material following this emotional
outburst and returning in the coda conveys the theoretical concept of transcendence of
bodily limits (Howe 2009) as its ultimate musical conclusion, as the left hand undertakes
virtuoso cadenza passagework typically assigned to the right hand, in the upper register.
The Six Sonatas and Partitas for Violin Solo (1720) by J.S. Bach (1685-1750) stands as one of the
most revered and important works in the violin repertoire. Partita no. 1 in B minor is a unique set
of four dance movements and their double, harmonically corresponding variation with the note
values halved. My focus is on the Corrente and its double, and how the prominence of syncopation,
hemiola, and tempo affects phrasal structures, and ultimately, the performance. Although the
The Six Sonatas and Partitas for Violin Solo (1720) by J.S. Bach (1685-1750) stands as one of the
most revered and important works in the violin repertoire. Partita no. 1 in B minor is a unique set
of four dance movements and their double, harmonically corresponding variation with the note
values halved. My focus is on the Corrente and its double, and how the prominence of syncopation,
hemiola, and tempo affects phrasal structures, and ultimately, the performance. Although the
program notes iv
program notes iv
movements are played in a “running” tempo, such fluidity is constantly interrupted. My performance
will show the hierarchy of offbeat emphases with various dynamics, articulations, and timbres.
movements are played in a “running” tempo, such fluidity is constantly interrupted. My performance
will show the hierarchy of offbeat emphases with various dynamics, articulations, and timbres.
L. van Beethoven (1770-1827) composed Adelaide, op. 46 in 1795. It is a German art song
written in Italian style, and its extended length makes it difficult to categorize. I have analyzed
this lied according to Raymond Monelle’s topic theory and showed how Beethoven set his music
on the variety of topics in Friedrich von Matthisson’s poetry. The song has three sections; the first
section contains some very lyrical melodies smooth arpeggio accompaniment; the second section
is slightly more dramatic than the first section, with some block chords in the accompaniment,
and the melody line is building the dramatic emotion to anticipate the lengthy final allegro
section. My performance will emphasize the various topics in the song, the distinctions in
different sections and how they affect the melodies both vocally and on the accompaniment.
L. van Beethoven (1770-1827) composed Adelaide, op. 46 in 1795. It is a German art song
written in Italian style, and its extended length makes it difficult to categorize. I have analyzed
this lied according to Raymond Monelle’s topic theory and showed how Beethoven set his music
on the variety of topics in Friedrich von Matthisson’s poetry. The song has three sections; the first
section contains some very lyrical melodies smooth arpeggio accompaniment; the second section
is slightly more dramatic than the first section, with some block chords in the accompaniment,
and the melody line is building the dramatic emotion to anticipate the lengthy final allegro
section. My performance will emphasize the various topics in the song, the distinctions in
different sections and how they affect the melodies both vocally and on the accompaniment.
J.S. Bach (1685-1750) composed the six Cello Suites around 1717-1723 during his tenure in
Cothen. This period displays one of the richest with works such as the Sonatas and Partitas for
Solo Violin, The Well-Tempered Clavier, Part 1, and the six Brandenburg Concertos. The earliest
surviving copyist manuscript of the Cello Suites is by Anna Magdalena Bach and dated from
1727-1730. I’ve analyzed the Prelude using Burmeister, Bernhard, and Schiebe rhetorical figures.
The opening gesture is based on scalar and chordal patterns that is an important material used
throughout the movement. The movement is driven by harmonic motion with some instances based
onfauxbourdon progressions, parallel sixth chords moving by second. My performance will outline
these connective gestures as well as emphasize the harmonic motion and drives toward cadences.
J.S. Bach (1685-1750) composed the six Cello Suites around 1717-1723 during his tenure in
Cothen. This period displays one of the richest with works such as the Sonatas and Partitas for
Solo Violin, The Well-Tempered Clavier, Part 1, and the six Brandenburg Concertos. The earliest
surviving copyist manuscript of the Cello Suites is by Anna Magdalena Bach and dated from
1727-1730. I’ve analyzed the Prelude using Burmeister, Bernhard, and Schiebe rhetorical figures.
The opening gesture is based on scalar and chordal patterns that is an important material used
throughout the movement. The movement is driven by harmonic motion with some instances based
onfauxbourdon progressions, parallel sixth chords moving by second. My performance will outline
these connective gestures as well as emphasize the harmonic motion and drives toward cadences.
Alexander Glazunov (1865-1936) composed his Concerto in E-flat major for Alto Saxophone and
String Orchestra, Op. 109 in 1934. Written for the saxophonist Sigurd M. Rascher, this piece
helped establish a serious repertoire for the instrument. The Concerto follows the structure of
three main movements performed without pause. Tonight’s program will only include the first
movement. This movement is divided in two sections, one in E-flat major and the other in G
minor, divided by a transition that begins in B-flat major. The first section presents the lyrical main
theme of the piece, while the transition varies the theme modulating through different keys. The
second section in G minor is more active, agitated, employing virtuosity on the saxophone part.
The tempo keeps getting faster until it reaches the end of the movement. Marcos’ performance
(alto saxophone) will pay special attention to the different moods employed in the two sections
by changing the use of articulations, dynamics and vibrato; and Alejandra’s performance
(piano) will emphasize the harmonic structure of the piece, presenting the main theme, and
highlighting the delicate counterpoint present in the entire movement in the orchestral part.
Alexander Glazunov (1865-1936) composed his Concerto in E-flat major for Alto Saxophone and
String Orchestra, Op. 109 in 1934. Written for the saxophonist Sigurd M. Rascher, this piece
helped establish a serious repertoire for the instrument. The Concerto follows the structure of
three main movements performed without pause. Tonight’s program will only include the first
movement. This movement is divided in two sections, one in E-flat major and the other in G
minor, divided by a transition that begins in B-flat major. The first section presents the lyrical main
theme of the piece, while the transition varies the theme modulating through different keys. The
second section in G minor is more active, agitated, employing virtuosity on the saxophone part.
The tempo keeps getting faster until it reaches the end of the movement. Marcos’ performance
(alto saxophone) will pay special attention to the different moods employed in the two sections
by changing the use of articulations, dynamics and vibrato; and Alejandra’s performance
(piano) will emphasize the harmonic structure of the piece, presenting the main theme, and
highlighting the delicate counterpoint present in the entire movement in the orchestral part.