ATCL Recital in Flute Programme Notes
Name: CHENG Lee Cand Candid idat atee Numb Number er:: 0028 00286: 6:10 1004 0493 9373 73 Examin Examinati ation: on: ATCL Recita Recitall in Flut Flutee Accom Accompan panist ist:: CHENG CHENG Gok Gok Yam, Scott Scott Date Date:: 24 May May 201 2011 1 (Tue (Tue)) 10:2 10:20a 0am m
Sonata in E Major for Flute and Piano BWV 1035 1750) I. Adagio ma non tanto II. Allegro III. Siciliano IV. IV. Allegro assai
Flute Concerto No. 1 in G Major, K. 313 1791) I. Allegro maestoso II. Adagio ma non troppo
Sonata for Flute and Piano 1963) I. Heiter bewegt
Johann Sebastian Bach (1685-
Wolfgang Amadeus Mozart (1756-
Paul Hindemith (1895-
II. III.
Sehr langsam Sehr lebhaft Marsch
PROGRAMME NOTES
Sonata in E Major for Flute and Piano BWV 1035 1750) I. Adagio ma non tanto II. Allegro III. Siciliano IV. IV. Allegro assai
Johann Sebastian Bach (1685-
J. S. Bach Bach compos composed ed a number number of flute flute compos compositi itions ons after after hearin hearing g Pierre Pierre-Ga -Gabri briel el Buffardin’s playing, who was a French flute virtuoso. Sonata in E major, which is one of his last three sonatas written for flute and basso continuo, completed before his first visit to Frederick the Great’s court. This sonata is dedicated to the King Frederick the Great’s valet Michael Fredersdorf, whom was an amateur flutist. This sonata is in a Baroque sonata Baroque sonata da chiesa (church sonata) style based on the order of “slow-fast-slow fast” in tempo for the four movements. The first movement, Adagio ma non tanto, tanto, is a short brief movement which contains twenty bars with a prelude character. The ornaments are all written in the flute part and the whole movement is like an introd introducti uction on of the sonata sonata.. Follow Following ing with with Allegro, Allegro, written in duple time and have contrasting dynamics which creates a lively mood. The third movement is Siciliano, with a change of key from E major to C# minor. Siciliano is a kind of old dance in Baroque period emphasizing in dotted rhythms. The flute and bass part melodies often imitate with each other. The last movement Allegro movement Allegro assai, assai, flourishes with a lot of fast fingerings and trills in the work, brings energy to the movement and ends with a bright rapid passage.
Flute Concerto No. 1 in G Major, K. 313 1791) I. Allegro maestoso II. Adagio ma non troppo
Wolfgang Amadeus Mozart (1756-
W. A. Mozart composed the Concerto in G Major in Mannheim, early in 1778, and was first first perfor performed med in March March 12 of the same year year. The piece piece was probably probably performe performed d in Mannheim Mannheim by b y the solo flutist flutist of the Mannheim Orchestra. Orchestra. During Mozart’s Mozart’s journey to Paris, Mozart was being introduced by the group of flutists in Mannheim to a wealthy Dutchman named Ferdinand de Jean. Although Mozart mentioned in the letter that he did not not like like the the flut flute, e, he was was stil stilll comp compli lied ed the the requ reques estt by him, him, who who was was actu actual ally ly an enthusiastic amateur flutist, to write this piece. This concerto consists of three movements, while only the first and second movement would be played in this recital. The majestic and vibrant first movement, Allegro movement, Allegro maestoso, is perfect in melodic shape, rhythmic interest, natural yet original harmonic colouring, form, and in the piquancy yet propriety of its instrumental treatment. The second movement is Adagio is Adagio ma non troppo, troppo, which means that it is to be played in a slow tempo, but not too much. The opening of the second movement is often known as resembling the famous theme from the Blue Danube Waltz by Johann Strauss, Jr., which was composed many years later.
Sonata for Flute and Piano 1963) I. Heiter bewegt II. Sehr langsam III. Sehr lebhaft Marsch
Paul Hindemith (1895-
Paul Hindemith is one of the most influential German musicians in the twentieth century. He contributed a lot in diverse aspects such as composition, teaching and conducting. His compositions range from sonatas for solo instrument to orchestral works. He wrote sonata for twenty-five orchestral instruments during 1935 to 1955. Sonata for Flute and Piano is his third repertoire written for flute, aiming to create Gebrauchsmusik - “Music to use” to the public for non-professional flutists yet still in high quality and modern style. Written in neo-classical style, his music is always tonal but non-diatonic. Instead of relying on a scale, its tonal centre shifts freely to different keys. The first first moveme movement nt Heiter bewegt (cheer (cheerful fully ly flowin flowing) g) is in classi classical cal sonata sonata form form influenced by his Germanic musicianship background. The melodies from flute and two hands piano part are equally important and interact through the whole movement. The second movement Sehr langsam (very slowly) slowly) contains contains a lot of arch-like arch-like melodic lines. There is a repeating session Ruhig session Ruhig which which is more quite and clam in the piece. The third movement Sehr lebhaft (very lebhaft (very lively) is in a humorous mood because of the combination of bouncing and chromatic melodic lines from the flute and piano parts. There is a Marsch (march) in the finale of the sonata. The beginning is a bell-striking sound melody from piano following a baroque improvisational style flute melody. The most significant characteristic of the last movement is triadic resolution, revealing Hindemith’s strong foundation in German style.
