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Kim Pineda

transverse flute

Sunday, November 13, 2016


Escondido Theatre at the Student Union
Lubbock, Texas | 8:00 p.m.

Partita in A Minor, BWV 1013 (1722/23)............................. Johann Sebastian Bach


Allemande
(1685-1750)
Corrente
Sarabande

Bourre anglaise

Kim Pineda has performed on historical flutes and recorders, and as a conductor throughout
the U.S., Canada, and on NPR. Founder and music director of the Seattle-based ensemble
Grand Cru Baroque, he has worked with leading early music players and ensembles in the
U.S., and has performed at the Boston, Berkeley, Long Beach Bach, and Bloomington early
music festivals, Seattles Bumbershoot Festival, and has recorded on the Focus, Centaur, and
Origin Classical labels. Currently a Visiting Assistant Professor of Musicology at Texas Tech
University, he has taught at the University of Oregon, Seattle Pacific University, North Seattle
Community College,and Indiana University, as well as at workshops sponsored by the San
Francisco and San Diego early music societies, and the Seattle Recorder Society. Dr. Pineda
has commissioned new music for historical instruments by composers Roupen Shakarian,
Tim Risher, and Matthias Maute.
Dr. Pineda received his PhD in Musicology from the University of Oregon, the Master of
Music degree from Washington University, St. Louis, and the Bachelor of Music degree from
California State University Northridge. Other interests include the gastronomic arts, cycling,
and the pursuit of the ultimate cadence. In his spare time he reads non-fiction and contributes
to The Fugal Gourmet food blog. For more information visit his website, kimpineda.com.
Dr. Pineda is playing on a flute made by Folkers & Powell, Hudson, New York. It is a copy
of an 18th-century original by Carlo Palanca. Palanca was a bassoonist in the Turin court
ensemble as well as a maker of oboes, recorders, bassoons, and flutes. Several examples of
his flutes survive and all seem to be late 18th-century examples.

Die Mwe und das Meer (1995)................................................................Cary Boyce


(b. 1955)

Sonata in A Minor, H. 562 (1747)................................... Carl Philipp Emanuel Bach



Poco adagio
(1718-1788)
Allegro
Allegro

Recursions I & IV (2008)..................................................................Patrcio da Silva


(b. 1973)

Recordings are engineered and produced by Will Strieder and Recording Studio student assistants.
Programs are designed and produced by Benjamin Robinette and Publicity Office student assistants.

documentary on the USA International Harp Competition that won three regional Emmy
Awards in 2011, including one for original music.

Partita in A Minor, BWV 1013


No one ever thinks of Johann Sebastian Bach as a minimalist composer, particularly in
what, at the time, was a technically advanced piece for solo flute. But if you view minimalism
as a protracted repetition of figures then the Allemande, with its relentless use of sixteenth
notes, certainly fits that category. Using some of the common dance suite movements in use
in the 18th century, Bach follows the formal guidelines for them but with small twists. In
addition to the unusual take on an Allemande, for the standard Courante (runs) he calls
it by its Italian name, Corrente (running), with an instrumental take on text painting. The
final movement, a Bourre, uses phrases typically found in English country dance (phrase
lengths of 3 + 3 + 2 bars instead of the usual Continental 4 + 4 measure construction). The
Partita was composed not long after Bach met and worked with the prominent flutist and
composer Pierre-Gabriel Buffardin (1690-1768), who was working at the court of Dresden
(well-known as the preeminent musical establishment in Europe at that time). Beginning in
1724 Bach began writing obbligato flute parts for particular arias in his Cycle II cantatas. Not
just ordinary obbligato parts, these arias are technically demanding and become successively
more so with each aria, and include BWV 78 (used on technical exams in European
conservatories) and BWV 8, one of the most challenging pieces in the 18th-century flute
repertoire. Thanks to Bachs relationship with Buffardin the flute went from being a secondtier orchestral instrument to one worthy of significant solos.

Die Mwe und das Meer


Born in Santa Rosa, California in 1955, Cary Boyce studied at California State University,
Sacramento, took his Master of Music degree at University of North Texas while studying
with Martin Mailman, and he earned a doctorate in composition at Indiana University
Bloomington with teachers Eugene OBrien and Claude Baker. He has been an active
participant in diverse artistic and musical outreach endeavors of his community, not only as a
composer, but also as a producer and music essayist with public radio, online journals, major
orchestras, and community presses. The music of Cary Boyce is published by G. Schirmer,
Boosey & Hawkes, and by Aguav New Music Studio. He remains active as a tenor, pianist,
and conductor as well.
Dr. Boyce is artistic co-director and composer-in-residence of the production group and
new music ensemble, Aguav New Music Studio, which specializes in projects involving
contemporary music. His music has been heard around the world in concerts and festivals in
more than 25 countries, on nationally syndicated public radio and television, and in two films
by Prix-de-Rome-winning director Evelyne Clavaud, Aria ou les rumeurs de la Villa Medics,
and her artistic documentary Mandiargues: Lamateur dimprudence. Boyces credits include
original music for the soundtrack of the Public Broadcasting System (PBS) documentary
American Horizons: The Photography of Art Sinsabaugh, also part of the Sinsabaugh exhibit
currently touring museums in the United States, and music for Harp Dreams, the PBS

Die Mwe und das Meer was composed in 1995 for Anne Kordes, a player of modern and
Baroque flutes. The piece may be played on either instrument. The dedication also says
Thanks to Benjamin Britten. The composer states if the listener is reminded of the Sea
Interludes from the opera Peter Grimes it is not an accident.

Sonata in A Minor, H. 562


Carl Philipp Emanuel Bachs Sonata in A Minor, H. 562, is the quintessential empfindsamer
stil composition. The melodies are periodic, irregular, rhapsodic, angular, and with wild
leaps. The aim of works written in this style was to move the emotions, to convey an affect,
and the source of these emotions and affects must come from the performer. The flow of
the music is unpredictable, with strong contrasts in all parameters such as meter, tempo,
dynamics, harmonies, and textures. Of special note is Bachs rhetorical use of silence and
ambiance of space, allowing the audience and the concert hall to become part of the music.
Modern music enthusiasts will recognize this technique 205 years after H. 562 in the music
of John Cage.

Recursions I & IV
Patrcio da Silva received formal musical training at the Escola Superior de Msica de Lisboa
where he studied piano and composition (B.M. in piano), followed by composition studies in
the USA at CalArts (MFA), and the University of California (Ph.D). His composition teachers
include Antnio Pinho Vargas, Mel Powel, Stephen L. Mosko, Morton Subotnick, William
Kraft, David Cope, Curtis Roads, Michael Gandolfi, John Harbison, and Sydney Hodkinson.
Patricio da Silvas Guitar Concerto has been featured on over 250 classical music stations
around the world including the syndicated radio show Classical Guitar Alive. In 2009,
Patricio da Silva was honored to have his work Three Pieces for Solo Piano performed
by Tzimon Barto during the Schleswig Holstein Music Festival, in a benefit concert with
Maestro Christoph Eschenbach for the acquisition of the manuscript of Beethovens Diabelli
Variations by the Beethoven-Haus in Bonn, Germany. Festivals and concert halls where
Patricio da Silvas music has been performed include, among others, Tanglewood, Ravinia,
The Ojai Music Festival, Aspen, Ruhr Festival, Historische Stadthalle Wuppertal, Stadttheater
Wels, German-American Institute Saarbrcken, Long Night of Culture at the Fruchthalle in
Kaiserslautern, Hindemith Institut Frankfurt, The Society for Multi-Ethnic Studies MESEA,
London Festival of American Music, Los Angeles County Museum of Art (LACMA), Auditorio
de Galicia, and Yamahas YASI in NY.
Recursions was written in 2007 for Dorothy Stone, an award-winning composer, virtuoso
flutist, and co-founder of the new-music ensemble the California EAR Unit (1981). She
passed away in 2008. To paraphrase the composers performance suggestion to me: the
player should approach the music and its phrasing as if it were Baroque music; to essentially
use the same approach as in the CPE Bach solo sonata.