KEENE STATE

MUSIC DEPARTMENT

COLLEGE

PRESENTS
THE S ENIOR RECITAL S ERIES

Lauren Casey, flute

&
Jon Way, violin
FROM THE STUDIOS OF

PROFESSORS ROBIN MATATHIAS & MARCIA LEHNINGER

ASSISTED BY :

VLADIMIR ODINOKIKH , PIANO

ALUMNI RECITAL HALL

SUNDAY, NOVEMBER 1, 2015
3 PM

- PROGRAM Partita No. 2 in D minor, BWV 1004

J.S. Bach

I. Allemanda

(1685-1750)

III. Sarabanda
IV. Giga
Jon Way, violin
Concerto No. 2 in D Major, K. 314

W. A. Mozart

I. Allegro aperto

(1756-1791)

II. Andante ma non troppo

III. Allegro
Lauren Casey, flute
Violin Concerto No. 1 in G minor, Op. 26Max Bruch
I. Prelude

(1838-1920)

II. Adagio
Jon Way
Intermission

Sonatine pour Flute et Piano

Henri Dutilleux
(1916-2013)
Lauren Casey

Rondo from Serenade in D Major, K. 250

Wolfgang Amadeus Mozart

(1756-1791)

Jon Way

Winter Spirits

Katherine Hoover
(b. 1937)
Lauren Casey

9 Reports on the Heart

Jonathan Way

IX. Into the Light

(b. 1994)
Lauren Casey & Jon Way

This recital is presented in partial fulfillment of the requirements for the degree of
BACHELOR OF MUSIC IN EDUCATION
Audience members are reminded to turn off all electronic devices.
The unauthorized use of audio and video recording is prohibited in the Alumni Recital Hall.

- PROGRAM NOTES Johann Sebastian Bach (1685-1750) is considered to be one of the best Western
composers of all time. Bach was an exceptional violinist, although he is mainly known
for being an even better keyboardist. During his life he was a court organist at Weimar
where he served for fourteen years composing most of his organ music. Around 1717 he
left Weimar to become Kapellmeister in Cthen, where he served until 1723 when his
employer, the Prince of Anhalt-Cthen, dissolved the orchestra. It was during his time in
Cthen that Bach wrote some of his best known pieces such as the Brandenburg
Concertos, along with many other secular instrumental pieces of music, such as the six
unaccompanied violin sonatas and partitas. After this period, Bach was employed in
Leipzig at St. Thomas Church where he played organ for church services while also
teaching music at the Thomas School. While Bach was in Leipzig, he wrote five violin
concertos, including his famous double concerto to be performed by two violinists.
Bachs music was cataloged in the twentieth century by a scholar named Wolfgang
Schmieder. His Bach-Werke-Verzeichnis (BWV) catalogs Bachs music thematically, not
chronologically. For example, all of Bachs vocal pieces are cataloged from BWV 1 - 524,
while his organ pieces are cataloged BWV 525-771, even though some of his organ pieces
were composed before his vocal pieces and vice versa.
Bach composed his Six Sonatas and Partitas during his time in Cthen, between the years
of 1717 and 1720. Partita No. 2 in D minor is a dance suite. Dance suites originated in the
late-fourteenth century and developed over time to include five dances by the 1600s.
Each dance is composed in the style of different Renaissance court dances. Partita No. 2
includes the allemanda, corrente, sarabanda, giga, and ciaccona. These dances originate
from Germany, France, Spain, England, and Spain respectively. The allemanda was one
of the most popular renaissance and baroque dances. It is a dance of moderate tempo in
duple meter. Allemandes are in binary form, meaning they have two large sections that
repeat themselves. The dance was usually performed by two lines of couples holding
hands and walking three steps, followed by balancing on one foot. The sarabanda
originated in Central America and was popular in the Spanish colonies before coming to

Spain in the sixteenth and seventeenth centuries. The dance is in triple meter with an
emphasis on the second beat. Originally, the sarabanda was a very risqu dance only
performed by women. This changed when the dance spread throughout Europe and
introduced into courts. Bachs keyboard skills and violin skills are greatly demonstrated
in this movement as he fills it with chords and melodies to create the image of several
parts being played at the same time. The gigue is of British origin and is most often in
compound meter such as 6/8 or 9/8, and is very upbeat. The gigue is also normally in
binary form with two large repeated sections. Bach uses an interesting placement of
syncopation in the gigue movement. He upsets the established rhythm by accenting a
different rhythmic pattern later in each section.

Mozarts Concerto No. 2 in D Major was composed in 1778 for solo flute and orchestra,
and is a standard piece of flute repertoire today. Musicologists have proven that Mozart
reworked his Oboe Concerto in C Major into this Flute Concerto in D Major. However,
Mozart was very sensitive to the differences between the flute and the oboe throughout
this process, making it simple for listeners to praise the work as an original flute
concerto. The first movement holds true to its title and is very open, letting the flute
solo soar boldly over the accompaniment in a transparent fashion. An elegant love song
can be heard in movement two, making it difficult to believe that Mozart actually
disliked the flute as much as he claimed to in his writings. The final movement is a
lively and joyful representation of one of Mozarts most infectious tunes, Welche
Wonne, welche Lust, which he included in his opera The Abduction from the Seraglio in
1781. Each movement ends with a brief cadenza (virtuoso solo passage) composed by
Jean-Pierre Rampal, one of historys greatest flute players, and among the most recorded
flutists.

Max Bruch (1838-1920) was born in Cologne, Germany where he received his early
musical training. Bruch had a long career as a teacher, composer, and conductor. Bruch
composed his first symphony at the age of fourteen, winning him a scholarship to study

music in Cologne. He held many positions in his lifetime all across Germany. In his later
life, he was conductor of the Liverpool Philharmonic Society until he gained a position at
the Berlin Hochschule fr Musik until his retirement in 1910. His works include several
concertos, a few pieces for solo instruments and orchestra, and a few pieces based on
Hebrew melodies which often gave the false impression that Bruch was Jewish. Bruch is
often grouped with composers like Johannes Brahms as his style is considered to be
Romantic classicism. While Bruch was alive, he was often known for his choral
compositions. Today, Bruch is mostly known for his first violin concerto.
Bruch wrote three violin concertos. The first one, Violin Concerto No. 1 in G minor,
composed in 1866 and reworked in 1868, is considered to be one of the most popular
Romantic violin concertos. Bruch took a lot of compositional techniques from
Mendelssohns Violin Concerto in E minor, one of them being the linking of the first and
second movement. There is no break in the music between the first and second
movements of Bruchs violin concerto. This violin concerto was considered to be a
standard for violin repertoire since it was reworked in 1868. Joseph Joachim, a famous
violinist from the nineteenth century, said the piece was very violinistic after looking
over the score. The first movement is very virtuosic and contains many of fast runs in the
upper range of the violin. The introduction of the first movement is to be performed
feely, to be taken at the performers interpretation. The middle of the first movement
contains a very melodic, romantic line in the upper range of the violin. The second
movement is much slower and lyrical. Its full of colorful melodies and harmonies that
use a much warmer timbre of the violin than the first movement.

Henri Dutilleux was a French composer born into an artistic family and brought up
with intense musical training at the Douai and Paris Conservatories. Throughout his life
he held various positions, including, music producer for French Radio (1943) and
professor of composition at the cole Normale de Musique (1961-70). His fondness for
fluidity, intricacy, and symbolism was highly influenced by the works of Ravel, and later
by Bartk and Stravinsky. While his compositional output is not nearly as large as his

predecessors and inspirations, the high quality and originality of his works have won
international praise.
Sonatine for Flute, written in 1943, shows the influences of Ravel, Debussy, and Roussel in
this early work. In fact, Dutilleux retrospectively disowned this work and others because
of their uncharacteristic nature to his other music. However, despite his reservations, the
Sonatine remains a piece in the standard flute repertoire due to its challenging technical
demands, harmonic language, and sweeping melodies.

Wolfgang Amadeus Mozart (1756-1791) was born in Salzburg, Austria and began
learning music at an early age. Mozart was also a great violinist, and even though it
came second to the clavier, Mozart played violin from the age of six until he was about
twenty-four. Mozarts talents flourished at a young age and he had a celebrated
childhood. He wrote several pieces including three full operas by the age of fifteen. In
1773, Mozart was hired as assistant concert master to his father, and began composing
many of his symphonies, string quartets, and operas during this time. He composed his
five violin concertos in the following three years before turning his efforts to piano
concertos. In 1781, Mozart moved to Vienna as a freelance composer. He began taking on
pupils and performing in concerts. Mozart continued to compose a mass of works until
his early death at the age of 35. Mozart has his own set of catalog numbers similar to
Bach, known as the Kchel (K.) catalogue because it was originally created by Ludwig
von Kchel. Mozarts catalogue is chronological.
Mozarts Rondo from Serenade in D Major was first performed in 1776. The piece is often
referred to as the Haffner Serenade as Mozart composed it for his friend, Sigmund
Haffner, who commissioned the piece to be played before his sisters wedding. A
serenade is defined as an eighteenth century genre of instrumental music usually
performed at social gatherings or events. Rondo is the fourth of eight movements. The
second, third, and fourth movement of the serenade contain prominent violin solos,
although the fourth movement has been arranged to be a solo piece for violin by Fritz

Kreisler, a prominent violinist from the late-nineteenth and early-twentieth centuries.

Kreisler also composed the cadenzas, or the small, virtuosic unaccompanied parts where
the violinist is allowed to show off his or her talents. Since the piece is in rondo form, it
has a few prominent themes that return multiple times throughout the work. Listen to
the opening violin theme as it returns several times throughout the piece. The various
sections of the piece contrast each other nicely. The main rondo theme is fast and upbeat
and very light as the violinist must use a spiccato technique where the bow is bounced
lightly on the strings. The second section is a little more melodic and sweet, while the
third section is a little more dramatic. The piece is considered to be very flashy and
virtuosic due to its fast tempo.

Katherine Hoover was born in West Virginia in 1937 and currently resides in New York
where she remains an active composer, conductor, and flutist. Ms. Hoover earned her
Bachelors in Music Theory and Performers Certificate in flute from the Eastman School
of Music, and her Masters in Music Theory from the Manhattan School, where she
taught for many years. She is the recipient of many awards, including the National
Endowment Composers Fellowship and an Academy of Arts and Letters Academy
Award.

Five of her pieces have also won the National Flute Associations Newly

Published Music Competition.

Winter Spirits was composed in 1997, and draws its inspiration from Native American
music, as well as a picture by the marvelous artist, Maria Buchfink, that depicts a cloud
of kachinas (religious icons) and totem spirits rising from a Native Americans flute.
Some techniques used to create this image include unconventional trills and drastic
dynamic and tempo contrasts. Ms. Hoover considers the idea of the flute invoking
beneficial spirits a natural one. The flute has honored and invited the presence of such
spirits for countless ages.

Jonathan Way (b. 1994) has been studying music since he was a child. He began learning
guitar from his father around the age of five, but didnt pursue it until the age of ten
when he also began learning to play the violin and piano. He has studied music
education and music composition at Keene State College, graduating in 2016. Way has
performed in various ensembles including several orchestras, chamber groups,
community pit orchestras, and rock bands. He began composing in late high school
when he composed his first piece for string orchestra, Embers. His love for composition
increased as he began composing more in college and eventually added on the
composition major. Now, he has composed for various ensembles including string
quartet, brass quintet, woodwind quintet, choir, and other small groups. Way now hopes
to become a high school music teacher, while still maintaining a composing career.
9 Reports on the Heart is a set of pieces based on the video game Kingdom Hearts that was
released in 2002. The soundtrack to Kingdom Hearts was one of Ways inspirations to start
composing. 9 Reports on the Heart explains the journey one of the main characters has in
the game. The character, Riku, wants to set out and see other worlds. He is promised that
he can do so and be given immense amounts of power by turning to darkness. As he lets
darkness give him power, it soon changes him into someone hes not. He then has to
struggle to find his inner light and shed the darkness. The ninth movement, Into the
Light, is representative of the end of the game, when you find out the destination of the
game - Kingdom Hearts - is full of light, not darkness, and Riku finally pushes the
darkness out of himself. The piece itself slowly builds and builds, creating tension as we
approach the doors that enter Kingdom Hearts. The tension dissipates at the end with a
large drop of energy that shows that Rikus journey is not yet over.