Anastasiya Squires and Stephen Squires
Anastasiya Squires, flute
Stephen Squires, piano
January 27, 2021
Dame Myra Hess Memorial Concerts
David Schwan, host
Mykola Lysenko – Fantasy on two Ukrainian Folk Themes (8′)
Germaine Tailleferre – Berceuse (3′)
Franz Doppler – Fantasie Pastorale Hongroise, Op. 26 (12′)
Zhanna Kolodub – Poem (5′)
Theobald Boehm – Grand Polonaise in D Major, Op. 16 (10′)
Anastasiya Squires, is the winner of the Aeolian Classics Emerging Artists Competition, and was named a Fellow of the Luminarts Cultural Foundation. She received her musical education, in her native Ukraine, at the National Music Academy, and recently completed a Solo Performance Diploma at Roosevelt University. Her debut CD was released by Aeolian Classics in 2020. She was invited to perform for Heinz Fischer, President of Austria, the Ukrainian Minister of Culture, the Prime Minister of the State of Kuwait, and at the Presidential Palace in Poland. She has won many Grand Prizes in competitions around the world.
Stephen Squires, is Resident Conductor of the Elgin Symphony Orchestra, Music Director of the Fox Valley Orchestra, and Music Director of the Millar Brass. Professor of Conducting at the Chicago College of Performing Arts, he has been a guest conductor with the Chicago Symphony, the Syracuse, Green Bay, Columbus (OH), Rockford Symphonies, and the Chicago Composers Orchestra. In addition, he is an accomplished recital accompanist and freelance trumpeter.
Mykola Lysenko (1842-1912)
Fantasy on two Ukrainian Folk Themes, Op. 21 (1872)
Mykola Lysenko is known as “the father of Ukrainian classical music.” A celebrated concert pianist, he wrote numerous compositions for solo piano in addition to operas and art songs. One of his defining features as a composer was his interest in Ukrainian folk music. Much like what Bartok did later in Hungary, he went into villages, notating the folk music the local people were singing and playing. From these tunes he arranged more than five hundred pieces for various combinations, including this dazzling set of variations, transcribed here for flute and piano from the original version for violin and piano.
Germaine Tailleferre (1892-1983)
French composer Germaine Tailleferre has the distinction of being the only female member of the group of composers known as Les Six. Although the Berceuse was one of her first formal compositions (written at age 21), her skill at lyricism, color and drama is already very much present. After her training at the Paris conservatory, she worked with Maurice Ravel, who encouraged and groomed her development as a composer. Ms. Tailleferre spent most of her life in Paris, but notably escaped during the war to Portugal where she boarded a boat for the states to wait out the war. Berceuse (another borrowed work originally for violin and piano) is a short vignette, but still full of wistful and heartfelt emotion.
Franz Doppler (1821-1883)
Fantasie Pastorale Hongroise, Op. 26 (1870)
Franz Doppler (as well as Lysenko) shares the same birthplace as today’s solo artist – Lviv, Ukraine. Also an excellent flautist, Doppler is known primarily for his works for flute, but was keenly interested in Hungarian musical culture, composing numerous Hungarian operas and ballets. Notably, while a student of Franz Liszt, he orchestrated six of his mentor’s Hungarian Rhapsodies. Many of his exciting flute works were for flute duo, written for him to perform with his younger brother. His Fantasie Pastorale Hongroise shows the virtuosic and expressive possibilities of the flute.
Zhanna Koldub (b. 1930)
Zhanna Kolodub and her husband Lev Kolodub established themselves as significant Ukrainian composers while both teaching at the Conservatory of Music in Kiev. The Poem (written for a Ukrainian competition for wind instruments) shows a creative, unique and colorful voice, and is a good representative of Zhanna’s music (mostly for piano and woodwind instruments), significant and very personal in style.
Theobald Boehm (1794-1881)
Grand Polonaise in D Major, Op. 16 (1831)
Theobald Boehm’s importance in music history lies not only in his spectacular compositions for flute, but also for his contributions to the mechanical development of the flute itself, greatly improving its tone and intonation accuracy. Like Doppler, Boehm was a virtuoso flautist, writing primarily for his own performances. The Polonaise, a Polish dance in triple meter, has been utilized by composers since the Baroque era, and it coincidentally arrived the same year as the Grand Polonaise for Piano and Orchestra by Frederic Chopin.
Don’t miss Eleanor Kirk next week on the
Dame Myra Hess Memorial Concerts!
Wednesday February 3, 12:15pm