Sulka, Emily

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Cedarville UniversityDigitalCommons@CedarvilleJunior and Senior Recitals Concert and Recital Programs3-17-2018Emily Sulka, Junior Flute RecitalEmily SulkaCedarville University, esulka@cedarville.eduFollow this and additional works at: http://digitalcommons.cedarville.edu/junior_and_senior_recitalsPart of the Music Performance CommonsThis Program is brought to you for free and open access byDigitalCommons@Cedarville, a service of the Centennial Library. It hasbeen accepted for inclusion in Junior and Senior Recitals by an authorizedadministrator of DigitalCommons@Cedarville. For more information,please contact digitalcommons@cedarville.edu.Recommended CitationSulka, Emily, "Emily Sulka, Junior Flute Recital" (2018). Junior and Senior Recitals. 243.http://digitalcommons.cedarville.edu/junior_and_senior_recitals/243 playing three notes that lure the children to him, and this is reflected in the firstthree notes of the second movement, now played on piccolo. In the poem, the Piperleads the children towards the River Weser before turning and leading them intothe distance, from where they never return. This second movement, then, illustratesthis perilous journey.TimelessA solo piece for piccolo, this piece lacks the piercing high notes and fast articulationthat often accompany piccolo parts. Commissioned in 1999 and first published in2002, the piece is integrated with elements of George Gershwin’s “EmbraceableYou,” whether that be melodic fragments or harmonic progressions. Benshoofcomments in his own program notes that “the story-line structure of the piece isvery simple; it is a romance with a little dancing in the middle.” With love in the air,it’s no surprise that the first and final sections feel “timeless.”Sonatine for Flute and PianoOriginally written in 1943, this Sonatine was commissioned by Claude Delvincourtas a test piece for the Paris Conservatory. And while this is Dutilleux’s most famousflute piece, and is one of the standards of the flute repertoire, he wasn’t fond of it. Ashe said in an interview, Delvincourt wanted young composers to “exploreinstrumental technique” and young instrumental students to “work on new scores,which Delvincourt wanted to be full of traps and technical difficulties.” In the sameinterview, Dutilleux stated that “I have never wanted it to be recorded in Francebecause it doesn’t yet sound really like my music. But I haven’t put any embargo onthat.” Even so, it’s easy to see why the piece is attractive to players and listenersalike, with colorful harmonies and melodies as well as technical challenges.Sonata in C Major, BWV 1033 . . . . . . Johann Sebastian Bach (1685–1750)I. Andante – PrestoII. AllegroIII. AdagioIV. Menuetto 1 & 2The Great Train Race . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ian Clarke (b. 1964)In Ireland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hamilton Harty (1879–1941)INTERMISSIONThe Pied Piper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gordon Jacob (1895–1984)I. The SpellII. March to the River WeserTimeless . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ken Benshoof (b. 1933)Sonatine for Flute and Piano . . . . . . . . . . . . . . Henri Dutilleux (1916–2013)Emily is a student of Lori Akins.This recital is presented in partial fulfillment of the Bachelor of Arts in Music degree.No flash photography, please. Please turn off all cell phones.Program NotesSonata in C Major, BWV 1033Originally written around 1736 but not published until 1867, this piece wasoriginally written for flute or recorder and basso continuo. Though usually attributedto J. S. Bach, the authorship is debated, and some believe that C. P. E. Bach is the truecomposer, since the earliest surviving copy was made by him. The first twomovements, according to some, are less mature than his other sonatas, and this maybe evidence that the piece had a different composer, or that it was simply writtenearlier in Bach’s career, perhaps as early as 1718. It draws from the chamber sonatastyle, and is from the Baroque period. The Great Train RaceSubtitled, “The Flute as You Don’t Usually Hear It,” this piece, originally published in1993, uses a myriad of extended techniques to invoke the image of a steam train. Funfor the performer as well as audiences, it allows the listener to see the range of whatthe flute can do apart from its normal soaring melodies. Extended techniques in thispiece include: multiphonics, singing and playing, lip bending, and explosiveharmonics, and all of these add to the image Clarke wants the audience to have intheir head while listening. Throughout, you can hear the train chugging along thetracks, the whistle blowing, and perhaps, the danger of going a little too fast. In IrelandHamilton Harty was originally from Ireland, and many of his compositions reflectedthe traditional sound of his homeland. This piece in particular is divided into twoparts, though not two movements. The first is labeled “Fantasy,” with a line ofdescription setting the scene: “In a Dublin street at dusk, two wandering streetmusicians are playing.” This first half of the piece is soaring and beautiful, and isfollowed by a short scherzando section that reminds one of an Irish reel. The secondhalf begins with the label “Vivace,” and is quick and lively, as the title suggests. Thelistener can certainly hear the difference between the two street musicians as theirmusic intertwines and transports them to Ireland.The Pied PiperThe Pied Piper of Hamelin is a character from a legend who was hired as a rat-catcher to lure rats out of the town of Hamelin with his magic pipe. When theresidents refused to pay, however, he lured their children instead. This piecespecifically seems to be tied to a poem by Robert Browning, written in 1842, whichmentions the River Weser. The first movement, “The Spell,” is haunting and beautiful,and is meant to capture the music the Piper played in order to put the children underhis spell. After the townspeople refuse to pay, Browning’s poem mentions the PiperContinued on the backSonata in C Major, BWV 1033 . . . . . . Johann Sebastian Bach (1685–1750)I. Andante – PrestoII. AllegroIII. AdagioIV. Menuetto 1 & 2The Great Train Race . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ian Clarke (b. 1964)In Ireland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hamilton Harty (1879–1941)INTERMISSIONThe Pied Piper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gordon Jacob (1895–1984)I. The SpellII. March to the River WeserTimeless . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ken Benshoof (b. 1933)Sonatine for Flute and Piano . . . . . . . . . . . . . . Henri Dutilleux (1916–2013)Emily is a student of Lori Akins.This recital is presented in partial fulfillment of the Bachelor of Arts in Music degree.No flash photography, please. Please turn off all cell phones.Program NotesSonata in C Major, BWV 1033Originally written around 1736 but not published until 1867, this piece wasoriginally written for flute or recorder and basso continuo. Though usually attributedto J. S. Bach, the authorship is debated, and some believe that C. P. E. Bach is the truecomposer, since the earliest surviving copy was made by him. The first twomovements, according to some, are less mature than his other sonatas, and this maybe evidence that the piece had a different composer, or that it was simply writtenearlier in Bach’s career, perhaps as early as 1718. It draws from the chamber sonatastyle, and is from the Baroque period. The Great Train RaceSubtitled, “The Flute as You Don’t Usually Hear It,” this piece, originally published in1993, uses a myriad of extended techniques to invoke the image of a steam train. Funfor the performer as well as audiences, it allows the listener to see the range of whatthe flute can do apart from its normal soaring melodies. Extended techniques in thispiece include: multiphonics, singing and playing, lip bending, and explosiveharmonics, and all of these add to the image Clarke wants the audience to have intheir head while listening. Throughout, you can hear the train chugging along thetracks, the whistle blowing, and perhaps, the danger of going a little too fast. In IrelandHamilton Harty was originally from Ireland, and many of his compositions reflectedthe traditional sound of his homeland. This piece in particular is divided into twoparts, though not two movements. The first is labeled “Fantasy,” with a line ofdescription setting the scene: “In a Dublin street at dusk, two wandering streetmusicians are playing.” This first half of the piece is soaring and beautiful, and isfollowed by a short scherzando section that reminds one of an Irish reel. The secondhalf begins with the label “Vivace,” and is quick and lively, as the title suggests. Thelistener can certainly hear the difference between the two street musicians as theirmusic intertwines and transports them to Ireland.The Pied PiperThe Pied Piper of Hamelin is a character from a legend who was hired as a rat-catcher to lure rats out of the town of Hamelin with his magic pipe. When theresidents refused to pay, however, he lured their children instead. This piecespecifically seems to be tied to a poem by Robert Browning, written in 1842, whichmentions the River Weser. The first movement, “The Spell,” is haunting and beautiful,and is meant to capture the music the Piper played in order to put the children underhis spell. After the townspeople refuse to pay, Browning’s poem mentions the PiperContinued on the back playing three notes that lure the children to him, and this is reflected in the firstthree notes of the second movement, now played on piccolo. In the poem, the Piperleads the children towards the River Weser before turning and leading them intothe distance, from where they never return. This second movement, then, illustratesthis perilous journey.TimelessA solo piece for piccolo, this piece lacks the piercing high notes and fast articulationthat often accompany piccolo parts. Commissioned in 1999 and first published in2002, the piece is integrated with elements of George Gershwin’s “EmbraceableYou,” whether that be melodic fragments or harmonic progressions. Benshoofcomments in his own program notes that “the story-line structure of the piece isvery simple; it is a romance with a little dancing in the middle.” With love in the air,it’s no surprise that the first and final sections feel “timeless.”Sonatine for Flute and PianoOriginally written in 1943, this Sonatine was commissioned by Claude Delvincourtas a test piece for the Paris Conservatory. And while this is Dutilleux’s most famousflute piece, and is one of the standards of the flute repertoire, he wasn’t fond of it. Ashe said in an interview, Delvincourt wanted young composers to “exploreinstrumental technique” and young instrumental students to “work on new scores,which Delvincourt wanted to be full of traps and technical difficulties.” In the sameinterview, Dutilleux stated that “I have never wanted it to be recorded in Francebecause it doesn’t yet sound really like my music. But I haven’t put any embargo onthat.” Even so, it’s easy to see why the piece is attractive to players and listenersalike, with colorful harmonies and melodies as well as technical challenges.

Emily Sulka, Junior Flute Recital

https://digitalcommons.cedarville.edu/cgi/viewcontent.cgi?article=1243&amp;context=junior_and_senior_recitals

Emily Sulka, Junior Flute Recital

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