In selecting the works for this compilation I intended to explore the internal aspects of shade and light through the aspect of sound. How do we come to terms with, to a place of acceptance of, our own aspects of shadow – whether that be fear or doubt, forgiveness of others or of self, or perhaps anger toward and disappointment in the world? Are there times when shadow is not representative of fear or darkness, but of safety or protection – just as the greenhouse shades the sapling from the brilliance of the full sun. Do we require shadow in order to grow into the radiance of our full expression of self? And, are light and shade ever truly separate aspects, or dependent on each other, intertwined and ever-changing to create the palate of shades that color the sounds of our lives? Joseph Schwanter’s Black Anemones was written in 1980. The work, based on the text of surrealist Colombian-American poet Agueda Pizzaro, was originally composed for soprano voice and piano. The musical setting is hauntingly beautiful and effectively communicates the conflicting images found in the poetic text. The poem, written from the perspective of a child dreaming of his mother, begins from a place of peaceful contentment. However as the fear of estrangement poetically emerges, the musical setting moves toward a complex intensity of color and musical metaphor. The title of the poem is Black Anemones, flowers which also possess a conflicting history of symbolism: they may represent the forsaken (based on Greek mythology, in which the anemone sprang from Aprhodite’s tears upon Adonis’ death) or a protection from evil (based on folklore). Is the wise mother (earth perhaps) protecting her child (mankind) in some way through her fierce beauty and the shadows of the forest, or is she alienating her child, leaving him to his own demise? Giuseppe Rabboni, Italian flutist and composer, studied at the Conservatory of Milan. He served as principal flutist of Teatro alla Scala in Milan from 1826-1856, where he was undoubtedly inspired by the great Italian opera composers of the day including Bellini, Donizetti, Rossini, and Verdi; so inspired that he lifted Sonata No. 13 from a sketch of Donizetti’s slow movement for an oboe sonata. These three charming and elegant sonatas are from a collection of Rabboni’s works brought to light by flutist Paul Edmund-Davies who discovered them in a second-hand store one day after lunch in the market town of Hungerford. The piano accompaniments used for this recording are composed by John Alley, principal keyboardist with the London Symphony Orchestra. Edwin York Bowen, born in Crouch Hill, London to a family of whisky distillers, is known as the “English Rachmaninoff.” He was recognized in his lifetime for his skill as a pianist, performing regularly at Queen’s Hall and Royal Albert Hall. As a composer he is distinguishable primarily for his Twenty-four Piano Preludes, Op. 102. Bowen composed four works for flute. Op. 120, the last of the four and the most substantial, was written in 1946. The work was left in the dark until 1986 when the York Bowen Society provided Emerson Edition with a copy. The first edition contained many inconsistencies due primarily to Bowen’s erratic manuscript. The 2000 edition, on which this recording is based, was produced with the help of several Bowen enthusiasts. Flute Sonata, Op. 120 is dedicated to Gareth Morris, past principal flutist of the Philharmonia Orchestra, who premiered the work with Bowen at Wigmore Hall in May of 1949. Bohuslav Martinu writes, “I think I am better at writing music than in writing about it. I do not like placing the creative process under a microscope, to explain a work, to look at the molecules (so to speak) instead of examining the body as a whole. So far as I am concerned, a work should live by itself, and not as a result of analyses. I do not think that it is necessary for the public to enter the laboratory, where it understands nothing, and where the artist himself sometimes needs to reflect a long time in order to grasp the meaning of things.” David Ewen writes, “The predominant traits of Martinu’s works are clarity and simplicity. He says what he has to say with directness. He prefers harmonic structures that are almost primitive, a fluid transparent counterpoint, and the most elementary tone color. Yet there is no poverty of expression. There is great wealth of feeling and a fine discerning intellect in all his major works.” The outer movements of Martinu’s First Sonata for Flute and Piano portray a bright optimism, possibly influenced by its place and time of composition, Cape Cod during the summer of 1945 where Martinu was inspired by the birdsong of the whippoorwill. The inner movement is shaded by a quality of incessant longing, searching, or perhaps even grief or loss. The closing section of the movement is ethereal in quality, hopeful in expression. The First Sonata is dedicated to the late French flutist Rene le Roy. Matthew Santa’s writes, “Sonata for Flute and Piano was written to celebrate absolute music: there is no literary or non-musical theme that inspired its composition, which leaves it up to the listener to either invent one for themselves, or to appreciate the music solely for what it is, and not for what it might represent in some other artistic medium.” Classical forms are used in all movements though the harmonic and rhythmic language is intentionally non-classical. Sonata for Flute and Piano was commissioned by the Louisiana Music Teachers Association and premiered at their annual conference on October 19, 2007 by Lisa Garner Santa and Gabriel Sanchez in Hammond, Louisiana. Jake Heggie’s Soliloquy, commissioned by Camerata Pacifica as a memorial to Suzanne Makuch, is a setting of the song “Beyond” from a larger collection, Pieces of 9/11: Memories from Houston. The first performance was given by Camerata Pacifica Artistic Director Adrian Spence and pianist Warren Jones on May 10, 2012. Soliloquy is written in a simple ternary form. The work begins with a passionate cry of despair but quickly turns to a tender melody that communicates a sense of hope where there is otherwise despair. The succinct and dramatic middle section builds to a poignant despondency followed by a delicate return to the moving A section. Heggie and Gene Sheer (librettist for “Beyond”) set out to express "the hope and newness that can come from grief," and that sentiment is retained in Soliloquy. Special thanks to Nataliya, Matt, Will, Rachel, Rob, Holly, Bill, Paul, and my friends and family, whose time, energy and input made this project possible. Lisa Garner Santa, Artist-Performer and Associate Professor of Flute at Texas Tech University, enjoys a diverse career as teacher, recitalist, soloist, and chamber musician. Performance highlights include the world premiere of Mike Mower’s Concerto for Flute and Wind Ensemble and a Carnegie Hall recital featuring chamber works for flute. Her first CD, From Noon to Starry Night with pianist Lora Deahl, features composers of the Southwest. The 2007 MSR release, Rêver en Couleurs with pianist Gabriel Sanchez, features engaging interpretations of standard French repertoire. Her playing has been described as “luminously beautiful” (Audio Video Club of Atlanta), “soulful” (All Music Guide), and in general, she has been described as a “remarkable artist with dazzling musical ability” (American Record Guide). As an active member of the National Flute Association, Lisa Garner Santa has been a featured performer at numerous conventions, served as adjudicator and/or coordinator for many NFA events and competitions, held membership on the executive committee, and contributed most prominently as NFA Program Chair for the 2011 convention. As a pedagogue, Lisa Garner Santa presents performances and masterclasses throughout the United States and abroad including exchanges at the Royal College of Music in London, England, Victoria University in Wellington, New Zealand, and Peking University in Beijing, China. She regularly presents and performs on the faculty of The Panoramic Flutist Symposium, in Boulder, Colorado. She is the recipient of numerous teaching awards, most notably the Texas Tech University President’s Excellence in Teaching award. Lisa Garner Santa holds degrees from The Shepherd School of Music at Rice University (DMA), Florida State University (MM), and West Texas State University, (BM). Nataliya Sukhina, sought-after soloist and collaborative pianist with an extensive and diverse repertoire, holds degrees from the Tchaikovsky National Academy of Music in Kiev, Ukraine (MM) and the University of North Texas (DMA), where she studied with world-renown pianist Vladimir Viardo. A prize-winner of several international piano competitions in the Ukraine, Russia, France, and the United States, including 3rd prize at the Fourth International Horowitz Competition, Nataliya Sukhina joined Texas Tech University’s School of Music in Fall 2012 as a Senior Staff Accompanist. She has released recordings with John Holt and Sophia Grech, “Facets 3: New American Music for Trumpet,” and Claudia H. Queen, “7 Vignettes for 7 Choreographers.” Nataliya Sukhina has participated in international cultural exchange programs with the Aruba Department of Cultural Affairs (2010), and the Chinese Music Institute of Peking University. She was a staff pianist for the Bradetich International Double Bass Solo Competition, the 40th International Trombone Festival in Nashville, TN, the 44th International Horn Symposium in Denton, TX, the Texas Flute Society in Denton, TX, and the NSU Flute Workshop in Tahlequah, OK, where she also presented a clinic, ‘Collaborate!’ Nataliya Sukhina has appeared in performances at the Dallas Contemporary Music Festival, the Lewisville Lake Concert Series (TX), the Chautauqua Institution (NY), and most recently with Chamber Music Amarillo. Nataliya Sukhina enjoys working with a wide range of instruments and voices. In addition to enjoying classical repertoire, she is a promoter of contemporary music through performances of newly commissioned works, as well as an advocate of early music through performances on harpsichord, organ, and fortepiano.