ABOUT THE ARTISTS
Analiesia Hall, Flute
Analiesia Hall will finish their degree in Instrumental Performance in the spring of 2024. She has studied with her main lesson instructor, Dr. Kimberly Reighley as well as with adjunct professor, Francis Tate while in attendance at the Wells School of Music. They have participated in the WCU Wind Symphony, WCU Wind Ensemble and will be finishing their career at WCU as the principal flutist of WCU Symphony Orchestra. She has also performed with the Trilovati Flute Ensemble for all four years in their attendance and has participated in many chamber ensembles including a wind quintet, SAGA Chamber Music, and WCU Chamber Winds. In addition to these ensembles, she participated in the Korean Folk Festival, with the WCU Concert Choir in a performance of Parker’s St. John Cantata, and in a memorial concert for late professor, Dr. Vincent Craig.
Intermsofextra-curricularactivitiesinWSoM,HallparticipatedasaninternforbothTheFluteSocietyofGreater Philadelphia flute fair as well as the Mid-Atlantic Flute Convention for much of their college career. She held the social media position for the Wells School of Music Flute Studio for nearly two years (follow the studio @wellsflutes on instagram). She also participated in two of the four Greek Life Organizations associated with SwopeMusicBuilding (SIGMAorganizations). Whiletheywerein SigmaAlpha Iota,theyparticipated as a sister to the organization as well as the acting treasurer during her third year. In Kappa Kappa Psi, they participated as a brother as well as the Secretary for most of their third and fourth years. Both organizations have held a special place in their heart, and they hope to continue to learn and grow with the knowledge acquired from both organizations.
Outside of the Wells School of Music, she has performed with the Pennsylvania Flute Choir as well as at local churches. Her most notable performance was with SAGA Chamber Music at Musikfest in Bethlehem, Pa in August 2023. She has attended summer festivals including the Consummate Flutist at Carnegie Mellon, Creating Resonance Retreat with Carol Wincenc, and the 21st Century Flutist with Rena Urso and Heather Clarke in Italy They haveattended andparticipatedin masterclasses with LadyJeanneGalway,PatrickWilliams, Mimi Stillman, Gudrun Hinze, Alberto Almarza, and Leone Buyse. She has also placed as a finalist once in the MTNA District Competition and twice in The Flute Society of Greater Philadelphia Collegiate Young Artist Competition.
She will continue her studies with local flutists before attending a graduate program but hopes to continue their studies at a high-level conservatory in the next couple of years.
“…AndtheStrangeUnknownFlowers”, CharlesDeLaney(1925-2006)
Delaney in his lifetime was the professor at Florida State University in 1976 and held the principal flute position with the University Chamber Orchestra and the Tallahassee symphony.
“… And the Strange Unknown Flowers” by Charles Delaney, published in 1990, was influenced heavily by the poem entitled “No Door: A story of Time and the Wanderer” by Thomas Wolfe. The title itself is a quote from the poem which tackles the intricacies surrounding death in an impressionistic writing style. The full quote behind the title reads:
“Of seed-time, bloom, and the mellow-dropping harvest. And of the big flowers, the rich flowers, the strange unknown flowers. Who owns the earth? Did we want the earth that we should wander on it?”
Not only does this piece have poetic roots, but it also allows the performer flexibility and freedom being both unaccompanied and programmatic. Listeners will notice this in the first few bars of the piece as a descending scale is played repeatedly while getting so soft you can only hear the keys clicking at the end. This ties into extended techniques intended to push the story forward. This can be associated with the rustling of wind. The whoosh down signifies the trees brushing in the wind and the clicking of the keys signifies all of the items falling out of the trees as the storm calms. As the piece progresses, the listener can hear the birth, death, and rebirth of phrases, similarly to the seasons and nature's path. After writing and publishing this piece, it quickly became a staple in flute competition literature due to its extensive application of the entire technical and musical range of the flute.
BalladeforFluteandPiano, FrankMartin(1890-1975)
Swiss composer Frank Martin embarked on a rich musical journey, shaped by diverse cultural experiences. After studying with J. Lauber, he spent three years, from 1918 to 1926, residing in Zürich, Rome, and Paris. His career led him through different musical roles, including a teaching in Geneva from 1928 to 1938, holding the presidency of the Swiss ‘Tonkünstlerverein,’ translating roughly to the Swiss Music Association, from 1943 to 1946, and later relocation to the Netherlands in 1946. Notably, he shared his compositional expertise at the Cologne College of Music from 1950 to 1957.
Martin's musical style evolved over time, initially reflecting the influence of French late romantic composers like Frank and Faure. In the 1930’s, he took interest in Arnold Schoenberg's techniques, albeit with his unique twist. By 1938, Martin's independent musical voice emerged, evident in his four Ballades, which ingeniously blend 12-tone techniques with functional harmony and explore tension and resolution. The Ballade for Flute and Piano, which was later written for Flute and Orchestra, stands as a testament to Martin's innovative fusion, becoming a staple in modern flute repertoire.
Prayer,AmandaHarberg(b.1973)
Amanda Harberg is a highly acclaimed composer praised for her distinctive fusion of classical tradition with contemporary influences. Her compositions have been conducted by esteemed maestros such as Yannick NézetSéguin and have been commissioned by prestigious organizations including the Philadelphia Orchestra Association and the New World Symphony. Notably, her recent works, including a Piccolo Concerto premiering with the Philadelphia Orchestra, showcase her exceptional talent and versatility across various instruments.
Aside from her compositional achievements, Harberg is also recognized as a concert-level pianist and an esteemed educator with over two decades of experience. She has performed with principal musicians from major orchestras and has taught composition, piano, and music theory at institutions such as Rutgers University Mason Gross School of the Arts and the Interlochen Arts Camp. Harberg's dedication to artistic excellence and her commitment to nurturing young talents underscore her significant contributions to the contemporary music landscape.
Amanda Harberg's composition "Prayer" holds a deeply personal significance, born out of her mother's battle with a serious illness. Originally crafted as a fervent plea for healing, this emotive piece has since been arranged for various instruments, including flute and piano, flute and orchestra, and even tuba and piano. "Prayer" transcends its origins, becoming associated with meaningful projects and charities, such as The ADORE Project and The Prayer Project. As the flute delicately emerges from serene piano arpeggios in this rendition, Harberg's introspective melody unfolds, evoking a sense of spiritual contemplation and unwavering faith. The music ascends and descends in graceful arcs, symbolizing the journey of hope and surrender. "Prayer" resonates as a profound testament to the power of music in times of adversity, offering solace and strength to both performer and listener alike.
SuiteforFluteandPianoOpus23, Charles-MarieWidor(1844-1937)
Charles-Marie Widor’s Suite op. 34 for Flute and Piano, composed around 1877, epitomizes the late Romantic era's musical essence. Premiered by the influential flutist Paul Taffanel in 1884, this four-movement suite quickly became a cornerstone of Romantic flute literature. Rooted in Austro-German traditions despite Widor's diverse heritage, the piece showcases his profound understanding of Baroque styles, instilled in him from a young age by his father and further honed through his studies with esteemed teachers. As a professor at the Paris Conservatory, Widor ardently championed traditional counterpoint and fugue composition, influencing generations of composers and organists. His dedication to preserving and revitalizing organ music, evidenced by his invention of the organ symphony, is echoed in the Suite op. 34's meticulous craftsmanship and incorporation of Romantic expansion techniques.
Within the Suite op. 34 for Flute and Piano, Widor seamlessly integrates Romantic era stylistic elements, such as the transformation and expansion of traditional forms and styles. The piece's sonatina-like structure, interwoven with motifs that unify its movements, reflects Widor's deep engagement with Romantic compositional techniques. Notably, the suite's final movement, meticulously extended for heightened brilliance and virtuosity, embodies the Romantic ethos of pushing artistic boundaries. Drawing inspiration from operatic plots and works by composers like Wagner and Schumann, Widor imbues the suite with evocative extra-musical imagery, from flowing water to gusting winds, captured through expressive flute and piano passages. Through his Suite op. 34, Widor masterfully navigates the Romantic landscape, uniting tradition with innovation to create a captivating musical journey.