Click here to read the program notes for this performance.
Blog Archives
PROGRAM NOTES: JAEDEN IZIK-DZURKO
PROGRAM NOTES: DANIEL MÜLLER-SCHOTT & SIMON TRPČESKI
Ludwig van Beethoven
Sonata for cello & piano in C major, Op. 102, No. 1
Those who think of sonata form as a well-organized dinner plate – with the red meat in one corner, the mashed potatoes stationed opposite, and peas or broccoli distributed neatly over the remaining space – might be forgiven for thinking that Beethoven was playing with his food in composing this sonata, so irregular are its formal outlines and so free its inner patterns of musical thought.
But there is nothing childish about it. Along with the preceding Op. 101 piano sonata, it marks the beginning of the composer’s late period, a period in which his deafness moved him to express his thoughts in ever more concentrated form, yet with ever greater freedom. The world of late Beethoven is a world of contrapuntal textures, fluid formal boundaries, and not infrequently of ear-filling trills. It is the willful inner world of a composer who has retreated from the realm of sound, but with his love of that realm intact.
The first noticeable irregularity in this sonata is that it only features two movements, each of which begins with a slow introduction. Opening a sonata movement with a slow introduction is not an innovation on Beethoven’s part: Haydn had used it at the start of his Symphony No. 103 in E♭, as had Beethoven himself in his Pathétique Sonata, Op. 13. But here its use is different. Instead of portentously building up a sense of anticipation for the section that will follow, the slow introduction of this work’s first movement seems blissfully happy to merely meditate over the main motives that will recur throughout the sonata as a whole: a series of stepwise-falling fourths and a faster stepwise ascent of the same interval, presented by the solo cello at the outset. With a dynamic marking of piano and the expressive indications teneramente, dolce cantabile, this slow introduction is a virtual love-duet between piano and cello.
The end of this cheek-to-cheek slow-dancing in the placid key of C major comes all the more suddenly, then, when the sonata movement begins in earnest – in the key of A minor, the relative minor. An opening theme in octaves and unisons between the piano and cello opens the exposition, but expends its fury after two statements, stopping abruptly to allow a musical thought of smaller range, the second theme, to intervene. This abruptness is a characteristic feature of the movement. Beethoven feels no real need to create transitions between sections: he merely stops, as if a new thought has occurred to him, and goes off in a new direction after a pause. Although the exposition is repeated, that is perhaps the most “normal” feature of this movement, which has a compressed development section and a recapitulation which seems ready to luxuriate in a lingering coda – but no, it decides not to after all, and puts a quick end to the discussion.
The slow introduction that opens the second movement is more a serious affair, introspective and reflective, as if gazing at the stars. At first, the piano and cello seem to be in another duet, trading florid phrases back and forth, but then each retreats to its own corner, the cello ruminating deep in the bass as the piano explores ever higher terrain above. Bringing them back together is the opening theme of the first movement, recalled in a mood so lyrical that it dissolves into a dreamy triple trill before the perky theme of the Allegro vivace bursts its bubble.
This theme, an accelerated version of the rising stepwise fourths of the first movement, is uniquely Beethovenian in character. It is both a motivic cell that animates serious discussion in the fugato of the development section, and a toy-like bauble that gets tossed out playfully in a game of tag between the instruments, made all the more humorously dramatic by the numerous expectant pauses that punctuate these mischievous exchanges.
Johannes Brahms
Sonata for cello & piano, Op. 99
Brahms’ second cello sonata is a ‘meaty’ work, the kind that Brahms no doubt would have wanted to play when he was studying the cello earnestly as a young music student in Hamburg. Designed expansively in four movements in the Beethovenian manner, with a third movement scherzo, it combines the impetuous spirit of the younger Brahms with the generous latherings of lyricism that characterize his mature style.
This sonata is a product of Brahms’ later years, a time when his life followed a predictable seasonal schedule. In the summer he would retire to the countryside to compose, then revise and correct his works for publication during the winter season. Waiting eagerly to play his new works when he returned home to Vienna each autumn were the members of the Joachim Quartet, headed by his friend, the violinist Joseph Joachim. The F major sonata was composed in the summer of 1886, during a summer sojourn in the Swiss countryside, and dedicated to Robert Hausmann (1852-1909), cellist in the Joachim Quartet – the same cellist for whom, with Joachim, he wrote the Double Concerto in A minor the following year.
The orchestral sweep of the sonata’s opening, with its rich carpet of tremolando figuration in the piano supporting bold fanfares in the cello line, sets it immediately apart from the subdued opening of Brahms’ previous cello sonata, the Sonata in E minor, Op. 38. This passionate but fragmented first theme in the cello seems to be shouting important news in all directions, like a town crier, while the second theme, announced by the piano, is a more smoothly connected melody. The tremolo figuration of the opening is not just sonic “filler”: it functions as a stabilizing counterfoil to the disjointed character of the sweeping opening theme, and plays a major role at the opening of the development section as well. Especially noteworthy in this movement is the magical passage that prepares the recapitulation, a passage in which time seems to stands still as the cello plays tremolo while the piano enacts great leaps from the bottom of the keyboard to the top.
The Adagio affetuoso second movement in simple ternary form carries the major emotional weight of this work. It opens with a procession-like tune in the piano, setting the scene for the cello to emerge in full-throated glory, singing out a richly chromatic but ever-so-lyrical melody that shows off the instrument to advantage in its high range. A middle section in the minor mode gives the piano a place in the sun as well, but the pool of light on the stage in this movement goes to the cello, which returns in the third section to wax lyrical once again, enveloped by an even more lavishly decorative piano accompaniment.
If the second movement belongs to the cello, the propulsive energy of the third movement, a scherzo marked Allegro passionato, is driven by strongly assertive piano writing. Cresting and subsiding in waves of sound, the opening section builds up sound resonance through the frequent use of pedal tones in the bass combined with a constant chatter of eighth-note motion above. Adding to the intensity of effect are the typical Brahmsian techniques of 2-against-3 rhythms (i.e.: “hemiola”), and syncopations that recall the opening of the scherzo from the composer’s Quintet in F minor. Where the cello emerges more clearly is in the trio middle section, in which it hums a wistful melody in simple note values. While this tune seems folk- like in its simplicity, a number of odd melodic turns indicate that it has more on its mind than it is letting on.
The sonata ends with a fourth movement rondo much in the relaxed vein of the last movement of the Piano Concerto No. 2 in B♭, Op. 83. Gentle and tuneful, its principal theme alternates with a short series of contrasting episodes, none of which spoil the overall mood of contentment that characterizes the movement as a whole.
Frédéric Chopin
Sonata for cello and piano in G minor, Op. 65
Chopin’s name is so intimately linked with the repertoire of the piano that it is difficult to imagine him writing for any other instrument. And yet he appears to have had a sincere appreciation for the sound and musical qualities of the cello. Not only do his works often feature piano textures with left-hand countermelodies in the cello’s baritone range – his Étude in C♯ minor, Op. 25, No. 7, is a classic example – but he actually wrote three chamber works for cello and piano: an Introduction and Polonaise brillante, Op. 3, a Grand duo concertant on themes from Meyerbeer’s Robert-le-Diable, and this sonata, his last published work, written for his friend, the Parisian cellist Auguste Franchomme (1808–1884).
The first movement opens with a sober, almost march-like theme announced in the piano, followed by a deliciously- scintillating pianistic flourish up to the high register, of the sort that must have made young ladies swoon. The cello then enters to take hold of the same melody and works through its melodic implications in a series of passionate interchanges with the piano until a moment of calm intervenes to set the stage for a vocally-inspired second theme of the utmost simplicity. While this movement is in sonata form, with a repeated exposition, the recapitulation is foreshortened and begins with the second theme. Because of Chopin’s habit of splitting melodic interest between the hands in his piano writing, the resulting texture when combined with the cello is extremely rich, frequently offering the ear three melodies to follow at once.
The second movement Scherzo pulls no dark consequences from the fact that it is written in the minor mode, preferring instead to create a more Mendelssohnian mood of “wicked merriment” in an exchange of short phrases between the cello and piano. The trio middle section, by contrast, spins out a waltz-like melody in long phrases over a simple, arpeggiated accompaniment pattern in the piano.
The Largo is only twenty-seven measures, but with its naïvely simple melody and widely-spaced piano accompaniment in hypnotically regular eighth notes, it recreates some of the intimacy of the nocturne genre, at which Chopin excelled. This untroubled movement, the still point at the centre of the sonata, has no other formal structure than that of a great sigh: it swells into fullness, then relaxes and fades into perfect repose.
The rondo-like final movement features themes of some dramatic complexity, most of which use dotted rhythms that play against a recurring pattern of triplets. The melodic and harmonic chromaticism of Chopin’s late style is fully in evidence in this movement, which ends with a stirring coda in a sunny G major.
Notes by Donald G. Gíslason, Ph.D.
PROGRAM NOTES: BEHZOD ABDURAIMOV
Ludwig van Beethoven: Sonata in A flat, Op. 26
Beethoven begins to move away from the norms of the classical tradition in this unconventional four-movement sonata without a single movement in traditional sonata- allegro form. It opens with a noble, almost ceremonial theme with five variations, all based, to some degree, on the principle of rhythmic displacement. The first variation arpeggiates the theme in different registers, as if played by different members of a chamber ensemble or orchestra. The second staggers the melody and accompaniment between the two hands to create a choppy but propulsive texture of relentless off-beats. A much slower pattern of syncopation between the hands is featured in the minor-mode third variation, which draws dark and grave significance from the theme in the unusual key of A flat minor—perhaps the first time this seven-flatted key signature had ever been used. The syncopation is given a brighter face in the playfully hide-and-seek changes of register in the whimsical 4th variation. The fifth is the most orchestral of all, placing the theme in the alto and surrounding it on both sides with a rich rolling texture of chordal arpeggios and the kind of written out trills that would feature prominently in the late sonatas.
In another break with tradition, Beethoven places the scherzo (stand-in for the classical minuet) second in the four-movement structure and by so doing shifts the centre of gravity in the work to the funeral march that follows. For the moment, though, we hear in this movement the exuberant Beethoven boyishly at play, balancing the skipping short phrases and off-beat sforzando accents of the opening with the smooth long stretches of melody in the trio middle section.
The funeral march third movement, when it comes, is weighty indeed, its significance enlarged by the motto Marcia funebre sulla morte d’un Eroe (Funeral march on the death of a hero). The dramatic events of the French Revolution had made heroic death—and the public commemoration of it—the subject of intense fascination in the public imagination and Beethoven joined a number of his contemporaries by appealing to this fascination in his music. Most striking in this march is the orchestral texture of the middle section, with its tremolo drum rolls answered by defiant trumpet retorts. This movement was performed, orchestrally, at Beethoven’s own funeral in 1827.
After this funeral march has done the heavy lifting to make this Grande Sonate live up to its name, it falls to the last movement to walk us home from the funeral in a rondo that Edwin Fischer described as “a gentle autumn rain.” By turns blithely conversational and dramatically forthright, this moto perpetuo rounds out a strikingly original four-movement sonata that by its pianissimo ending reveals itself more concerned with poetry than pomp.
It is perhaps no coincidence that the composer of that other funeral march, Frédéric Chopin, included this sonata in his performing repertoire.
Frédéric Chopin: Fantaisie in F minor, Op. 49
The idea of free-flowing musical fantasy, unconstrained by pre-conceived formal patterning, was well known to Chopin from an early age. As a boy he would entertain his classmates at his father’s boarding school by improvising at the piano on Polish popular melodies. Liszt, among others, relates how he would do the same at aristocratic social gatherings of the Polish exile community in Paris.
There is reason to believe, then, that his Fantaisie, Op. 49 of 1841 is composed in the spirit of such improvisations, containing as it does nostalgic allusions to many patriotic tunes sung by Poles in the aftermath of the failed insurrection of November 1830 in Warsaw.
Emblematic of the free associative processes at work in the piece is the opening march—a genre little known for emotional or psychological complexity. And yet Chopin imbues it with an aura of mystery, not only from its slow pace and low register on the keyboard, but also from the vaguely tragic echoes that reply to it from above. What begins as the clop-clop of horses’ hooves in a ghostly military parade glides imperceptibly into the lilting pulse of a graceful dance fit for the salon. Similar patterns of free association mark the main sections of the work, which are separated by improvisatory bridge passages featuring a flurry of arpeggiated figuration spanning the keyboard.
The main thematic material passes through musical moods that progress from anxiety to sanguine exuberance, then defiance (expressed in a series of octaves in contrary motion) and finally military triumph (in a more traditional march). These musical associations pivot on either side of a remarkable still point in the middle of the work, its elegaic Lento sostenuto, nostalgically recalled at the closing of the piece in an evocative recitative.
Camille Saint-Saëns (arr. Liszt/Horowitz): Danse macabre
Centuries before Michael Jackson’s Thriller and the zombie craze of recent years, legend held that the dead would dance to the infernal tunes of Death himself playing the fiddle. Arising from their graves at the stroke of twelve, they would shake, rattle and roll their skeletal bones through the night until the cock’s crow at dawn sent them scurrying back under their tombstones.
Such is the scene of the Danse macabre of Camille Saint-Saëns, composed in 1874. Originally a tone poem for orchestra, the work quickly became available in any number of transcriptions and arrangements—including one, surprisingly, for church organ.
Pictorially vivid, learnedly constructed, and transparently textured, it bears all the marks of the French musical imagination. Pictorial touches within the score include the tolling of the midnight bell, represented by the 12 repeated half-notes on D that open the piece. This is followed by the playful, rocking motif of the “Devil’s interval” (tritone) symbolizing Death’s fiddle. The work’s middle section includes a fugato (easily imagined as a round dance) and concludes with the musical representation of the cock’s crowing at dawn to bring an end to the devilish merriment.
Liszt’s attraction to the work is not hard to understand. He was well-known for his virtuoso transcriptions of opera classics such as Mozart’s Don Giovanni and Bellini’s Norma and the toxic mix of religion and death had already infused such works as his own Totentanz for piano and orchestra, as well as piano solo pieces such as Funerailles. This transcription is a tour de force of rumbling tremolos in the bass, kaleidoscopic passagework in the treble and flying octaves throughout.
Vladimir Horowitz, no mean transcriber himself, freely altered Liszt’s arrangement of the Saint-Saens work, thickening some passages to add greater resonance, thinning out others to make them “speak” more effectively on the modern piano, and even adding extra bars to the score, starting with the misty cadenza that immediately follows the tolling of the midnight bells at the work’s opening.
The Danse macabre that results is thus a refracting prism of the picturesque, virtuoso and pianistic contributions of three great exponents of the Romantic tradition in music.
Franz Schubert: Impromptus Op. 90, Nos. 2 & 3
The impromptu is just one of a number of small-scale instrumental genres arising in the early 19th century, known under the collective title of character pieces. Cultivated by composers in the emerging Romantic movement, these pieces presented a simple musical idea in an intimate lyrical style with the aim of evoking a particular mood or moment of personal reflection, spontaneously experienced and communicated.
The typical construction was a simple three-part form (A-B-A), with a middle section that contrasts in mood or emotional intensity with the outer sections. The eight impromptus that Schubert composed in late 1827 are classic examples of the genre, and indeed are the first pieces bearing the name impromptu to establish themselves permanently in the repertoire.
The Impromptu in G flat, Op. 90, No. 3 presents a lyrical vocal melody over melt-in-your-mouth harmonies laid out in a gentle but ever-moving accompaniment pattern that perfectly paints the fluttering of the human heart.
A much wider emotional range is explored in the Impromptu in E flat, Op. 90, No. 2, which contrasts the carefree mood of its opening running scale passages with a more emphatic middle section dominated by vigorous emotional outbursts. Recent developments in the design of the Viennese piano made possible the extreme range of the right-hand scalar passages, which Schubert exploits to create thrilling crescendos in the high register.
Maurice Ravel: Gaspard de la nuit
Ravel’s depiction of three poems from the collection by French Romantic poet Aloysius Bertrand strikes terror into the hearts of pianists and listeners alike. Its audience enters a dark but lucid dream world of the magical, the macabre, and the grotesque while the performer confronts pianistic challenges unique in the repertoire of his instrument.
Written expressly to be, in the words of the composer, “more difficult than Islamey” by Balakirev, Ravel’s 1908 masterpiece bristles with the kinds of pianistic difficulties only the Impressionists could create: fleet patterns of figuration across the full range of the keyboard interspersed with colorful but dense tone structures that must be parsed, at a lightning pace, with extreme delicacy of pedaling and with infinitely fine gradations of dynamics.
Ondine is a mermaid who whispers her message of seduction into the ear of a mortal man, trying to tempt him to join her in her shimmering watery world. When he confesses that he is married already, she disappears in a burst of laughter and brilliant splashes of scattered water.
Le Gibet paints the picture of a man hanging from the scaffold, the slight swaying of his body grimly imitated throughout by the implacable ringing of a repeated B-flat in the mid-range of the keyboard as the sifted sonorities of surrounding chord streams evoke the setting sun.
Scarbo is a dwarfish evil imp that flits about the room terrifying a man in his bed. It buzzes in dark corners and dances menacingly in and out of the shadows until, like the flame of a burning candle, it vaporizes into the air and its presence is extinguished.
Notes by Donald G. Gíslason, Ph.D.
PROGRAM NOTES: MURRAY PERAHIA
Johann Sebastian Bach:
French Suite No. 4 in E flat major, BWV 815
Bach composed suites for keyboard, for various solo chamber instruments, and for full orchestra, each comprising a varied and aesthetically balanced collection of dance movements written in the fashionable style of his day. The harmonic task given to each two-section dance is a simple one: to move, in the first part, from the home key to the key of the dominant, five notes up, and then in the second part, to return back to the home key, with each section played twice.
The moderately paced Allemande that opens this suite exudes an air of quiet assurance and harmonious calm. It is the most “conversational” of the movements in the suite, its walking bass supporting two upper voices that circle and twine round each other like two old friends who complete each other’s sentences. Beginning unusually low, the first half moves towards the middle register, while the second half begins correspondingly high and descends to the mid- zone of the keyboard.
In the Courante we move to triple metre, and a livelier pace. The single upper line moves in a continuous stream of running triplets while its jogging partner in the bass skips in time to it below. The stately Sarabande that follows restores a mood of ceremonial propriety as the hands take turns echoing the opening motive, with its characteristic emphasis on the second beat of the bar.
The galanteries, or optional dances that precede the finale, are usually performed in the following order. First is the Gavotte, which in contrast with the smooth running figures of the preceding dance, moves by a succession of little leaps, imitated between the hands. A much longer second Gavotte follows, with an unusually wide variety in phrase lengths, for a dance movement.
The Air features a continuous texture of running notes, with a lively imitative dialogue between the voices in the second half. The Minuet moves in bite-sized two-note groups echoed between the hands, which gives it a sense of courtly daintiness not shared by its rougher country cousin, the Gavotte.
The real toe-tapper comes at the end of the suite in the Gigue, the most emphatic and rousing of all the dance movements. Displaying more leaps than a skateboarder’s trick set, this rollicking finale follows traditional Baroque practice of inverting the opening motive at the start of its second half.
Ludwig van Beethoven: Sonata in F minor, Op. 57
The sonata known to history as the Appassionata is one of Beethoven’s most emotionally charged and “edgy”
compositions, a work that – in its outer movements especially – pushed piano music to new extremes in dynamics, in technical difficulty, and in sheer expressive power.
Beethoven’s choice of key, F minor, allowed him to write for the full range of the piano of his day, from its lowest note (F1 in the bass) to its highest (C7 in the treble), both of which appear prominently in the score. Extreme as well is the economy of musical material used. As he was to do in the great C minor Symphony to follow, Beethoven constructs the entire compositional edifice of his first movement out of a small number of primal musical materials, all presented on the first page.
The sonata opens in a conspiratorial whisper, the furtive dotted rhythm of a rising F minor arpeggio finishing in a trill in the upper register, more eerie than decorative. The entire phrase is then repeated a semitone higher, in G-flat, introducing the Neapolitan harmony (on the flattened 2nd degree of the scale) that will haunt the entire movement. Completing the motivic line-up is a short knock-on-the-door motive in the bass, ominously tut-tutting this Neapolitan ascent with a corresponding semitone descent, and suspensefully setting up the explosion of echoing cannon- fire chords that begin the movement’s emotional journey in earnest. After a transition section buzzing with repeated notes, a calmer second theme appears in the major mode, but its dotted rhythm and restless triadic roaming show it to be merely the flipside of the first theme, as if Beethoven were playing bad-cop/good-cop with the same thematic material.
There are no formal repeats in this sonata-form drama: the emotional intensity is kept at fever pitch throughout the exploratory modulations of the development and the triumphant recapitulation in the major mode. But this is not the end. As in the C minor Symphony, this first movement is massively end-weighted in an extended coda that reaches its emotional climax in a virtuoso cadenza spluttering with rage and apocalyptic fury. Its pianississimo ending, fluttering with menace into the distance, merely recedes from, rather than resolves, the musical torment burning at its core.
No greater contrast could be imagined than that presented by the second movement, an emotionally stable, harmonically rock-solid set of variations, each with its own repeat. Far from ranging over the full expanse of the keyboard, its solemn melody spans barely a handful of notes in the mid- range. Melodic interest is thus concentrated in the bass line, but as the variations progress, it gradually filters upward into increasingly elaborate patterns of decorative detail in the upper register. Then just as the movement reaches its cadential close, a harmonically destabilizing diminished 7th chord mysteriously steps in to replace the final tonic harmony. Strident repetitions of this chord in a higher register trumpet the breaking news that the last movement is at the gates, set to begin – without a pause.
In this last movement the feverish restlessness of the first movement returns in a moto perpetuo of continuous sixteenth notes, so hell-bent on its mission that its “second theme” is barely distinguishable from the first, merely moved up into the key of the dominant minor, five scale degrees higher. As in the first movement, frequent flecks of Neapolitan harmony add a dark glint to the harmonic mix in both key areas.
Where new motives and punchy countermelodies do emerge is in the development section, which is perhaps why it, along with the recapitulation, is given a repeat. The work ends with a presto coda described as a “demonic czárdás,” stomping, skipping and finally racing to its finish in a whirlwind of F-minor broken chords cascading from the top to the bottom of the keyboard.
Robert Schumann: Papillons, Op. 2
Two artistic influences flutter over Robert Schumann’s second published work, an interconnected cycle of twelve dance pieces appearing in 1831 under the title Papillons (i.e., “Butterflies”). The first is the piano music of Schubert, especially his dance pieces and variations, which intrigued the young composer with their “psychologically unusual connection of ideas.” The second is the work of German Romantic novelist Jean Paul Richter, with whose fanciful writings Schumann became utterly besotted in his student years in Leipzig while studying law.
It is, in fact, the scene of the masked ball at the end of Richter’s novel Flegeljahre (1804) that provides the dramatic “setting” for the cycle, a scene in which two brothers, in love with the same woman, vie to win her heart amid the gaiety and varied musical offerings of a social evening with dance orchestra.
These brief pieces, most of which are waltzes, manage to fit a maximum of drama within their diminutive formal frames. Eyebrow-raising is the occasional use of the minor mode in this collection of generally festive dances, as well as the frequent presence of two wildly contrasting moods within the same piece – features which hint at the testosterone- soaked rivalry between the two brothers. Noteworthy as well is how the personalities of the rival brothers in Richter’s novel – one dreamy-eyed and introspective, the other passionate and action-oriented – parallel the two alter-egos that Schumann was to develop for his own split musical personality: Eusebius and Florestan.
Most clearly narrative is the final dance in the set, which opens with a quotation of the Grossvatertanz (Grandfather’s Dance), a centuries-old tune traditionally played at the end of wedding celebrations. Against the backdrop of this tune, Schumann recalls the opening waltz as the clock tolls repeatedly to signal the end of the ball. The final cadence features a dominant 7th chord that is peeled up from the bottom to leave only its top note sounding, before the final chord brings a quiet close to this kaleidoscopic evening of musical nostalgia.
Frédéric Chopin: Nocturne in B major, Op. 62, No. 1
The nocturne, popularized in the early 19th century by the Irish pianist John Field, became in the hands of Chopin one of the most characteristic genres of the Romantic era. Typically featuring an Italianate cantabile melody over an arpeggiated accompaniment of widely spaced chords in the left hand, it sought to evoke a dreamy nighttime mood through its slow harmonic rhythm and the atmospheric use of pedaling effects over recurring drone tones.
This nocturne, one of the last published by Chopin during his lifetime, seeks the same goal, but by different means. More contrapuntal in texture, it features a harmonically active bass supporting a vocal line that unfolds in an even flow of eighth notes, with overlapping phrases that avoid clear and unambiguous cadences in pursuit of the Romantic ideal of the “endless melody”.
Its middle section grandly widens the range between melody and bass while venturing further afield in its modulations before returning to the opening material, thrillingly ornamented with chains of trills and melodic filigree. A longish coda features orientally-tinged scalar elaborations ranging widely over the keyboard which lend end-weighting to the work as a whole.
Frédéric Chopin: Étude in A flat, Op 25, No. 1 Étude in E minor, Op 25, No. 5 Étude in C# minor, Op 10, No. 4
The two sets of twelve piano studies which Chopin published as his Op. 10 (1833) and Op. 25 (1837), along with the Trois nouvelles études which he contributed to the Méthode des méthodes (1839-40) of Fétis and Moschelès stand, even today, as the foundation of modern piano technique. In the words of pianist Garrick Ohlsson: “If you can play the Chopin Études … there is basically nothing in the modern repertoire you can’t play.”
It is easy to imagine why the Étude in A flat, Op. 25, No. 1 is known as the “Aeolian Harp”. Beneath a steady pulse of melody notes, many of them repeated on the same pitch, strums a swirling, rippling accompaniment that challenges the pianist to split his hands conceptually in two between a melody or bass-note finger (the pinkie) and the fingers playing the accompaniment (all the rest). Particularly perilous are the exhilarating leaps – in opposite directions! – at the emotional climax of the piece.
The Étude in E minor, Op 25, No. 5 is the “ugly duckling” amongst the Études. To each attack in the right hand is
attached, like a barnacle, a chromatic inflection a semitone away that makes it walk like it has a stone in its shoe. Its contrasting middle section in the major mode – as poised and elegant as the opening section is grotesquely limping and ungainly – is richly carpeted with a harmonically full, rolling texture that allows the left hand to sing out a simple but engaging baritone melody of small range and modest harmonic goals.
The Étude in C# minor, Op. 10, No. 4, a fiery and aggressive moto perpetuo of small running figures that change hands every few bars, is one of the longest of the Études. Bristling with chromatic inflections and peppered with sforzando accents, it makes the arrival of a stable key centre a major event on the last page of the score.
Frédéric Chopin: Scherzo in B flat minor, Op. 31
The scherzi of Chopin have little of the tripping, skipping, good-humoured jesting of the genre created by Beethoven, and only the last of them, the Scherzo in E major, Op. 54, displays any of the mischievous scamper and effervescent buoyancy of the models offered by Chopin’s contemporary, Mendelssohn. Rather, these are big-boned works, projecting pianistic power and lyrical intensity with a directness and confidence very much at odds with the popular image of Chopin as the delicate performer of perfumed salon pieces.
What links them, perhaps, to their forebears is not only a broadly conceived ternary (A-B-A) form, but also a certain mercurial volatility of mood and a desire to entertain wildly contrasting emotions not just between sections, but within them.
The Scherzo in B flat minor, composed in 1837, is a perfect example. It opens with a dramatic exchange between a whimpering triplet figure and an explosive salvo of raw piano resonance, only to be followed by an ecstatic exclamation arriving from the extreme ends of the keyboard, which then in turn morphs into a yearning, long-lined lyrical melody singing out over a sonorously rippling accompaniment in the left hand.
The middle section begins in a mood of quiet elegy, but gradually is persuaded to emerge from its introspection into a lilting three-step waltz, accompanied at every turn by an attentive little duplet-triplet figure in the alto. It is this coy little waltz tune that will build up in urgency and sonority sufficient to motivate the return of the dramatic musical gestures that opened the work. A coda pulls and tears at this material to lead it to a triumphant conclusion in D flat major, the key to which it had always been drawn throughout its course.
Notes by Donald G. Gíslason, Ph.D.
Program Notes: Benjamin Grosvenor
Program Notes: Benjamin Grosvenor
J. S. Bach: Five transcriptions
Benjamin Grosvenor opens his program with a series of piano transcriptions, a genre that was wildly popular in the late nineteenth and early twentieth centuries, then went out of fashion, and is now making something of a comeback. Transcription – the transferal from one medium to another – is as old as music itself. Many of our greatest composers – Vivaldi, Handel, Bach, Mozart, Beethoven, Liszt and a host of others – practiced it. “The beauty of the transcription,” writes critic Andrew Farach-Colton (Gramophone, July 2010), “is that (at its best) it opens two windows simultaneously: one onto the world of the composer and another onto the world of the transcriber.”
Today we hear five examples of transcriptions from Bach, an inveterate transcriber himself. In fact, the last of these, the instrumental “Sinfonia” from Cantata no. 29, is itself already a transcription Bach had made from the Prelude to his E-major solo violin partita (no. 3, BWV 1006). On today’s program it is fittingly preceded by another of Saint-Saëns’ many transcriptions, the reposeful, gently flowing Largo movement from the C major solo violin sonata (no. 3, BWV 1005). From another Bach cantata (No. 22, Ertödt’ uns durch dein Güte) we hear the final movement, which Walter Rummel transcribed precisely from the original – a continuously flowing line in the violins punctuated by five phrases of the chorale text sung by four-part chorus. “Bach-Siloti” is a hyphenation well known to pianists. Alexander Siloti (1863-1945) was a Russian-born pianist, composer and teacher and one of Liszt’s last students. He created over two hundred piano transcriptions, one of the most famous being the Prelude we hear today. However, its provenance is in doubt; Johann Tobias Krebs is often cited as the most probable author. The program begins with one of the numerous Bach transcriptions by the great German pianist Wilhelm Kempff (1895-1991).
Ludwig van Beethoven: Piano Sonata no. 4 in E flat major, Op. 7
Beethoven began writing piano sonatas in earnest in 1793 (the three so-called “Electoral” Sonatas are juvenilia, written by a thirteen-year-old), shortly after the move from Bonn to his adopted city of Vienna. The first three sonatas were published as a group (Op. 2), but for his next work in the genre, written in 1796-1797, Beethoven had this “Grande Sonate,” as he called it, published under its own opus number. The designation is appropriate, for it is the longest (slightly over half an hour) of all Beethoven’s 32 piano sonatas save the Hammerklavier.
Spaciousness of design and an almost symphonic aura also contribute to the justification for calling this a “Grand Sonata.” Orchestrally conceived touches abound, right from the opening measures where the steadily repeated E flats in the bass would almost surely go to violas or cellos. Wide leaps, frequent use of resounding six- and even seven-note chords, smoothly gliding octaves in the right hand alone and lightning-fast scale passages all suggest the resources of a symphony orchestra. As pianist Anton Kuerti notes, “The richness and diversity of material, the dovetailing of lines, the antiphonal responses and the sumptuousness of design … all reinforce this impression.”
The first movement opens with a surge of energy that persists until the final chord. Beethoven’s characteristic gestures, such as startling contrasts of loud and soft, pregnant pauses, and strong attacks on weak beats, are found in abundance. The coda is announced with another typically Beethovenian gesture: the sudden, almost violent wrenching of the tonality into new territory by means of a simple harmonic sideslip.
The word “grand” turns up again in association with the slow movement specifically, whose performance direction is con gran espressione – with deep expression. With its aura of profound reverence, hymn-like writing, long silences that speak as eloquently as sound, a dynamic range from pianissimo to fortissimo, and a duration of about ten minutes, this movement encompasses a small world by itself. Formally it is a simple ABA structure, with the contrasting central episode in the warm key of A flat major. Again there is a coda of significant length.
The third movement combines features of the courtly minuet and the more playful scherzo. Beethoven called it neither, allowing a simple Allegro to serve as its title. The constant overlapping and dovetailing of voices imply the interplay of orchestral instruments. Pianist Charles Rosen calls the contrasting Trio, written in the rare key of E flat minor, “an atmospheric exercise in tone color, with the melody hidden in an arpeggiated motion of triplets.”
The light-hearted, gracious tone of the finale, a sonata-rondo design (ABA-C-ABA), gives way to a fiery central episode in C minor pervaded with rushing thirty-second notes in perpetual motion. In a surprise move, Beethoven ends this “grand” sonata not with an imposing flourish but with a quiet bow.
Alexander Scriabin: Mazurkas, Op. 3, and Valse, Op. 38
The life of Alexander Scriabin was one of the strangest in the history of music. He started out by writing graceful, sensuous, quasi-Chopinesque little piano pieces and ended up totally, even maniacally, absorbed in mysticism and the occult. As with Chopin, most of Scriabin’s music is for solo piano (the balance is for orchestra). Also like Chopin, there are nocturnes, preludes, mazurkas, etudes, impromptus, waltzes and sonatas. The ten mazurkas of Op. 3 date from 1888-1889 when Scriabin was still a student at the Moscow Conservatory and very much under the influence of Chopin, though one could never mistake the Scriabinesque harmonic palette for Chopin’s. All are in ternary (ABA) form, each has a character of its own, which might range from gently wistful to exuberantly joyous, and all exhibit the characteristic rhythmic impulses of the mazurka.
Pianist Yevgeny Sudbin poetically describes the Waltz Op. 38 of 1903 (one of the few Scriabin wrote in this form) as “a fugacious memory of a distant past. … This piece is a magic box. Opened slowly, the intensifying, blinding light emitting from inside sets the universe ablaze just to vanish again at the end, leaving but a luscious trace.”
Frédéric Chopin: Polonaise in F sharp minor, Op. 44
Nowhere in Chopin’s output do the national pride, dignified grandeur and defiant power of Poland find greater expression than in the polonaises. The polonaise originated in the late sixteenth century as a stately processional dance in triple metre. It was the polonaise that served as processional music for the lords and ladies to parade past the newly enthroned King of Poland in 1574 (Henry III of Anjou). Pianist Garrick Ohlsson calls the F sharp minor polonaise Op. 44 of 1841 “tragic, compulsive and complex.” Chopin himself referred to it as “a fantasy in the form of a polonaise.” Embedded in this polonaise – the longest by far of any Chopin polonaise excepting the unique Polonaise-Fantaisie Op. 61 – is another dance form entirely, a mazurka. Preceding this is a long passage featuring an incessant rhythmic pattern reminiscent of drum rolls, and virtually devoid of melody. Framing the entire structure is thematic material that few will deny is some of the grandest Chopin ever conceived. The music’s epic scale and tragic tone, the powerful sonority drawn from the piano, and the striking contrast between the majestic polonaise and the gentle mazurka contained therein (the critic James Huneker called it “a flower between two abysses”) all contribute to making this one of Chopin’s grandest creations.
J. Strauss II: Blue Danube arranged by A. Schulz-Evler
or Arabesques On Themes from Johann Strauss’s Waltz “On The Beautiful Blue Danube”, Op. 12
NOTE: Title taken directly from the title page as first published in Vienna, c. 1900, translated from German into English
More than any other kind of music, it is the waltz that conjures up visions of Vienna as a kind of romantic never-never land. Of all the composers who contributed to the rich heritage of Vienna’s dance music, it is Johann Strauss II, the “Waltz King,” who reigns supreme. Leading the list of his many waltzes is the immortal On the Beautiful Blue Danube, (The Blue Danube, for short). Originally written in 1867 as a choral piece for the Vienna Men’s Choral Association, the words were soon discarded in favor of a purely instrumental version, the form in which it is most familiar today.
Naturally, anything so popular has been subjected to countless arrangements. One of these, created in or about 1900, is for solo piano by the Polish pianist and composer Adolf (or Andrei or Andrej) Schulz-Evler (1852-1905). The rather cumbersome title, Arabesques on Themes from the Waltz “On the Beautiful Blue Danube,” is nevertheless an accurate description, for indeed, what Schulz-Evler has done is essentially to follow the same sequence of themes from Strauss’s original (in itself, in fact, a whole string of waltzes), while copiously adorning the music with arabesques, filigree and other decorative touches. The result is a tour de force that captivates with its charm and dazzles with its outlandish virtuosity, sweeping listeners into the music’s magical orbit and sending them home radiantly happy.
In an article devoted to “The Return of the Piano Transcription” some years ago (Classical Pulse!, June/July 1994), Philip Kennicott had these words to offer about Schulz-Evler’s contribution: “Strauss’s familiar waltz themes are decadently encrusted with a staggering amount of frippery and frills. The piece lurches from one insane technical hurtle to another. One wants to shout both ‘Stop this madness!’ and ‘More! More!’ at the same time. And underneath it all there is an elegance, a coy gracefulness; one marvels that any human being would train himself so thoroughly as to be able to accomplish this kind of playing.”
Program notes by Robert Markow, 2013.
SOME THOUGHTS ON OUR UPCOMING 12-13 SEASON
Today we want to share with you a few thoughts and facts about our recently announced 2012-2013 season:
UP FIRST: On October 5 András Schiff will open the 33rd season with an all-Bach program. In fact, András was one of the first artists who launched the Vancouver Recital Society in 1981. Like so many artists who followed, he made his Canadian debut in Vancouver.
CHEZ NOUS: The earliest performances were presented at the Granville Island Stage, but the Vancouver Playhouse was soon chosen as the ‘home’ for the Vancouver Recital Society. In the upcoming season we will present six afternoon performances at this downtown location.
HOME AWAY FROM HOME: The VRS established its second ‘home’ soon after the opening of the Chan Centre at UBC in the spring of 1997. Now going into our 16th (!) season at this venue, we continue to present four afternoon performances along with four evening performances. Of course, Mr. Schiff adds a very special ninth performance at the Chan Centre.
In total, the 2012-2013 consists of 15 performances of which 10 are scheduled on Sunday afternoons.
THE PRICE IS RIGHT: we are very excited with our new, low “entry” price. For the first time it is possible to select a series of four performances for only $80 – or $20 for each performance.
AH, TO BE YOUNG AGAIN: our young audience members now have greater access then ever before with our Youth Club and Ru35 programs. Throughout the season, tickets can be had for as little as $16.
A POPULARITY CONTEST?: In our recent survey you ranked your favourite composers and, perhaps not surprisingly, Bach, Beethoven, Schubert and Chopin came out on top. Happily, our 2012-2013 artists will give us a lovely dose of these top-rankers. As we have seen, Bach is in the best hands with András Schiff. Schubert is well represented throughout the season, most notably by Paul Lewis whose program is dedicated to the monumental three late piano sonatas. Adding to the Schubert repertoire are Simon Trpceski and Behzod Abduraimov. Behzod also brings us the ever-popular “Appassionata” sonata by that ever-popular composer, Beethoven. Armenian cellist Narek Hakhnazaryan brings Chopin’s Introduction and Polonaise brillante, and pianist Stephen Hough includes Nocturnes on his program.
2012-2013 is shaping up to be a most exciting season. Series tickets are currently offered at exceptional prices with fantastic benefits (complimentary parking passes!). Call our office at 604-602-0363 and we’ll be happy to discuss all our subscription options.
Murray Perahia…reminiscences
Murray Perahia first came onto my radar in 1972 when he won the Leeds International Piano Competition. I knew Murray’s playing through his recordings but didn’t have the opportunity to hear him live for the first time until 1983, when on a visit to London I was able to attend a recital he gave at the Royal Festival Hall. It was one of the most memorable concert experiences of my life. I was with a friend with whom I had studied music at university in South Africa, and the two of us left the hall speechless. We didn’t speak to one another until we had crossed the bridge over the Thames, to catch our Tube.
Two years later (the VRS was 5 years old) Murray Perahia played a recital in Portland on a small, but wonderful piano series. How envious was I when I found out that the only way the series was able to present Mr. Perahia was through the generosity of one of their subscribers who was a Murray Perahia fan, and was determined to get him to Portland at any cost.
Finally, three years later I plucked up the courage to engage Murray Perahia. Regrettably, he had to cancel as he came down with the flu in New York City. We found out only the afternoon before the concert, as we had been moving offices (pre cellphone days) and his manager couldn’t reach us as our telephone and fax lines hadn’t been installed. First call on the new phone number was “terribly sorry to have to tell you…”
He played his first performance for us the following year at the Orpheum and has returned to our series several times since. I have had the immense pleasure of having him practice in my home, and so has our sponsor, Martha Lou Henley. On one occasion he needed a break and went for a walk. I was panic stricken when he hadn’t returned after an hour and a quarter. Fortunately, back in those days the VRS office was located in the basement of my home, so I was able to leave the house to search for him. I did find him wandering around the side streets of Shaughnessy.
On another occasion he came to Vancouver for a concert at the time of the famous summit. We had booked him into the Four Seasons Hotel, which we then had to cancel as the Summit leaders had taken over the hotel. We re-located him to the Waterfront Hotel and let his management know. Somewhere between his management and his diary there was a ‘disconnect’. I waited at the airport for five hours, calling every hotel in town every 30 minutes to see if he had checked in. Bingo! Finally, the Wedgwood Hotel said that they had just found a room for a Mr. Perahia who hadn’t had a previous reservation but had been insistent that there had been! I asked them to send someone up to lock his door and not let him out until I arrived!
Each and every concert by Murray Perahia is a revelation and a deeply moving experience. I am so thankful that I have been a concert presenter at a time when Murray Perahia is at his prime.
Leila Getz, C.M., O.B.C., D.F.A.
Artistic Director