A varied Student Recital. The program:
Beethoven: Violin Sonata No.7 in C minor, Op.30, No.2
Piotr Filochowski, violin; George Xiaoyuan Fu, piano
This is the second of three violin sonatas from Beethoven’s Opus 30 collection. The 31-year-old Beethoven worked on the sonata in 1801 and 1802, and dedicated the finished product to Tsar Alexander I of Russia. Our usual shorthand title “Violin Sonata” is a bit misleading here, because the composer called it a “sonata for pianoforte with violin accompaniment,” illustrating the importance of the piano part. Here, Beethoven confronts his increasing deafness with an early example of the “heroic” style of his middle period. The four movements are marked: Allegro con brio; Adagio cantabile; Scherzo: Allegro; and Finale: Allegro.
Fernando Sor: Duo for Guitars, Op.55, No.1
Jiyeon Kim, guitar; David Starobin, guitar
Fernando Sor (1778 – 1839) was a well-traveled and well-respected guitarist and composer in the Classical style. He unashamedly composed light works like these duos, which he noted, served to pay the bills. Light or no, Sor’s sense of inventiveness carries the day. The two movements of this work are marked Andante and Allegro.
Jolivet: Selections from “Serenade”
Alec Holcomb, guitar; Louis Xavier Barrette, guitar
The 20th-century French composer and theorist Andre Jolivet was fascinated with modern and early musical forms. He composed this serenade for the Duo team of Ida Presti and Alexandre Lagoya. The two movements we hear tonight are marked Andante maliconico and Con allegria.
Glinka: Trio Pathetique
Stanislav Chernyshev, clarinet; Catherine Chen, bassoon; George Xiaoyuan Fu, piano
We know Mikhail Glinka today chiefly for his opera Ruslan and Ludmila, and in general for his pioneering use of Russian musical idioms, influencing such successors as Rimsky Korsakov, Moussorgsky and Borodin. This is an early work, written in his early 20’s. The four movements are marked: Allegro moderato; Vivacissimo; Largo; and Allegro con spirito.
Music Word of the Week: Allegro
“‘Bright’, ‘lively’. The term was originally used as an expression mark rather than a tempo indication…but it now simply means ‘quick’. It is also used for a fast pace or movement, in sonata form, of a sonata, symphony, or similar multi-movement work.”
(from the Oxford Dictionary of Music)