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Bassoon recitals Lapierda Sanmartin, Jose Lorenzo 1994

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BASSOON RECITALS  by  JOSE LORENZO LAPIEDRA SANMARTIN  Licenciado en Ciencias FIsicas, Universitat de València, 1988 TItulo de Profesor de Fagot, Conservatorio de Torrent, 1990  A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC in THE FACULTY OF GRADUATE STUDIES (School of Music)  We accept this thesis as conforming to the required standard  THE UNIVERSITY OF BRITISH COLUMBIA April 1994 ©  José Lorenzo Lapiedra SanmartIn,  1994  In presenting this thesis in partial fulfilment of the requirements for degree at the University of British Columbia, I agree that the Library freely available for reference and study. I further agree that permission copying of this thesis for scholarly purposes may be granted by the department  or  by  his  her  or  representatives.  It  is  understood  that  an advanced shall make it for extensive head of my copying  or  publication of this thesis for financial gain shall not be allowed without my written permission.  (Signature)  Department of  H  I  C  The University of British Columbia Vancouver, Canada  Date AprJ .2G  DE.6 (2/88)  ,  994  (kc’o (  4)  THE UNIVERSITY OF BRITISH COLUMBIA SCHOOL OF MUSIC Recital Hall Monday, April 26, 1993 8:00 p.m. MASTERS STUDENT RECITAL* LORENZO LAPIEDRA, BASSOON  Sonata for Bassoon and Cello K.V. 292 Allegro Andante Rondo Natalie Williams, cello Sonata for Bassoon and Piano (1947) Allegretto moderato Andante cantabile Allegretto giocoso Mariko Nisio, piano  Wolfgang Amadeus Mozart (1756-1791)  Romeo Cascanno (b. 1922)  Carl Maria von Weber (1786-1826)  Andante and Hungarian Rondo Op.35 Suzy Klukas, piano  -  INTERMISSION  -  Victor B runs (b. 1904)  Sonata for Bassoon and Piano Op. 20 Allegro non troppo Andante tranquillo Allegretto grazioso Allegro giocoso -  Suzy Klukas, piano Antonio Vivaldi (1678-1741)  Concerto in A minor RV. 497 Allegro molto Andante molto Allegro Christina Day, violin Sarah Westwick, violin Daniel Scholz, viola Natalie Williams, cello Franz Mehrfert, bass Winnie Kwok, harpsichord  *  In partial fulfillment of the requirements for the Master of Music degree with a major in Bassoon Performance.  Reception to follow in the Faculty Lounge.  1  THE UNIVERSITY OF BRITISH COLUMBIA SCHOOL OF MUSIC Recital Hall Monday, April 25th, 1994 8:00 p.m. MASTERS RECITAL* LORENZO LAPIEDRA, Bassoon  Michel Corrette (1709-1795)  Les Délices de Ia Solitude, Sonata VI Allegro Moderato Aria (Affetuoso) Giga (Allegro) Allan Thorpe, bassoon Leslie Taylor, harpsichord  Emil Hiobil (1901-1987)  Divertimento for Bassoon and Piano Cheryl Pauls, piano  Heitor Villa-Lobos (1887-1959)  Bachianas Brasileiras No. 6 Aria (Chôro) Fantasia Nicole Ortmann, flute  -  INTERMISSION  -  François Devienne (1759-1803)  Sonata in g minor, Op. 24, No. 5 Allegro con espressione Adagio Rondeau (Allegro) Leslie Wyber, piano  Ludwig van Beethoven (1770-1827)  Trio in G major, Wo 037 Allegro Adagio Thema andante con variazioni Nicole Ortmann,flute Leslie Wyber, piano  *  In partial fulfillment of the requirements for the Master of Music degree with a major in Bassoon performance.  Reception to follow in the Faculty lounge.  1  The music of Michel Corrette provides an extraordinarily broad view of ordinary light music in France during the eighteenth century, and his methods are a rich source of information about performance practice and music of the period. However, we know very little about his life. It is only from the titles pages of his works that we can trace his career. The Sonata, Lés Deuces de Ia Solitude, in D major was originally written for cello and cernbalo. Aria (Affetuoso), Giga It has the italian format: Allegro, (Allegro). One should note the italian passion of “affetuoso”, employed in the slow movement instead of the more fragile french song. Emil Hiobil studied philosophy at Prague University and composition under Kfika at the Prague Conservatory. At first, he followed the czech impressionism of Suk and Novak, but after World War II, he simplified both the form and expression of his work. Heitor Villa-Lobos has become the most celebrated brazilian composer of all time. After the death of his father in 1899, he determined to escape the medical career planned for him by his mother, and spent time playing (probably cello and guitar) with musical groups, the chôros, which performed and improvised in Rio’s cafes, Ofl Street corners, and at parties and weddings. Villa-Lobos achieved his personal forms and language in the great series of Chôros, of contapuntal nature in many passages, in which the imitation of the music of true chôros was only one element. What Villa-Lobos wished to achieve in the nine Bachianas Brasileiras (1930-1945) was a rarefied chôros, paying homage both to brazilian life as he saw it and to the greatest of his european predecessors, Bach. The first movement of Bachiana Brasileira No.6 even borrows the word chôro for its subtitle. François Devienne arrived in Paris at age 20 and was listed as a bassoonist in the Opera for the 1779-80 season. He was a prominent figure in the parisian music life, performing on both flute and bassoon and publishing his compositions. His works are important contributions to the literature of symphonie concertante, concerto and chamber music. The six sonatas Opus 24 for bassoon fit into a series which included similar sets of six sonatas for flute, oboe and clarinet. The Trio Concertante in G major for flute, bassoon and piano was written in Bonn, around 1783 and is assumed to be an early work of Beethoven. It was dedicated to a family of amateur musicians, whose daughter was one of Beethoven’s pupils. The initial Allegro is of vast dimensions and curious proportions. It bears witness to a certain imbalance which, probably due to the youth of the The exposition and makes it no less fascinating. composer, restatement are extremely long and rich in themselves and in relation to the development. The Adagio in g minor is interesting with harmonic surprises, unexpected modulations and remarkable leaps. There follows a Thema andante con variazioni, the most traditional movement of the three. There are seven variations of which the fourth is in g minor.  •  •  3  


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