PROGRAM NOTES

FREDRICH KUHLAU: Trio in G major, op. 119

 

Kuhlau (1786-18732) wrote so remarkably well for the flute that he was referred to as the “Beethoven of the flute” during his lifetime, yet, Kuhlau did not play the flute—he was a notable pianist (our young pianists of today are most familiar with Kuhlau through his sonatinas for piano). Perhaps the moniker easily imprinted on Kuhlau because he was responsible for introducing the works of Beethoven—whom he knew and admired—to Copenhagen audiences. Kuhlau’s experience in writing operas is evident in this Trio with its soaring operatic melodies.. Can you imagine how many more gems we would have if his house didn’t burn down with his unpublished manuscripts? 

 

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JAKE HEGGIE: Fury of Light

 

Jake Heggie is the celebrated American composer of the operas Dead Man Walking, Moby-Dick, Three Decembers, For a Look or a Touch, To Hell and Back, more than 250 art songs, song cycles, orchestral and chamber music. His works are produced internationally in major houses of the USA, Canada, Australia, Europe, South Africa and the UK. He is especially proud to work with young singers, pianists and composers at universities and festivals throughout North America. Upcoming are commissions for the Dallas Opera, Houston Grand Opera, Pacific Chorale, the Pittsburgh Symphony, Ravinia Festival, and Music of Remembrance, among others. He lives in San Francisco.

 

In Jake Heggie's words about FURY OF LIGHT:

Fury of Light was composed for Carol Wincenc in 2009 as part of her Ruby Anniversary Season, celebrating 40 years on the concert stage. The work is inspired by poet Mary Oliver’s “Sunrise” – a meditation of that timeless quest for happiness and truth that, in the past, led some people to be bound and burned at the stake, creating “an unforgettable fury of light.” Fury is a response to this poem: an exploration of its fire and essence. I was still in the midst of composing the opera Moby-Dick (libretto by Gene Scheer) when I wrote Fury. As a result, the musical language of the opera strongly influences the piece, and even a couple of tunes from the opera are woven in. The second movement is drawn from another opera Gene and I wrote, Three Decembers. The piece had its premiere as a three-movement work for Flute & piano at Merkin Hall, New York City on Nov. 9, 2009, premiered and performed by Carol Wincenc and myself. The following year, I reworked the piece, added another movement (“Meditation”) and orchestrated it to create a concerto. The Flute Concerto was first performed for a private audience at the National Flute Association Convention in Anaheim, CA on Aug. 14, 2010, conducted by Steven Byess. The concerto was given its official public premiere in 2011 by Carol Wincenc and the Boise Philharmonic, conducted by Robert Franz. Fury of Light was commissioned by Linda & Stuart Nelson and is dedicated to Carol Wincenc.

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FRANZ DOPPLER: Fantasy and Variations on Rigoletto

 

Franz Doppler and his younger brother, Karl, toured across Europe as a successful flute duo early in their careers. They each had very prominent careers aside from the duo, with Franz as principal flute at the Hofoper in in Vienna, and Karl the Kappellmeister of Stuttgart (the brothers also helped found the Hungarian Philharmonic Orchestra in 1853). Both brothers were composers, with Franz composing a significant output of works for flute. The piece you hear tonight is thought to have been a collaborative effort between the two. It was a common practice to take popular tunes (from operas and folk tunes of the time) and create arrangements. Verdi’s opera Rigoletto premiered in 1851 and the brothers toured with this flashy arrangement in the mid-1850s. Fun fact: Karl was left-handed so played the flute in a mirror image to Franz! 

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WOLFGANG AMADEUM MOZART: Selections from “The Magic Flute” for two flutes

 

1. Der Vogelfänger bin ich ja

2. Der Hölle Rache kocht in meinem Herzen

3. Ach, ich fühl’s, es ist verschwunden

4. Ein Mädchen oder Weibchen

 

"Der Vogelfänger bin ich ja" is one of the most beloved arias from Mozart's opera Die Zauberflöte (The Magic Flute). Sung by the character Papageno, a bird-catcher, this aria is cheerful and playful, reflecting Papageno’s carefree and lighthearted personality.

 

"Der Hölle Rache kocht in meinem Herzen" (Hell’s vengeance boils in my heart) is the dramatic and intense aria sung by the Queen of the Night. Known for its technical demands and emotional intensity, this piece is a tour de force in the operatic repertoire.

 

"Ach, ich fühl’s, es ist verschwunden" is a poignant aria sung by Pamina, expressing her sorrow and despair over the loss of love. This lyrical and heartfelt piece showcases Mozart's ability to convey deep emotion through music.

 

"Ein Mädchen oder Weibchen" is another aria sung by Papageno, reflecting his desire for a girl or a wife to share his life with. This aria is charming and humorous, filled with Papageno's characteristic warmth and simplicity.

 

In the flute duet version of these arias from The Magic Flute, the unique qualities of each piece are beautifully represented. The whimsical nature of "Der Vogelfänger bin ich ja" is captured through lively melodies and playful interactions between the flutes. "Der Hölle Rache kocht in meinem Herzen" retains its fierce and fiery emotions with rapid scales, arpeggios, and high-pitched notes, making it a thrilling experience. The lyrical and heartfelt "Ach, ich fühl’s, es ist verschwunden" is highlighted by beautiful, flowing melodies and tender harmonies, while "Ein Mädchen oder Weibchen" brings out the playful and lighthearted nature of Papageno's character through catchy melodies and rhythmic interplay. The flute duet arrangements provide a fresh and engaging perspective on these iconic arias, capturing the essence of the original while showcasing the expressive potential of the flute.

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FRANCIS POULENC: Improvisation No. 15 “L’hommage à Édith Piaf”

 

Poulenc (1899–1963), a major French pianist-composer of the early 20th century, wrote this ode to Edith Piaf without having ever met the iconic French songstress (but had heard her “sensual” La Vie on Rose on the American radio). Poulenc’s piano compositions were generally short in nature, focusing on novelettas, nocturnes, and character pieces; here, Poulenc uses the label “improvisations” to free himself of any ties to musical structures. Poulenc manages to capture the allure of Edith Piaf’s chanson in this intoxicating solo piano piece, with a flowing lyricism that easily transports us to a Parisian cafe, sitting and sipping an espresso next to a glistening Seine River, or, to a solo character strolling along the Seine in the nighttime, smiling at the night sky while thinking of their new amour. 

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PHILLIPPE GAUBERT: Nocturne et Allegro Scherzando

 

Philippe Gaubert (1879-1941) was a prominent French flutist, conductor, and composer, well-known for his contributions to the flute repertoire. His works are celebrated for their lyrical beauty, technical demands, and rich harmonies, reflecting the influence of the French Impressionist movement. 

 

Gaubert's "Nocturne" is a serene and atmospheric piece that exemplifies the composer's mastery in creating a dreamy and evocative soundscape. The nocturne begins with a gentle, lyrical melody, characterized by its flowing lines and expressive phrasing. The music captures the essence of a tranquil night, inviting listeners to immerse themselves in its peaceful and introspective mood. The harmonic language is rich and colorful, with subtle shifts that add depth and nuance to the melodic line. The piece showcases the flutist's ability to produce a warm, singing tone and to convey deep emotion through delicate nuances and phrasing.

 

Allegro Scherzando. In contrast, the "Allegro Scherzando" is lively and playful, providing a brilliant showcase for the flutist's technical prowess. The piece features rapid passages, light staccato articulations, and rhythmic vitality, creating an atmosphere of joy and exuberance. The music is characterized by its sparkling energy and spirited character, with playful dialogues between the flute and piano. Gaubert’s clever use of dynamics and articulation brings out the scherzando (joking) nature of the piece, making it an engaging and delightful work for both performers and audience. 

 

Together, they offer a captivating contrast, demonstrating Gaubert's versatility as a composer. The "Nocturne" enchants with its lyrical and meditative qualities, while the "Allegro Scherzando" dazzles with its technical brilliance and spirited charm. These pieces are a testament to Gaubert's skill in writing for the flute, combining expressive depth with virtuosic demands, and remain staples of the flute repertoire.

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YUKO UEBAYASHI: Au-delà du Temps (“Transcending Time”)

 

1. Night, distant light

2. Dancing light

3. White light

4. The rotating light in the dream

 

Born in Kyoto, Japan in 1958, composer Yuko Uebayashi moved to Paris 30 years later to continue her musical studies. Her compositions, seamlessly blending French impressionism and Japanese cinema music, evoke a transcendent, shimmering, and ethereal landscape. In Au-dela du Temps, the exchange of melodic passages between our two flutists may make it difficult to distinguish between who is playing if one were to take their eyes away from the performers (especially since our Rayo has been dubbed as a “protege” of Carol’s!). Carol has championed and recorded many of Uebayashi’s works, whom Uebayashi considers a deep influence in her compositions. As you listen to the music, we hope you’ll find fluidity between these four movements based on perception of light, the beautiful stained glass of the chapel, and an inner sense of peace. 
 

Au-delà du Temps was born from the inspiration and subsequent friendship with French flutist, conductor, and teacher Jean Ferrandis. Yuko Uebayashi was entranced by the subtle musicality of Ferrandis and pianist Emile Naoumoff, prompting her to compose this work. The title comes from a letter Uebayashi received from a friend describing the timeless feeling of days spent in Paris. The piece premiered in Paris in 2002, performed by flutists Jean Ferrandis and Kazunori Seo, and pianist Emile Naoumoff.

 

Movement I: La lumière lointaine de nuit (Night, Distant Light) evokes the image of a peaceful lakeside scene, with twinkling lights from boats and distant city lights. Uebayashi describes it as “Souls interplaying in exquisite silence,” capturing a sense of tranquility and distant illumination through its gentle, lyrical lines and serene harmonies. 

 

Movement II: La lumière dansante (Dancing Light) is described by Uebayashi as “I go up the stairs and enter a room filled with dazzling light: I see a blackboard in front of me and I write ‘the light’s dancing.” The playful and lively character of the music mirrors the dynamic and shimmering nature of light in motion. 

 

Movement III: La lumière blanche (White Light) Uebayashi describes this movement as “The path to the rising sun: It’s a realm of white light. I notice a beautiful monument in the distance being revealed by the half-light: It’s the start of a peaceful day.” The music is imbued with a sense of calm and clarity, reflecting the purity and serenity of white light. 

 

Movement IV: La lumière tournante (Revolving Light)

The composer writes: “Just before starting to compose the 4th movement, I found out about a boy that had lost his sight. I realized he would no longer have access to our world of light. It seemed impossible to me, the idea of continuing to compose the world of light. I nevertheless took up the composition again hoping that he could run with me, hand in hand, through his memories of light. Laughing and jumping, we run forever in the revolving rainbow-colored light.”