2018 Event-Bhagavathula Performance

The Ovidius Trio

The flute's peculiar combination of ancient simplicity and modern engineering has given it a unique and interesting, if not particularly robust, repertoire. In our program we will explore the evolution of the sound of the flute and the varied ways in which composers have adapted it to their styles.

We start with Friedrich Kuhlau, which is a very traditional sound. The late-classical idiom is in many ways a flutist's bread-and-butter with its elegant, yet slightly maniacal diatonicism. From there we move to more modern pastures, to François Narboni. He takes another idiomatic flute sound, the birdsong, and its most famous example, Debussy's "Syrinx", and has the three flutists play it in what is basically a canon. In doing so he explores the resonance of the flutes and the relationship of their timbres while retaining the avian element in an interesting way: the Syrinx canon can sound like birds calling back and forth, responding to one another and creating some interesting harmonies along the way. This modernistic treatment of birdsong is countered by Herman Beeftink's "Birds", in which he treats us to a more classic approach. There are echoes of Rameau and Beethoven here, but it is very clearly an evocative work in the tradition of film composers like Korngold and Hermann. It is scored for piccolo, C flute, and alto flute, which gives it an interesting, augmented texture.

Max Reger is firmly rooted in the German tradition of Bach, Beethoven, Brahms, and Wagner, and his "Serenade", like all of his music, is a beautiful example of the new being borne out of the old. He takes the structures of Beethoven and Brahms, the extended harmonies of Wagner, the countrapuntal technique of Bach, and binds them together with his own peculiar style and tonality. It is originally written for flute, violin, and viola, but Berlinda Lopez has arranged it for three flutes. Though they are very different from one another, Reger brings us back closer to Kuhlau.

From there we move to "Curves" by Ian Clarke and "Percolate" by Nicole Chamberlain. The extended techniques used in these pieces make them a point of departure in the program; until now the basic sound of the flute has been left intact, but here we see it bent, struck, and torn, while remaining interesting and even beautiful. These pieces are also quite evocative and lack the austerity of Reger, which places them in the American category along with Beeftink, though they don't have the same film score quality.
So after we have put the humble pipe through these contortions, what do we learn? In his "Metamorphoses", Ovid writes, "omnia mutantur, nihil interit". Everything changes, nothing does. And so it must be with the flute.

Trio in G Minor, Op. 13/2
I. Allegro non tanto
II. Allegro con moto
Friedrich Kuhlau

Syrinx en Résonance d'après l'oeuvre de C. Debussy

François Narboni

Serenade No. 2, Op. 141a
I.Vivace

Max Reger

Selections from "Birds" for flute trio

Herman Beeftink

Selections from "Curves"

Ian Clarke

Percolate

Nicole Chamberlain

 

 

Performer Biographies

Sridhar Bhagavathula is a Madison-based flutist bent on bringing his unique personality to any music he plays. As a member of the Madison Flute Club he is part of their flute choir and chamber ensemble, which perform formal and outreach concerts in the area. His love of many musics led him to form Duo Tárrega with guitarist and composer Steve Waugh, and together they perform an eclectic repertoire ranging from J.S. Bach to Thelonious Monk.

Sridhar also enjoys teaching, and maintains a private studio in Madison. He previously had a studio in San Antonio, TX, where he also gave weekly masterclasses and sectionals in middle and high schools in the city. His students have been regularly successful in auditions and competitions.
Sridhar's primary teachers include Thomas Robertello at Indiana University Jacobs School of Music, where he received a Premier Young Artist Award, and Jean Ferrandis at École Normale de Musique de Paris. He has also studied intensively in Tignes, France with András Adorján, and has played in masterclasses for flutists such as Molly Barth, Jasmine Choi, and Gergely Ittzés.

Alea Erickson is a Blocki Flute Method (BFM) and Kinderflute Teacher in Madison, and substitute teaches music, plus other subjects for the Madison Area School Districts. She cultivates a private flute studio and judges a few middle school Solo and Ensemble Festivals. Alea enjoys teaching the Blocki Flute Methods that employ the use of movement games to inspire a musical interest in younger students, some as young as four years-old.

Since 2013 she has taken continuous teacher masterclasses from Kathy Blocki, the creator of the BFMs, and taught a studio. She is a member of the Madison Flute Club and Madison Alumnae-Sigma Alpha Iota, a Women’s Music Fraternity groups that inspire musical connection with the community.

Alea previously taught private and group lessons in Sheboygan, was a flute clinician for Sheboygan South High School, and an Assistant Flute Teacher at Plymouth High School. As well, she was a music substitute teacher, plus other subjects for the school district and performed with the Pops Concert Band. She studied with Carol Meves of Milwaukee, and Nicole Esposito at the University of Iowa where she received a BM and Sociology Minor in 2012.

Berlinda Lopez, originally from Texas, came to Madison on an Advance Opportunity Fellowship to attend UW-Madison and obtained her DMA in 2004. During this time, she was invited to become the first Artistic Director of the Madison Flute Club in which during her tenure, she helped with the initiation of the Wisconsin Flute Festival. While in Texas, she taught woodwinds, music history, theory and composition at Vidal M. Trevino School of Communications & Fine Arts, a magnet high school in Laredo. She was also the principal flutist of the Laredo Symphony Orchestra. Here in Madison, she has taught flute at Edgewood College, UW Student Teaching Division and woodwinds and theory at the UW-Madison Summer Music Clinic. She has performed with the Madison Symphony Orchestra, Wisconsin Chamber Orchestra, the Beloit-Janesville Symphony, and the Janesville Armory Dinner Theatre. She studied under Stephanie Jutt, Dr. Mary Karen Clardy, Kathleen Chastain, Dr. Myrna Brown and participated in numerous masterclasses. Currently, she maintains a private woodwind studio and performs with the Madison Flute Choir.