Stevens, Kathleen

English

Ithaca College

Ithaca CollegeDigital Commons @ ICAll Concert & Recital Programs Concert & Recital Programs4-23-2010Junior Recital: Kathleen Stevens, violaKathleen StevensFollow this and additional works at: https://digitalcommons.ithaca.edu/music_programsPart of the Music CommonsThis Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted forinclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC.Recommended CitationStevens, Kathleen, "Junior Recital: Kathleen Stevens, viola" (2010). All Concert & Recital Programs. 4422.https://digitalcommons.ithaca.edu/music_programs/4422'SGHOCJ1 CJF MUSIC ( ) \ ,· ( \ JUNIOR RECITAL Kathleen Stevens, viola Joshua· Oxford, piano Assisted by: Amelia Baran, flute Hockett Family Recital Hall Friday, April 23, 2010 7:00 p.m. I PROGRAM Elegy, op. 44 (1893) Prelude, Recitatif et Variations, op. 3 (1928) INTERMISSION Romance (c. 1925) Sonata, op. 11 No. 4 (1919) Fantasie Thema mit V ariationen Finale (mit Variationen) Alexander Glazuno(~ (1865-1936) Maurice Durufle (1902-1986) ( Ralph Vaughan Williams (1872-1958) Paul Hindemith (1895-1963) Junior Recital presented in partial fulfillment for the degree Bachelor of Music in Performance. Kathleen is from the studio of Debra Moree. Photographic, video, and sound recording and/or transmitting devices are not permitted in the Whalen Center concert halls. Please turn off all cell phone ringtones. Program Notes The composers representing the four pieces of music to be heard in this recital also represent four .different countries and therefore four different styles of musical composition. Glazunov was a Russian r~)Jlantic, Durufle was a French impressionist, Vaughan Williams an \ Jglish composer, and Hindemith was German. However, they have more similarities than what may first be assumed. Glazunov and Durufle composed in a style late .in its development; Glazunov was considered old fashioned with his late Russian romantic music and Durufle was respectively the last French impressionist. All four composers' lives. overlapped so that each was at some point composing at a time when every other one was, too. With the exception of.possibly Vaughan Williams, the pieces 'on this program were composed ea:rly in each .composers' career; Elegy was written when Glazunov was 27, Durufle wrote his op. 3 at 26, and Hindemith was 24 when he wrote his op. 11 No. 4. Glazunov. wrote Elegy immediately after he had a creativ.e crisis from 18.90-1891 from which he emerged with a new maturity. The form is a simple ABA with the B section keeping the same rh~ythmic lilt established from the very first measures by the piano but in Eb Major to contrast the G minor A sections. Repetitive and simple, its beauty is in its song-like melodies, which reappears in all possible registers {the viola. Durufle was a pianist, organist, chorister, and Paris Conservatbry graduate. Known for his organ Suite op. 5 and his Requiem op. 9, Prelude, Recitatif et Variations is his only chamber music piece. Though obviously a composer of great proficiency, Durufle was one of the least prolific having composed only a dozen works. For him, the point of composition was in the process; rarely publishing and always altering what he wrote. Op. 3 is a masterful piece of music demonstrating the waves, gestures, and modal melodies found in the compositions of Ravel and. Debussy, but also has sections obviously influenced by Durufle's church music background. For example, it is the flute that first announces the chant-like theme heard against the soft hymn chords from the piano. Unfortunately, not much is known about Vaughan William's piece Romance as it was found with other published and undated works after his death. It is generally accepted that the piece was written for ~\le virtuoso violist Lionel Tetris for whom Vaughan Williams Jmposed his other great works for viola. This would place the piece around the same time as these compositions, around 1925 and 1934. The longest piece on the program, played with no breaks between movements, is Hindemith's atypical Sonata, op. 11 No. 4. The unusually tonal, melodic, flowing Fantasie has rich chords and intricate figurations in the piano, the viola using grace notes and trills. All of these techniques are uncharacteristic of Hindemith. Th.e theme is marked, "like a folksong," and similar to Durufle's theme, is fairly simple. However, the variations become more and morr adventurous harmonically and motivically, using whole-torte scales, \ polytonality, frequently changing time signatures, and invented key signatures (like that of F# and G#). However, the piece ends appropriately, using Hindemith's compositional design of a progression from simple tonality to increasingly complicated to back to simple, when it ends in epic octaves between the viola and piano. 

Junior Recital: Kathleen Stevens, viola

https://digitalcommons.ithaca.edu/cgi/viewcontent.cgi?article=5184&context=music_programs

Junior Recital: Kathleen Stevens, viola

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