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BACH Johann Sebastian

(1685 1750)

MOZART Wolfgang Amadeus

(1756 1791)

MENDELSSOHN Felix

(1809 1847)

French Suite No. 5 in G Major, BWV 816I. AllemandeII. CouranteIII. SarabandeIV. GavotteV. BourreVI. LoureVII. Gigue

Piano Sonata No. 8 in A minor, KV 310I. Allegro maestosoII. Andante cantabile con espressionIII. Presto

Rondo capriccioso, op.14

Please join me for my final recitalat Bowdoin College, an evening of music by Franz Liszt.

Tuesday 15 April 2014 at 7:30pm

Studzinski Recital Hall

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French Suite No. 5 in G Major, BWV 816

Johann Sebastian Bach

Born in 1685 in the German town of Eisenach, Johann Sebastian Bach is undoubtedly

the most prolific and celebrated member of a musical family. Trained as a musician from a

young age, he began his early career as an organist, with appointments in Arnstadt,

Mhlhausen, and Weimar. In 1717, following a brief imprisonment in Weimar after the

Duke Wilhelm Ernst refused to allow Bach to take his talents elsewhere, he finally moved to

the city of Kthen, where Bach blossomed as a composer.

In Kthen, Bach served as the Court Kapellmeister under the patronage of Leopold,Prince of Anhalt-Kthen. Though Bach himself was a devout Lutheran of the high liturgical

tradition, the prominent Pietism movement in the Calvinist court of Kthen emphasized less

liturgical music and more secular musical forms. Indeed, it was in Kthen where Bach

composed the six Brandenburg Concertos, sonatas and partitas for solo violin, the first

volume of the Well-Tempered Clavier, and in the early 1720s, five of the six French Suites.

The French Suites were part of the Klavierbchlein, a collection of pieces that Bach

compiled for his second wife, Anna Magdalena Wilcke, shortly after their wedding in 1722.

Bach himself never referred to these pieces as French Suites, but simply titled them Suites

pour le clavecin, or Suites for the Harpsichord; later musicians codified the title French Suites,

perhaps to distinguish these from the English Suites. The French Suites are more intimate in

nature, full of both spirit and graceful lyricism. As a product of courtly music, its purpose was

to charm and delight, intended to be played for a small audience of the nobility. The suites,

while not meant for dancing, comprise of various, traditional dance movements, each with its

own characteristic rhythm, tempo, and form of expression.

The French Suite No. 5 includes seven dance movements, each in binary form. Everydance has two definitive parts, in which the first section introduces a central motif that is

then repeated in the second section with variation or inversion. The suite opens with the

Allemande

, a German dance in a moderate tempo, followed by theCourante

, a graceful and

faster dance in contrapuntal form. While the courante was originally a French dance, Bach

wrote this courante in the Italian style. Then comes the Sarabande, a solemn and dignified

dance in the Spanish style. The elegant Gavotte, an English dance, is a lively movement with

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sorrowful minor key must necessarily move to the major key in the second theme, only to

modulate back to the minor. In this sense, while the sections in the major key may provide a

momentary emotional relief, the constant anticipation that the music will once again be

submerged under the great tide of grief and misery makes this piece even more tragic.

The foundation of the first movement (Allegro maestoso

) is the repeated use of

martial rhythms, scales, and arpeggios that grow more ridged and jagged as the movementprogresses. The exposition opens with a poignant first theme. Filled with dissonances and

dramatic dotted rhythms in the descending notes of the minor triad, this theme is

reminiscent of a symphonic tragic overture. The second theme, in C major, introduces a flow

of uninterrupted semiquavers, only to proceed to the dissonance and the extreme dotted

rhythms of the dramatic development. Finally, the underlying, march-like opening returns in

the recapitulation, as the movement ends firmly in A minor.

The second movement (Andante cantabile), written in F major, is an elaborately

ornamented aria where Mozarts true inner lyricism comes to the forefront. In this

monumental slow movement, the theme begins in a noble fashion with a passionate melody,

which he marks con espressione (with expression). This idyllic theme is, however, full of dissonant

phrases, where the development section erupts with a sense of restlessness and urgency from

the semiquaver triplets in the left hand that pushes the dark, underlying motif.

Finally, the last movement (Presto) returns to A minor, in a combination of the

maestoso pathos and the melodic lyricism of the preceding movements. With the exception of

a brief, dance-like, contrasting episode in the major key, this haunting and restless finale isfirmly in the minor. It unleashes an unrestrained and infernal energy that carries through to a

tragic conclusion.

In a sense, this piece represents a turning point in Mozarts life. Soon after, he decided

to permanently leave Salzburg and the court of the Prince-Archbishop to pursue an

independent career in Vienna, against the will of his father. He composed not for princely

commissions, but for himself and those who valued his talent. He staged his own concerts,

and for the remainder of his life, the instrument that truly defined his music and career was

that of the piano the most individualistic of all musical instruments.

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Rondo Capriccioso, op. 14Felix Mendelssohn-Bartholdy

The son of a banker and the grandson of the great Jewish philosopher Moses

Mendelssohn, Felix Mendelssohn-Bartholdy was born in Hamburg in 1809. Following the

French occupation of Hamburg in 1812, the Mendelssohn family moved to Berlin, whereyoung Felix became a pupil of the renowned German composer Carl Friedrich Zelter.

Baptized Lutheran in 1816 as a ticket of admission into European high society, young Felix

was undeniably brilliant and was gifted in everything as an organist, violinist, violist,

conductor, pianist, and composer. Indeed, Maestro Zelter, on occasions, even referred to the

young prodigy as a second Mozart.

Felixs father Abraham encouraged him to go abroad to launch his musical career, and

from 1829 to 1832, Felix toured all over Europe, as far north as Scotland and as far south asNaples. It was during this journey that Felix wrote the Rondo capriccioso op. 14, one of his

most well known works for solo piano.

Mendelssohns Rondo capricciosois really a product of two works: an introductory Andante

movement composed in 1830, and an E minor Presto movement that he had written two years

earlier. Composers as early as the late sixteenth century have used the term capriccio, an Italian

word that means whim or caprice, for pieces of music that are more fantastic or whimsical in

nature. The Rondo capricciosoof Mendelssohn is certainly full of the fabulous, elfin, and scherzoso

quality typical in a capriccio, but underlying that fantasy-like music is a formal, classical rondo

structure.

The piece begins with the lyricalAndante

, where the right hand maps the rising and

falling contours of the melody. In the end of the section, the melody becomes muffled, as if

falling into a deep state of sleep, only to awake in a fantastic world of a dream. Suddenly, the

Presto section begins with the first theme in an ethereal, fairy-like texture, echoing

Mendelssohns Overture to A Midsummer Nights Dream, which he composed earlier in 1826.

Beginning the first, fugal theme in a light, whimsical manner, it soon modulates to the tonicmajor key, only to return to the first, minor theme. As the reprise of the principal theme

resolves in a false cadence, the grand, syncopated octaves of the coda bring the work to a

ringing conclusion.

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For inexplicably curious reasons involving both the Mendelssohn and Bach families,

Felix Mendelssohn was a great proponent for the revival of the works of Johann Sebastian

Bach. Mendelssohns great aunt Sarah Itzig Levy (1761-1854) was an accomplished musician,

having studied the harpsichord with Bachs eldest son, Wilhelm Friedemann Bach. Her

appreciation for Bachs music led her to join the esteemed Berlin Singakademie, founded by

C.F.C. Fasch, and later led by Carl Zelter, Felix Mendelssohns Berlin teacher of seven years.Under Zelters tutelage, Felix received a solid foundation in eighteenth century music, and

the works of Bach had great influence on Mendelssohn. The fugue in the first theme of this

Rondo capricciosois one such example of his tribute to the great Baroque master.

~ Allen YuBrunswick, Maine

November 2013

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BOWDOIN CHAMBER CHOIRSaturday & Sunday, December 7 & 8 at 4:00pm

The Bowdoin Chapel

Robert K. Greenlee, director

The Chamber Choir will perform Scottish-themed music with guest fiddler Bonnie Rideout and pianist GeorgeLopez. Also on the program are works by Lili Boulanger, Lassus and Eric Whitacre.

BOWDOIN CHORUS: BLACK NATIVITY

Saturday & Sunday, December 7 & 8 at 7:30pm

Studzinski Recital Hall

Anthony Antolini 63, director

The Chorus will perform the Black Nativity, a retelling of the classic Christmas story with traditional carolssung in gospel style, created by Langston Hughes.

DANIEL LESSER 14, cello

Friday, December 13 at 7:30 pm

Studzinski Recital Hall

Experience the vigor and warmth of Rachmaninoffs Sonata for piano and cello, op. 19, along with the sterncharacter of the Prelude to Bachs Fifth Cello Suite.

FESTIVAL OF LESSONS & CAROLS

Sunday, December 15 at 6:30pm

The Bowdoin Chapel

The tradition of the Festival of Lessons and Carolsfirst began in 1918. Join us in an evening of celebratingChristmastime with music, caroling, and Scripture reading by Bowdoin faculty members.

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Pianistllen Wong Yu

, 21, is an acclaimed

performer, recognized for his mature musicianship,elegant tone, and charismatic stage presence. Born in

California and a native of Beijing, Allen began studying

piano at the age of six and won his first major competition

at ten. Since then, he has appeared many times as a solo

recitalist, as a soloist with distinguished orchestras, and as

a chamber musician. Allen also claimed numerous first

prize awards including the Ithaca College Piano Concerto

Competition, the Bertha F. Lang Empire State

Competition, the New York Music Teachers National

Association Baldwin Competition, and the Manchester

Young Artist Competition. Allen delivered his solo debut

at age twelve and his critically acclaimed orchestral debut

a year later.

An accomplished performer, Allen appeared as a soloist in major venues in Albany,

Schenectady, Rochester, Oneonta, Ithaca, Binghamton, Saratoga, Springfield, Portland, andBrunswick. During his time abroad in Italy, he also presented solo recitals in Milan and

Ferrara. Among his appearances as guest soloist, he performed with the Ithaca College

Symphony Orchestra under Jeffery Meyer, the Amadeus Chamber Orchestra under Findlay

Cockrell, and the Schenectady Symphony Orchestra under the baton of Maestro Charles

Schneider. In February 2012, Allen appeared on National Public Radios From the Top for

the second time; his first appearance on NPR was in 2008 when he performed as a Jack

Kent Cooke Young Artist. Allen was also featured as a performer and host on China Radio

International in Beijing, which was aired across China and around the world.

Allen Yu is currently a senior at Bowdoin College in Brunswick, Maine, where he is

pursuing his studies in political science and piano performance, studying with pianist George

Lopez, Bowdoins Beckwith Artist-in-Residence. Along with his studies, he is actively

performing. Highlights from his past seasons include Schumanns Carnavaland Fantasiestcke,

Photo by Michael Yang

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Mendelssohns Fantasies or Caprices, Scarlatti Sonatas, Haydn Sonatas, & Mussorgskys Pictures

at an Exhibition. He is also an active chamber musician at Bowdoin, having performed the

Schumann and Dvorak Piano Quintets, Brahms Variations on a Theme by Joseph Haydn for two

pianos, and Dvoraks Slavonic Dances for four hands.

At Bowdoin, he has been recognized as a Sarah & James Bowdoin Scholar, and was

elected three times as Vice President of the student body on Bowdoin Student Government.

He previously graduated from Shaker High School in Latham, New York and received a

Liberal Arts diploma with high honors. He is a Past Distinguished Governor of New York

for Key Club International, a service leadership program of Kiwanis International. Having

spent four years at Bowdoins historic campus on the beautiful coast of Maine, Allen will

move to New York City following graduation to begin the next chapter of his life.

The Giants Steps Bailey Island

Bowdoin Parents WeekenOctober 201

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I would like to thank the faculty and staff of the Bowdoin College Department of Music for

making tonights recital possible.

I am especially grateful to my teacher, Mr. George Lopez,whose love of music & the arts is truly contagious.

A special thanks to my advisor, Professor Robert Greenlee, departing on sabbatical in the spring,whose commitment to the arts is among the reasons that drew me to Bowdoin,

whose guidance on which I relied for the past four years to grow as a scholar & musician, &whose everlasting optimism, dedication to teaching, & passion for music I will treasure for ever.

Please join me for my final recitalat Bowdoin College, an evening of music by Franz Liszt.

Tuesday 15 April 2014 at7:30pmStudzinski Recital Hall

In consideration of the performer and those around you, please kindly switch off your cellular

phones, pagers, and watch alarms during the recital.

Thank you.

Visit:www.allenwyu.com

Follow on Twitter:@allenyu92