Last Stop

(Senior Recital of Timothy Flores)

April 7th, 2019 – 6:00 p.m.

Barness Recital Hall

From the Studio of Dr. Dharshini Tambiah and Pablo Arencibia

Program
Carnaval Op. 9…………………………………..…Robert Schumann
(1810-1856)

- Intermission -

Iberia Book 1……………………………………..……….Isaac Albéniz

(1860-1909)
I. Evocación

II. El Puerto

Theme for English B………………………………………… Kyle Brown

(b. 1995)

Sonata no. 31, Op. 110…………….……….Ludwig Van Beethoven

(1770-1827)

I. Moderato cantabile molto Espressivo (1770-1827)

II.Allegro Molto

III.Adagio ma non troppo - Recitativo - Adagio ma non

troppo - Fuga Allegro ma non troppo -L’istesso tempo di
Arioso - L’istesso tempo della Fuga poi a poi di nuovo
vivente - Meno Allegro -tempo primo
 Robert Schuman (1810-1856) is one of the most highly regarded composers of
the 19th century for his whimsical and highly virtuosic piano works and his wonderful
additions to the traditions of the German Art Song. Schumann’s life was plagued with
many problems related to depression, schizophrenia, and other mental illness but
nonetheless Schumann managed to write music that solidified his name in music
history. Unfortunately due to mental illness, Schumann’s later years were plagued with
deep depression and a failed suicide attempt. His late works are often filled with a
sense of sadness and melancholy that is often barely hanging onto to the very idea of
hope.

In 1834 Schumann began working on Carnaval, a whimsical representation of a

party that included stock characters from commedia dell’arte, Schumann’s colleagues
and friends, as well as representations of Schumann. Each piece is, although not
thematically linked, composed around 4 notes that are arranged into three sets and
subsequently subtitled “Scènes mignonnes sur quatre notes (Little Scenes on Four
Notes)”
1. Préambule 

The Préambule is one of the few pieces that is not set using the A-S-C-H motif
and is based on the theme from Schubert’s Sehnsuchtswalzer which was originally
intended to be worked into a set of variations by Schumann. The Préambule introduces
some thematic material that appears later within the Carnaval but overall the fast paced
cycling of material allows the listener to be placed into a scene that represents the
grandness of this festival.

2. Pierrot 

Pierrot is a character in commedia dell’arte that is often

depicted in all white costume with white makeup. Although not
always seen as a sad clown, Pierrot is also seen as the butt of
many pranks and often portrayed as somewhat of a fool.

3. Arlequin (B♭ major; Vivo)

Another character from commedia dell’arte, Harlequin is

most frequently seen as being a light-hearted, nimble, and astute
servant. This character is often at odds with Pierrot as they both
pursue their love interest of Columbina, although more often that
not she tricks Pierrot and runs off with Harlequin. Harelquin is
most likely a precursor to the “romantic hero” archetype with his
clear disregard for the conventions and norms of his social class.

4. Valse noble 
5. Eusebius 

Eusebius is one of the composers own personalties depicted by Schumann

within this work. This persona is very often seen within Schumann’s musical
compositions as well as within Die Neue Zeitschrift für Musik (The New Journal for
Music) where Eusebius and Florestan often gave their own critiques of works be new
composers of the time. Eusebius is characterized by a calm, romantic, and extremely
deliberate personality which is very clearly depicted in passages of music that bear his
name.

6. Florestan 

Florestan is the other personality that Schumann often allows to appear within
writings and compositions, his fiery, impetuous, and passionate nature sharply contrasts
Eusebius’ character. Within this miniature, Schumann directly quotes an earlier work of
Schumann’s, Papillons Op. 2, and shows off a little of Florestan’s passionate and overtly
romantic nature.

7. Coquette 

Although not depicting a certain character or person, Coquette refers to a

flirtatious girl that happens into the party. The brisk and fun nature of this piece
immediately attracts the ear with it’s bumpy rhythm and ________

8. Réplique 

A simple reply to the Coquette, although this work isn’t explicitly about a certain
person Schumann’s short reply could be evidence of his longing for someone else
within possibly more substance than just someone fun.
--. Sphinxes

The mysterious Sphinxes appear and present us with a cryptogram showing us

three sets of notes. If the listener or musician hasn’t figured out the compositional motif
used within this work by now, Schumann makes sure that anyone can understand the
quaint puzzle he has left.

.
9. Papillons 

Unrelated to Schumann’s earlier work, Papillons seems to mimic the energetic

nature of Butterflies through the rapid tempo and running notes that make up this
miniature.

10. A.S.C.H. – S.C.H.A: Lettres Dansantes 

This piece is literally translated as “letters dancing”. The letters that dance
around the listeners ears are the four notes that Schumann uses throughout this work.
This quick paced and comical miniature makes almost no attempt at hiding the use of
these four notes as the music clumsily skips around.
11. Chiarina 

This bold and powerful miniature is a depiction of Robert

Schumann’s future wife, Clara Wieck. Although he was at the time
engaged to Ernestine von Fricken, Schumann had a deep
friendship with Clara and this piece shows possibly something
more.

12. Chopin

This piece is Schumann’s portrayal of Chopin. Some

musicologists believe that Schumann thought highly of the Polish
composer even though there have been rumored accounts of
Chopin even stating that Carnaval wasn’t music at all. Regardless
of Chopin’s opinion on Schumann, this piece serves as a calm
and peaceful break from the passionate pieces that surround this
short piece.

13. Estrella 

This miniature depicts Ernestine von Fricken, Schumann’s

fiancée at the time. Although Schumann would break off his
engagement only months after Carnaval was completed, the
composer still projected his feelings into this short yet passionate
feelings toward her.
14. Reconnaissance 

Reconnaissance refers to the recognition between Schumann and Ernestine at the

carnival. This is presented as a happy and exciting occasion as we are brought from the
key of F minor from the previous piece to Ab major, it creates a sort of emotional uplift
from the passionate and strong character that we had previously been exposed to.

15. Pantalon et Colombine (F minor; Presto)

Both Pantalone and Columbina are stock characters in

commedia dell’Arte that often cross paths. Pantalone is one of the
most important characters found in commedia dell’Arte, his
exceptional greed, wealth, an status make him a symbol of “money”
and the elite class. Columbina, a mischevious slave, is the wife of
Pierrot and Harlequin’s mistress. Columbina is sometimes seen having
to fend off the unwanted and inappropriate advances of Pantalone and
this conflict is depicted within this piece through two contrasting
themes. The first theme is very agitating and discomforting for both the
listener and the pianist with it’s fast paced melodic material and
repeated striking of large chords, this most likely represents
Pantalone. The smooth and singing line shows off Columbina’s
sweetness and her perceived innocence.

16.  Intermezzo: Paganini 

Niccolo Paganini is one of the most famous violinists to have

ever existed during our time and especially during Schumann’s time.
Schumann travelled to Frankfurt to hear the famous musician and was
amazed by his ability to magnetize the listener to his playing. As a
representation of Paganini, Schumann wrote one of the most
technically challenging pieces in the suite as well as a 2 sets of etudes based off
Paganini’s famous 24 Caprices.

17. Aveu 

Whether it be a confession of love or possibly a more sinister confession, this

short movement gives a much needed break for the listener.

18. Promenade 

The casual walk depicted in this piece allows the listener to possibly imagine
themselves walking through the remnants of this once grand festival, reminiscing the
moments that had happened but always returning to the path.

19. Pause (A♭ major; Vivo)

Pause is a rather ironic title for this piece because of the performance direction
“precipitandosi”, which means “hurtling”, not something one really thinks of when they
are hoping for tranquility. This short passage is a direct quote from the Préambule and
it’s primary purpose is to quite literally hurtle us into the finale.

20. Marche des "Davidsbündler" contre les Philistins 

The finale introduces us to the “Davidsbündler” (League of David), a fictitious

group of people, led by Eusebius and Florestan, that appeared in Schumann’s writings
who stood up for contemporary music, defending it against detractors. The mention of
“Philistines” makes reference to the biblical story of how David, the small underdog, did
the impossible by defeating Goliath. Quotations from a number of previous sections
within Carnaval, as well as German Folk Songs and Schumann’s previous works
appear within this triumphant and relentless finale.
"There is really nothing in Isaac Albeniz's Iberia that a good three-handed pianist could not
master, given unlimited years of practice and permission to play at half tempo. But there are few
pianists thus endowed.” - Donal Henaha on Alicia de Larrocha (1988)

Isaac Albéniz, (born May 29, 1860-May 18, 1909) was a composer and virtuoso
pianist, as well as the leader of the Spanish nationalist school of musicians.

Albéniz was equally prodigious as he was spirited and adventurous. By the time
he was twelve he had already run away from home twice and supported himself through
extensive concert tours of Europe and Latin America. Albéniz’s future as a musician was
never in question as he continued his studies in Leipzig, Brussels, Madrid, Budapest,
and Paris. Albéniz had trouble settling due to his restless nature even after he got
married in 1883 and three children, he quickly moved to Paris and continued his studies
in composition and eventually began dividing his time between both Paris and London.

Throughout all this movement and excitement, Albéniz still managed produce a
large amount of works that are crucial to the development of the Spanish musical voice
that would later be developed by Manuel de Falla, Enrique Granados, and Fransisco
Tárrega. Among these works is what some call his crowning achievement Iberia, a set
of 12 works that evoke various locations in Spain.

Iberia is a suite of 12 works divided

into 4 books written for piano
between 1905 and 1909. Iberia is
one of Albéniz’s most recognizable
works and is considered a his
masterpiece by most scholars and
musicians. Each work represents a
certain location in Spain or a dance
style, this work is highly
representative of the nationalistic voice of Spain that was being further developed by
other spanish composers during Albeniz’s life and especially after his death in 1909.

Evocación is one of only 3 pieces within Iberia that does not directly relate to a exact
location and the only piece that has no true descriptive purpose, instead it evokes the
overall idea of Spain in a
compositional style that predates the
impressionistic works of Debussy and
Ravel.

El Puerto refers to the port city near

Cadiz, El Puerto de Santa Maria. This
joyous and moving piece is
rhythmically related to the Zapateado
dance which is very typical in many Andalusian
cities and has diffused throughout the spanish-
speaking regions of the world most notably in
Mexico, where it has evolved into many
different forms of dances being centered
around the original rhythmic concepts of the Zapateado.

Kyle Brown is a currently pursuing his Masters of Music in Composition at the

University of South Florida. A recent alumnus of the University of South Carolina, Kyle
studied with John Fitz Rogers, Mandy Fang, and Reg Bain (electronic music). His music
has been featured on a variety of student recitals, the UofSC New Voices Concert
series, and the Mostly Modern Festival. An advocate of new music, Kyle has
collaborated with chamber ensembles, wind bands, theatre groups, and fellow
composers to create original music; his newest work, Mutagenesis, will be premiered by
the USF Symphonic Band in April. Kyle is currently studying under Dr. Baljinder Sekhon
and Paul Reller (electronic music).

Theme for English B

This piece was written for Tim Flores performed on his Senior Recital at the
University of South Florida. This work is a setting of “Theme for English B” written by
Langston Hughes (1901-1967). This poem is used with permissions granted by Harold
Ober Associates Incorporated.

Langston Hughes was a poet writing in in the early 1900’s based in Harlem, NY.
Hughes is known for his leadership of the Harlem Renaissance, a movement for the
rebirth of African-American arts. Hughes was particularly interested in jazz poetry. Early
jazz poetry did not aurally represent jazz, but rather referenced through allusions of
musicians, instruments, or locations. Later jazz poetry used syncopated rhythms and
repetitive phrases reminiscent of blues and jazz music. This piece draws musical
inspiration from both jazz poetry and the text itself. 
Theme for English B

By Langston Hughes

The instructor said, at twenty-two, my age. But I guess I’m

what
      Go home and write I feel and see and hear, Harlem, I hear
      a page tonight. you.
      And let that page come out of you— hear you, hear me—we two—you, me,
      Then, it will be true. talk on this page.   
(I hear New York, too.) Me—who?
I wonder if it’s that simple?
I am twenty-two, colored, born in Well, I like to eat, sleep, drink, and be in
Winston-Salem.    love.   
I went to school there, then Durham, then I like to work, read, learn, and understand
here    life.   
to this college on the hill above Harlem.    I like a pipe for a Christmas present,
I am the only colored student in my or records—Bessie, bop, or Bach.
class.    I guess being colored doesn’t make
The steps from the hill lead down into me not like
Harlem,    the same things other folks like who are
through a park, then I cross St. Nicholas,    other races.   
Eighth Avenue, Seventh, and I come to the So will my page be colored that I write?   
Y,    Being me, it will not be white.
the Harlem Branch Y, where I take the But it will be
elevator    a part of you, instructor.
up to my room, sit down, and write this You are white—
page: yet a part of me, as I am a part of you.
That’s American.
It’s not easy to know what is true for you Sometimes perhaps you don’t want to be a
or me    part of me.   
Nor do I often want to although you’re older
be a part of you. —and white—
But we are, that’s and somewhat more
true! free.
As I learn from you,
I guess you learn from This is my page for
me— English B.


Ludwig van Beethoven (December 16, 1770 to March 26, 1827) was a German
pianist and composer widely considered to be among the greatest in music history. His
compositions are among the most well-known in the standard repertoire and his
development of the sonata, symphony, concerto and quartet make him a key figure in
the continuing development of the genre. He is the crucial transitional figure associated
with connecting the Classical and Romantic ages of Western music. 
 Beethoven’s personal life was marked by a struggle against deafness, and some
of his most important works were composed during the last 10 years of his life, when he
was quite unable to hear. His late works are few in number but are highly ambitious
compositionally

Piano Sonata no. 31 in A-flat Major, op. 110

Beethoven’s penultimate piano sonata shares a similar transcendence that it’s

predecessor carries but with a bit more of ride through the emotional plane. The sonata
passes through passages of bliss, humor, operatic despair, hope, resolve and triumph
all within a seemingly short amount of time.

I. Moderato cantabile molto espressivo 

The first movement has a certain warmth that radiates from its simple melodic
content and by the indication left by Beethoven con amabilità (with kindness).
Immediately after the almost string-quartet like opening a cascade of delicate arpeggios,
spanning four octaves of the piano, lead us into the second theme. The simplicity and
beauty of this movement comes from it’s rather limited thematic material that is used in
an almost insignificant development if it weren’t for the wonderful counterpoint created
between a chorale version of the first theme and the scalar passages that outline the
constant cycling of harmonies.

II. Allegro Molto

The Scherzo makes use of two themes taken from two folk songs, one previously
arranged by Beethoven. This underlying thematic adds a little bit of humor even though
the movement is written in the key of F minor. The humorous and impetuous character
of this movement is further established through the abrupt leaps and precarious
descending lines that make up the trio. The scherzo ends with large chords that quickly
come to rest but almost uneasily in the key of F major through a long arpeggio in the
bass.

III. Adagio ma non troppo - Recitativo - Adagio ma non troppo - Fuga Allegro ma non
troppo -L’istesso tempo di Arioso - L’istesso tempo della Fuga poi a poi di nuovo vivente
- Meno Allegro -tempo primo

Just the title of this movement brings forth a complexity and depth that one might
expect from one of Beethoven’s last piano sonatas. This multi-faceted third movement
divides itself between moments of lyrical desperation, bursts of hope, operatic despair,
and a rebirth of character through what one could call an ‘acceptance of fate’.

The movement begins as almost a continuation of the previous movement

through an exploratory recitative that aims to gain strength for the despairing news to
come. The recitative is immediately followed by a sad and songful arioso dolente that
pleads a sort of emotional urgency to our ears.

Without any notice, a three-voice fugue makes its way into the movement rising
from despair with its rising contour and optimistic and bold character. As the fugue gains
momentum, the listener feels the rejuvenation of the once battered soul but before we
can even finish, the fugue loses all hope and authority as we delve into another arioso
dolente, this time it seems more sobbing and even more debilitating than what we had
previously heard. With the aria’s final breath we are transitioned to another fugue that
serves as a means of rebirth and acceptance that is compositionally complex with its
use of inverted themes, thematic diminution and augmentation. The original fugue
theme returns in all its glory with articulate textures replacing the intellectual
counterpoint that was present in the previous fugues. As the movement comes to a
climactic close, a final flourish of arpeggios, reminiscent of the first movement’s
engaging cascading effects, end the sonata on a note of triumph and acceptance.