 |
| General Information |  |
Facilities | |
Resources | |
Academic Programs | |
Contact / Search | ||
| ||||||||||
|
Cheryl Gobbetti-Hoffman Adjunct Assistant Professor of Music Flute Performance and Chamber Music Manhattan School of Music 222 Baird Hall tel: (716) 645-2765 x1257 |
 photo by Nancy Parisi |
|
MUS 481/581 - Flute Performance Audition and Scholarship Information Teaching Recitals: 2005, 2003, 2002, 2001, 2000, 1999, 1998, 1997 |
|
||
|
||
| Objectives: | 1) 2) 3) 4) 5) 1) 2) 3) 4) 5) 6) |
Increase
instrumental proficiency & contemporize technique. Heighten physical awareness of body mechanics requisite to efficient breath management, physical support, sound production and articulation, nuance, refinement, and technical dexterity. Inform interpretive sense & heighten awareness of possibilities.Develop critical thinking skills, personal discipline, organizational skills, creative-problem-solving approaches, mindful and self-directed/motivated learning, effective communication skills, awareness of community roles (leader, supporter, team-player, etc.). |
| Prepare
and successfully perform as soloist and chamber player Functioning flute maintained in good repair Metronome Access to a tuning machine Musical scores as assigned individually Music stand. |
||
Required:
|
||
Cheryl Gobbetti Hoffman & Friends February
8, 2005 @ 8:00 PM Cheryl Gobbetti Hoffman, flute Melodies passageres, Op. 27 Samuel
Barber (1910-1981) Puisque tout passé Un cygne Tombeau dans un parc Le clocher chante Depart None but the Lonely Flute (1991) Milton Babbitt (b.1916) Sonata, BWV 1030 B Minor Johann Sebastian Bach (1685-1750) Andante Largo e dolce Presto I N T E R M I S S I O N
Duets for Storab(1983) Sir Harrison Birtwistle (b.1934) Urlar Stark pastoral Fanfare with birds White Pastoral From the church of lies Crunluath Sonatine for flute and piano (1946) Pierre Boulez (b. 1925)
Samuel Barber distinguished himself as a melodist; he characterized his style as "born of what I feel…” . Barber’s voice relied deeply on melody, polyphony, and complex musical textures along with his unabashed affinity for Romantic thought and emotion. Melodies passageres, where Barber writes as an American in Paris, was first performed in 1952 and is dedicated to Francis Poulenc and Gerard Bernac. (They also recorded the work). His text is by the German poet Ranier Maria Rilke (1875-1926)—Poemes Francais, first published in 1935. For many, the American composer Milton Babbitt is the present-day spiritual embodiment of Arnold Schoenberg’s serialism. Treating composition as a branch of mathematics, Mr. Babbitt works in numerical formulae toward calculations he then translates into musical notes. None but the Lonely Flute,written in 1991 for the flutist Dorothy Stone, celebrates the ‘alone-ness’ of a solo flute. Particles of Tschaikovsky’s Op. 6, No. 6 None but the Lonely Heart surface and subside in Babbitt’s characteristically jumping lines— curiously intense despite an intended levity. Johann Sebastian Bach’s Sonata BWV 1030 is the only flute sonata preserved in the composer’s own handwriting (in the key of g minor), and is thought to have been written during his Coethen years. Conceived for three equal voices—two voices are assigned the continuo with the flute taking the third—this sonata is a true work of chamber music. In the opening Andante, all voices interact in constant dialogue. The second movement (Largo e dolce) is an accompanied tune—the melody here has been thoroughly worked out by the composer, therefore calling for little ornamentation on the player’s part. The fugue in the subsequent Presto movement relates thematically to the closing gigue in 12/16 time. “From 1975 to 1983 I lived in the Hebridean island of Raasay. On the ordinance map survey the name of Storab appears three times: Loch Storab, Storab’s Burn and Storab’s grave.” writes Sir Harrison Birtwistle in a preface to Duets for Storab written for two flutes. “Legend has it that Storab, a Viking prince, was shipwrecked and sought refuge on the island. The islanders, being hostile, chased him to the loch where he swam to the island in the middle. The islanders, who couldn’t swim (which is mainy true today) drained the loch and chased him down the burn, killing him where he is buried. These pieces are the last music I completed there.” Urlar, pronounced ‘oorla’, means ground as in earth or ground bass—the basic unornamented melody of a pibroch in Highland piping tradition. From the Church of Lies is Eaglise Breige in Gaelic: a large fallen slab of rock in the sea on the north-east coast of Raasay. Crunluath, pronounced ‘croonlua’, is the last section of a pibroch. Pierre Boulez’s Sonatine for flute and piano holds a unique position among this celebrated French composer’s late 1940s compositions, due to its extensive commentary on his personal explorations at the time. (As a young man, Boulez was regarded by many as the ‘enfant terrible’ of his generation.) Preoccupied with Messiaen’s rhythms, Webern’s style of developing musical cells, and Schoenberg’s formal organization of his serialist workings, Boulez wrote the Sonatine for flute and piano in 1946 at the suggestion of fellow countryman Jean-Pierre Rampal. Its three movements are played without break: a short introduction precedes Rapide, Tres modere, and Scherzando—with a final Rapide recapitulating the preceding sections. Boulez’s instrumental writing is highly virtuosic in its character indications, dynamic challenges, and technical demands. (It has been said that digging into this music is like slaying a lion.) Felicitous
Discord Program: Giacinto
Scelsi (1905-1988) Pwyll (1954) for solo flute intermission Elliott Carter (b.1908) Enchanted Preludes (1988) for flute and violoncello Sergei Prokofiev
(1891-1953) Sonata in D Major for flute and piano, Op.94 (1942)
Cheryl Gobbetti Hoffman & Friends Program: HINDEMITH
(1895-1963) Eight Pieces for flute alone VARESE (1883-1965)
Density 21.5 COUPERIN (1668-1733) (arr. Fancher) Duo in G major for flute and
soprano saxophone intermission SCELSI (1905-1988)
Hyxos for alto flute and percussion TAKEMITSU
(1930-1996) Voice for solo flutist Cheryl Gobbetti Hoffman & Friends
: "TRICKS & TREATS" "Gather together as the moon goes down, before grasses wither to the song of shivering birds: FLAUTINA, an enchanting flute-spirit in human costume, bewitches & beguiles center-stage. Masked shadow voices in mirror image play alongside eloquent and capricious street musicians; the evening's tricks culminate in a haunting and demonic unleashing of intensity, emotional energy and technical display. Come in costume to beg post-concert treats!" AN IDYLL FOR THE MISBEGOTTEN George Crumb
10:00 FLAUTINA Karlheinz Stockhausen 6-7:00 MASQUE for two flutists Toru Takemitsu
9:00 CHOROS No. 2 for flute & soprano saxophone
Hector Villa-Lobos 3:00 BACHIANA BRASILIEIRAS No.
6 for flute & bassoon Hector Villa-Lobos 9:30 CAPRICE OP.1, No. 24 for solo flute Nicolo
Paganini 5:00 SONATA FOR FLUTE AND PIANO, Op.23 Lowell
Liebermann 13:30 Faculty Recital Series - "VOICE: ancient voices in contemporary settings for solo flute." CHERYL GOBBETTI-HOFFMAN, flutist Sunday, October 1, 2000 Slee Recital Hall @ 3:00 PM PROGRAM: ECHOLALIA VOICE TROIS PIECES CASSANDRA'S DREAM SONG FIVE INCANTATIONS A - to welcome the negotiators and in order
that the meeting be peaceful VERMONT COUNTERPOINT TEACHING RECITAL & PROGRAM 1999 "Transverse Reflections , Flute Voice in the 20th Century ", is an informance program designed to summarize inspiration and innovation at play in the realm of flute performance throughout the 20th Century. The flute, a simple tube that seems to magically transform life's very breath into a force of nature (considered "too exciting" by Aristotle and his contemporaries), enjoys "a fruitful and mutually advantageous relationship with the new music' its wide range of timbre, dynamics and articulation combined with extraordinary precision and agility has suited it perfectly to the purposes of composers exploring the frontiers of musical language and thought; composers, in turn, have created a challenging new literature for the instrument expanding its resources in directions undreamed of only a very short time ago " -Harvey Sollberger, contemporary flutist & composer. In the words of Pierre Boulez, modern music was "awakened" by Claude Debussy with his orchestral Prelude to the Afternoon of a Faun (1894). As a solitary flute voice emerges from a hushed and powerful silence housing a symbolic musical impression of a faun dreaming we encounter a concentration of diverse emotions: dreamy idleness, good humor, speculative lust, Debussy writes: "I have found a technique which strikes me as fairly new (don't laugh), that is silence." He had found that music could be precisely imagined yet remain fluid and unfettered by rules imposed by the conventions of the day. French-born American Edgard Varèse stood tradition on its head and sowed the seeds of a new consciousness in 1936 with his Density 21.5, a solo flute piece composed at the request of fellow Franco-American compatriot and leading American flutist of the day George Barrere, inaugurating a newly minted platinum flute at the New York World's Fair. Varese introduced striking percussive effects and exploited timbre and register - the reconception of the notion of flute voice had begun. Luciano Berio carried the torch as he introduced perhaps the first multiphonic in 1958 in his glittering and expressive flute solo Sequenza I, pioneering also in its use of aleatoric or proportional (rather than metered) notation. The performer is now invited to take on a more 'active' role. (His demanding and inventive Sequenza III, written for and performed by his wife Cathy Berberian, inspired Eolia, a rather recent work, 1984, by Philippe Hurel. Here the flutist and his/her voice interact in soundplay.) George Crumb's evocative Voice of the Whale conceived for amplified flute, cello and piano (1969) capitalizes on the flute's ability to sing and play simultaneously. Amplified sound and altered space (darkened hall awash in blue light) further set the stage for Crumb's theatrical attempt to recreate the haunting submarine singing of hump backed whales; to enhance the theater aspect and strengthen his music's emotional impact Crumb asks the three players to don masks. In the 1951 Le Merle Noir (the blackbird) Messiaen makes faithful transcription of blackbird's song and then integrates it into a musical language uniquely his own. Historically the natural first choice for many a musical "bird" character, the flute proved the obvious 'voice of choice' for Messiaen's virtuoso display. Albert Roussel (taught Varèse) and Andre Jolivet (strongly affected by Varèse) were adventurous travelers, influenced by the myths and musics of indigenous peoples encountered along the way (as was, again - Debussy). The explorations of 20th Century pioneers have brought us closer to our roots in the global community - the sounds of lost chords resonate in the cavernous recesses of our souls. Music has the power to take us beyond the wisdom our words remember and transport us to the ancients and expressions of the human experience predating speech. The flute holds a hallowed place in most ancient cultures, prominent in ritual songs and dances as well as in folk and art music. Joueurs de Flute (1924) and Chant de Linos (1944) play with these varied voices, translating visual and verbal imagery into precise musical terms. 20th Century composers demonstrate a special interest in the combination of flute and tape. The timbre of the flute associates particularly well with electronic sounds; the tensions inherent in the live/tape performing situation add a new dimension to the traditional virtuoso role of the soloist. Mario Davidovsky's Synchronisms - recognized as significant contributions to literature of this medium - began in 1962 with the ground-breaking Synchronisms No. 1 for solo flute and tape. Still leading in today's musical circles is Pierre Boulez, whose now famous phrase "musical delirium" proves particularly useful as a starting point for discussion and examination of his compositional style and personal aesthetics. "Delirium" speaks to the deep 'humanism' in Boulez's work - it directs the listener's attention to to the unique inflections of the composer's voice. "Organization" speaks to the effort to exteriorize expression in universal terms, instructing one to search out the logic in the composer's workings. Boulez (who once sat in Messiaen's harmony class) is as sincerely devoted to the performance of 20th Century music (including that of Debussy and Messiaen) as he is to its creation. He adheres to an analytical clarity in sound production, and believes each and every note contributes importantly to the score. His Sonatine for flute & piano, one of his earliest published compositions, is dated 1946. It displays a firm foundation in linear melodic thinking albeit Boulez's evolved melodic manner, characterized by wide-range and flexibility. Ultimately, a new configuration of attitudes with regard to the flute have arisen in response to the need created by today's music for enormously expanded skills and extended technique. Many of these developments reflect an increasing awareness of the musics and instrumental techniques of non-Western people. Today's flute and its players are required to move from their previous limited, specialist orientation to a more generalist and all-around creative-problem-solving approach requisite to successful assimilation of the wide ranging information and myriad possibilities inherent to the music of our present. We flutists find ourselves playing the "Other Flute" envisioned by former UB Creative Associate Robert Dick - physically identical to flutes of old, yet far richer thanks to the realm of hitherto unexplored dimensions that lie only a dream's breath away. In Robert's words - "Look out" ! Faculty Recital Series - ' the solo
flute ' - 'me, myself, a sigh ' ACHT STUCKE (1927) ITINERANT, in memory of Isamu Noguchi ,'(1989) ECHOLALIA (1985) CINQ INCANTATIONS (1936) CAPRICE No. 5 in a minor : agitato PARTITA in a minor , BWV 1013 QUODLIBETUDES (1988) TEACHING RECITAL & PROGRAM 1997 Faculty Recital Series in Slee Hall
George Frederic Handel lived most of his adult life in London; the flute was very much in vogue amongst the wealthy classes of his day. Ever sensitive to marketplace demands, Handel composed the elegant Opus 1 Sonatas within the grasp of the talented amateur. The Sonata in F Major, Op.1, No.1 material was expanded and became the basis for his Organ Concerto in F Major, Op.4, No.5. (It is said that Handel had a remarkable irritability of nerves, and could not bear to hear instruments tuning; therefore, this was always done before he arrived at the theater for an evening,'s performance. We bow to this tradition.) Debla denotes one form of so-called 'canto grande', thought to be the purest manifestation of Andalusian folk melody - a complex form of song closely linked to the mysterious origins of folklore in Southern Spain. Its salient characteristics: it is sung completely unaccompanied; extremely slow, static sections are followed by highly rhythmic and intense sections; the singer beats out the rhythm by clapping in contrast to his/her vocal line at the climax; the music makes use of quarter-tone intervals. Spanish composer, Cristobal Halffter, based his Debla on certain aspects and characteristics of this form of Andalusian folksong in composing this work for his daughter, Maria, to perform at the Montepulciano Festival in 1980. Robert Schumann, a central figure in musical Romanticism, originally composed the Three Romances, Op.94, for oboe. Written in 1849, a prolific period for the composer toward the end of his Dresden days, these Romances reflect Schumann,'s emphasis on self-expression and lyricism. '"The beginning of the 19th Century heralded a period of artistic decadence for the flute, with virtuoso players of the day favouring a pretentious 'sound and fury' style which began with Tulou and ended with DEMERSSEMAN. TO this school of playing we owe countless grand concertos and brilliant solos. Fantasias with variations and pot-pourris of opera melodies were all the rage, and flute music became merely an excuse for idle twitterings and tasteless gimmicks,'" 'La Flute', Encyclopedie de la Musique. Jules August Demersseman was a noted flute virtuoso note for some of the best of the aforementioned; the Variations on Carnival in Venice exploit the theme of Tintje's aria from Reinhard Kaiser's opera of the same name first performed in Hamburg in 1707. It is said the Low German songs from this opera became so popular they were sold to great profit by venders working the streets. According to the score, Francis Poulenc's Sonata for Flute & Piano was composed at the Hotel Majestic in Cannes between December 1956 and March 1957. It is dedicated to the memory of Emma Sprague Coolidge, a noted patron of the Arts, and illustrates well his mastery of melody. Poulenc kept current; his standing in the contemporary world mattered to him. In a letter of 1942 he defines himself: "I know perfectly well, I'm not one of those composers who have made innovations like Igor (Stravinsky), Ravel or Debussy, but I think there's room for new music which doesn't mind using other people's chords.'" November Sky
was composed in 1990-92 by David Felder, currently a Professor and Music
Department Chair at SUNY Buffalo who holds the Birge Cary Chair in Composition,
for flutist Rachel Rudich. The work is the third in the composer's "Crossfire"
series, a series of works featuring a virtuoso soloist and his electronically
altered image in both sonic and visual domains. In this work, NeXT computers
were used to process a huge library of flute archetypal materials made
by the soloist to create the four channels of computer-processed flute
sounds. The acoustic flute is the sole source. The work was commissioned
by the National Endowment for the Arts, and realized at the SUNY Buffalo
Computer Music Studios and the Banff Center. Rick Bidlack and Scott Thomas
assisted the composer in the realization of the computer portion of the
work. |
||
UB FLUTE STUDIO Announcements: UB Music Department Student Noon Recital Flute Students of Cheryl Gobbetti Hoffman Thursday, April 28, 2005 at 12:00 PM BAIRD RECITAL HALL
Program: Sonata in D major, Op. 94 Sergei Prokofieff IV. Allegro con brio (1891-1953) Chia-En Lee, flute Wing-Yin Wong, piano Partita in a minor, BWV 1013 Johann SebastianBach Sarabande (1685-1750) Courante Lauren Gorgol, flute Sonata for flute and piano Francis Poulenc 1. Allegro malinconico (1899-1963) 2. Cantilena 3. Presto giocoso Jonathan Rogers, flute Wing-Yin Wong, piano Voice for solo flute Toru Takemitsu ChungLin Lee, flute (1930-1996) Sonata in b minor, BWV 1030 Johann SebastianBach Andante Largo e dolce Presto Sabatino Scirri, flute David Hanner, piano |
||
|
About Buffalo Student Life Campus Maps College of Arts and Sciences Graduate Study @ UB |
Copyright University at Buffalo Music Department 2004. |
220 Baird Hall, Box 604700, |
