Kristie Vaval, Recorderist, accompanied by Sue Lane Talley, Pianist
Ms. Kristie Vaval is currently a Junior at Nyack College, New York City, where she is a Recorder Performance major. Born and raised in Haiti, Kristie completed her second year in University there, and came to Nyack College in 2015. She currently organizes and leads chapel music as well as being Secretary of the student body. A dedicated youth minister and gifted songwriter, she sings, plays the piano, and both plays and tutors Recorder, which she has been studying as a college subject only a little over a year.
Sue Lane Talley, Ph.D, DWS, is Assistant Dean at the School of Music, Nyack College. At the City campus, she teaches recorder, piano, harpsichord, and subjects related to early music and to music in worship.
Prior to her tenure at Nyack College, Dr. Talley worked as an Apprentice Coach at The Metropolitan Opera after being awarded a National Opera Institute grant. She and her husband, Dr. Dana Talley, formerly of The Metropolitan Opera, gave piano and vocal concerts and Master Classes all over the world for some 20 years before they came to Nyack as instructors in 1999.
After falling in love with the sound of the recorder, Sue began teaching Recorder at Nyack, primarily to support the Music Education program. In addition to her intensive piano studies, she has studied privately with prominent recorderists in New York City and has performed as a soloist and collaborating artist in Italy, Albania, Korea, and throughout the United States.
The Bb Major Sonata of Handel was written for the recorder between 1724 and 1726. Its first movement was later used in the Overture of Scipione and its third movement was later used in the A major violin sonata (1726). A fascinating study of the paper upon which the “fair copy” of the Sonata was printed clarified the date of its composition, and that was written in its complete version for the recorder. [Program notes by David Lasocki and Walter Bergmann]
In keeping with the freedom of choice in the the Baroque period, Ms. Vaval is playing the charming bird-like first and third movements of this short Sonata on the Sopranino recorder, and the Adagio movement on the mellow Alto (treble) instrument. The flexible Steinway piano takes the role usually accorded to the harpsichord and is here interpreted as if the basso continuo were being played by a cello.