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Program Notes: Jonathan Roozeman

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Luigi Boccherini
Sonata in A major G 4

Luigi Boccherini was perhaps the greatest cellist of the 18th century, and like his compatriot of a previous generation, Domenico Scarlatti, he spent the most active portion of his professional life at the court of Spain. His royal patron, the Spanish Infante Don Luis Antonio, younger brother of King Carlos III, was a music-loving prince with his own string quartet. The addition of Boccherini to this ensemble was likely the creative prompt for the more than 100 string quintets – in the unusual configuration of 2 violins, viola and 2 cellos – for which he is principally known.

A cellist of extraordinary technical skill, Boccherini, like Paganini after him, wrote for his own hand and acquired a reputation as a virtuoso performer through performances of his own works. One feature of his playing that astonished his contemporaries was his predilection for playing the violin repertoire, at pitch, on the cello, and indeed passages in which the cello plays in the high register are a recurring feature of his own scores.

His musical style stands at the intersection of two eras: floridly ornamental in the late Baroque manner, but early Classical in its slow harmonic rhythm and clear periodic phrasing, with direct repetition of short phrases a prominent characteristic.

The opening Adagio of Boccherini’s Sonata in A major displays well the style of ornamentation for which he was well known. Its gracious but relatively unadventurous melodic lines are set within an elaborate filigree of appoggiaturas, trills and flamboyant scalar flourishes. An ascending arpeggio in the penultimate bar nearly sends the cellist off the fingerboard to reach a high E above the treble staff.

The following Allegro demonstrates Boccherini’s ability to create an entire movement out of the repetition of small phrases and fragmentary motives. His habit of slurring phrases from a weak beat to a strong gives his music a gentle gracefulness that has even been called “effeminate,” a quality noticeable, as well, in the insistent sigh motives of the concluding Affettuoso. It is no wonder, then, that the good-natured charm of his works led to his being called “Haydn’s wife.”

Claude Debussy
Nocturne and Scherzo

Debussy made his first public appearance as a composer in 1882 in a performance of his Nocturne et Scherzo, a work originally scored for violin and piano but later that year revised for cello. This work of his student years was performed only once and then vanished from the public record until the manuscript was rediscovered in the early 1970s and Mstislav Rostropovich gave it a ‘second debut’.

It is comprised of two sections, arranged in a rounded three-part A-B-A form. Despite the titling, the scherzo is actually the first section, imprinted throughout with the 2nd-beat emphasis and drone tones of a mazurka. The second section is the dreamy nocturne, that in its lilting rhythms seems to evoke the nostalgia of a gentle waltz more than the stillness of the night.

Claude Debussy
Sonata in D minor

Debussy’s compact little sonata for cello & piano was written in 1915 as part of a series of instrumental sonatas meant to assert the value of French culture during a depressingly long war that Debussy saw as threatening France’s very survival. The work comprises three movements, each successive movement shorter than the previous.

The first movement Prologue announces its motivic foundations in the first bar: a quick triplet and long note, followed by a descending modal scale figure. Rhapsodic elaborations of the triplet figure form its first theme, tender ruminations on the descending scale figure its second. An animated middle section prepares for the triumphant return of the opening material and its serene farewell.

The Sérénade that follows lives up to its title with ample pizzicato writing for the cello and a fair imitation of guitar strumming in the piano. Capriciously paced and leering with portamento slides, this movement pursues its evening entertainment goals with infinite delicacy.

In contrast to the spare scoring of the previous movements, the Finale simply bubbles over with running notes. This is a movement in a hurry to get somewhere, but the scamper is often rewardingly interrupted by—or superimposed with—long strands of lyrical melody.

Jean Sibelius
Romance Op. 78 No. 2
Malinconia Op. 20

Sibelius, though best known today for his symphonies and Violin Concerto, could not live off these large-scale works alone. And so it was that during The Great War (1914-1918) he composed a set of four pieces for violin and piano, Op. 78, expressly directly at the domestic market. These were simple tuneful pieces intended for amateur performance in the home.

The second of this set, simply entitled Romance, soon became one of his most popular compositions, and this work has remained a staple of both the violin and cello repertoires. The wistful carefree character of its eminently hummable melody encapsulates the period’s nostalgia for an age of parlour music that would soon slip away into memory.

*                      *                      *

In February of 1900 the typhus epidemic that was sweeping through Finland claimed the life of Sibelius’ 15-month-old daughter Kirsti. From the pain of this event came a work shortly thereafter for cello and piano entitled Malinconia (Melancholy), a work in which the composer allowed himself to grieve.

The cello recitative with which it opens struggles upward, step by weary step, to arrive at an anguished cry of grief. In response, the piano rips up and down the keyboard as if to paint the flailing of pleading arms in the wind.

Each instrument is given extended solo cadenzas that exploit the extremes of their range. When playing together, they often play apart: the piano in syncopated pulses of bewilderment deep in the bass against the cello’s wailing melody in the mid-range. Or they quiver at each other in turn, in passages of sustained tremolo. French composer Eric Tanguy has deemed this work “utterly unique in the entire literature of music for cello and piano.”

Franz Schubert
Sonata in A minor for Arpeggione and Piano D 821

Schubert’s Arpeggione Sonata was composed in 1824 but only published in 1871, long after the composer’s death in 1828, and almost as long after the principal instrument for which it was written fell out of favour.

The six-stringed arpeggione was a kind of large bowed guitar that enjoyed a brief period of popularity after its invention in 1823 by the Austrian luthier Johann Georg Stauffer (1778-1853). It was fretted and tuned like a guitar, but held between the legs without a floor peg and played with a bow like the cello. Schubert may have been prompted to write a sonata for the instrument through his acquaintance with the Viennese arpeggione-player Vincenz Schuster. While the instrument still exists, its adepts are few in number and Schubert’s sonata is mostly played nowadays in transcriptions for viola or cello.

The work opens with a memorable tune, more wistful than melancholy, in the home key of A minor, delivered with the direct simplicity that would later characterize the opening theme of the Schumann piano concerto. By a mixture of mincing steps and bold gestures we are led to the movement’s principal glory: its toe-tapping second theme. Constructed out of a series of harmonic sequences and carefree leaps, this second theme is what a Happy Face emoticon would sound like, if it could sing. Playing it in subways and public squares could collapse the market for anti-depressants. It’s the joyful music your dog hears in its head when running to fetch a ball for you. And while the development section spends much of its time in the minor mode, the underlying effervescence of its musical material keeps it from veering in a dark direction.

The Adagio second movement is hymn-like in its steady processional pace, with a Beethovenian earnestness of sentiment and a fireside warmth of tone that foreshadows Mendelssohn. It slows to a crawl at the end to provide a springboard for the moderately paced Allegretto finale that follows immediately on. The opening refrain theme of this rondo is so Brahmsian in its dignified pace and emotional restraint, one can almost hear the chorale theme from the finale of the Brahms First Symphony just waiting in the wings to be composed. The livelier contrasting episodes flicker in and out of the minor mode in a way that suggests Hungarian folk music, but the major achievement in this movement is the way in which Schubert creates contrast while maintaining an unflappable evenness of mood.

Donald G. Gíslason 2019

PROGRAM NOTES: Yevgeny Sudbin

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Domenico Scarlatti
Sonata in B minor K 197
Sonata in G major K 455

“Probably one of the most outrageously individual compositional outputs of the Baroque era is to be found in the keyboard sonatas of Domenico Scarlatti,” writes Yevgeny Sudbin in the liner notes to his 2004 Scarlatti album.

This may explain why Scarlatti’s 550-odd sonatas are perhaps the most successful works to migrate from the harpsichord to the modern grand piano. Their transparent texture of simple two- and three-part keyboard writing has one foot in the imitative counterpoint of the Baroque while anticipating the Classical era of Haydn and Mozart in their clarity of phrase structure and harmonic simplicity. Especially appealing to modern performers is their pungently flavourful evocations of the popular folk music of Spain, not to mention the flurries of repeated notes, octaves and register-spanning arpeggios that make them such effective vehicles for pianistic display.

The Scarlatti sonatas are typically in binary form, with a first half that ends in the dominant and a second half that works its way back from the dominant to the home tonality. They are now referenced by means of the Kirkpatrick (K) numbers assigned to them by Ralph Kirkpatrick in 1953, replacing the less chronologically precise Longo (L) numbers of Alessandro Longo’s first complete edition of 1906.

Scarlatti’s early career was based in Naples, and his introverted Sonata in B minor K 197 displays the recurring streaks of pathos that Neapolitan music revels in. The melodic line whimpers with plaintive little appoggiaturas as harmonic tension accumulates from the use of stubbornly immovable pedal points in the bass.

The Sonata in G major K 455, by contrast, is unabashedly dancelike and popular in tone, filled with the rhythmic click and snap of the castanets. Guitar idioms are heard in the repeated notes that dominate the last section of each half, making this piece an impressive showpiece of digital dexterity for the performer.

In his Scarlatti liner notes, Yevgeny Sudbin lays stress on the spontaneous, improvisatory quality of these sonatas. “It is very plausible that for each of the notated sonatas,” he writes, “there were 50 or so other versions.” His performance this afternoon may well pay tribute to these “plausible other versions.” As to where this might occur, the smart money is on the repeats.

Ludwig van Beethoven
Bagatelles Op. 126

Throughout his career Beethoven had found the time and interest to compose small intimate pieces that placed limited demands on the performer. Every audience members knows one of these already: the ever-popular Für Elise. Some of these he published in collections, such as his seven bagatelles of Op. 33 published in 1803. A much larger set Op. 119 came out in 1823.

The six bagatelles of Op. 126, though, were more than just a collection: they were a matched set, conceived of as a succession of lyrical or introspective pieces alternating with more active, dramatic ones. More importantly, the set constitutes Beethoven’s last work for the piano, and they were no mere baubles. Composed at the same time as he was working on the mighty Missa Solemnis and the Ninth Symphony, they display the concentration of musical thought that characterizes his late style.

Typical of that style is a native fluency in contrapuntal writing, a freedom from formal constraints in applying it, and the boldness to write his contrapuntal voices several octaves apart. Beethoven the architect of massive great formal structures shows himself in these pieces to be equally a master of the small miniature, deftly creating an immediate impression with his opening gestures and developing his motives with unfettered originality.

No. 1 in G major unfolds fluidly as a single thought, despite changes in time signature and even a little cadenza that offers a coquettish flight of fancy in the middle. No. 2 in G minor has a driving energy but still manages to channel that energy in playful directions. There is noble simplicity about No. 3 in E flat major that sustains it through many changes in texture, including washes of piano tone floating up from the bass and sparkling ornamentation in its middle section.

No. 4 in B minor has character and personality in spades. It contrasts a strongly driven contrapuntal opening section with a dreamy section that alternates with it. No. 5 in G major is quietly expressive, its continuous pattern of triplets gently varied by syncopations across the bar line. No. 6 in E flat opens and closes with a riotous churn of piano sound that sandwiches a much more poised main section. This section starts out like a barcarolle, but then drifts off to explore a wealth of musical ideas, some of them coy and playful, other verging on pure sound theatre.

Frédéric Chopin
Ballade No 3 in A flat major Op. 47

Chopin’s four ballades all share a tone of epic narration but the third of the set, the Ballade in A flat Op. 47, stands apart for its bright sonorities and healthy, optimistic mood. It lacks the vehemence of expression that characterizes the other three ballades, Opp. 23, 38 and 52, with their terrifying codas of whirlwind intensity.

The work is dominated by two principal themes of contrasting character but united by common elements of basic melodic structure. The first, announced at the outset, is a songful melody that begins by rising up six scale notes, echoed by antiphonal responses in the left hand. Its contrapuntal profile is that of two voices expanding out in opposite directions from a central point, a pattern that intensifies on the following page into celebratory cadences exploding out into ecstatic arpeggios to the low and high registers simultaneously.

The second theme changes the mood completely. It is a dancelike melody of instrumental character that descends six scale notes, outlined in a series of coquettish leaps made all the more coy by the constantly syncopated rhythm in which they are presented. While this second theme dips often into the minor mode, it rarely stays there long, often slipping back into the major when cadencing. The minor mode is thus constantly restrained from taking on the mask of tragedy.

While the first theme remains elegantly static throughout the work, the second undergoes considerable development in a texture of ornamental figuration that dances alternately above it and then resonantly rumbles below. This development is the dramatic heart of the piece, and immediately follows a third theme area of remarkable flamboyance, with extroverted multi-octave arpeggios issuing into joyously rambunctious passagework over large swaths of the keyboard.

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YEVGENY SUDBIN: NOTES ON SCRIABIN

Alexander Scriabin
Piano Sonata No. 5 in F-sharp major, Op.53

Oh how easy it is to become possessed by Scriabin, one of the most enigmatic and controversial artistic personalities of all time. Once one is bitten and the venom, in the form of his sound world, enters the body and soul, the e ects become all-encompassing, even life-threatening! Not only emotionally – as one’s desperate quest for answers only results in more questions – but also physically, the reactions can be severe. Scriabin was not only the rst to introduce madness into music; he also managed to synthesise it into an infectious virus that is entirely music-borne and a ects the psyche in a highly irrational way. Thus ‘mystical experiences’ have been reported by listeners. One London critic described: “In my own case, on two occasions, I have seen radiant ashes of blinding coloured lights during performances of Scriabin’s music… It was totally di erent from the “thrill” of sensation or “tears” of pleasure, those emotions more commonly associated with conventional music… This experience convinces me that Scriabin’s music adjusts or negotiates human sensibilities in a mysterious and intuitive manner. He tapped sources as yet poorly documented or understood.” Others describe having visions of waves of light, golden ships on violet oceans, and bolts of re during performances, even without the help of LSD. In all seriousness, however, if the e ects are as radical on the receiving end, they are certainly no less intense on the performer’s part.

The Sonata No.5, Op.53 was written in 1907 and is often referred to as a glorious afterthought to his orchestral Poem of Ecstasy, Op.54 (1905- 08). In fact, the sonata is headed with an extract from the poem, which accompanied the symphonic work:

I summon you to life, hidden longings!
You, sunken in the sombre depths of creative spirit, You timid embryos of life,
To you bring I daring!

The basic idea behind the symphonic poem was to permit the freedom of unconstrained action to su use the entire world and dissolve it into ecstasy. Just like the poem itself, some of Scriabin’s score markings for both the orchestral piece and the sonata provide a memorable, naughty read: accarezzevole (caressingly), très parfumé (very perfumed) and avec une volupté de plus en plus extatique (with a voluptuousness becoming more and more ecstatic). The key word in the sonata, however, is the final estàtico (ecstatically), which signals self-assertion. Scriabin triumphs in ‘light and ecstasy’. ‘I am’ would be the corresponding passage in the poem, only reached after the full range of emotions and experiences has been exhausted: luscious stimulation followed by soothing languor, doubt,‘the maggot of satiety… the bite of hyenas… sting of serpent’, intoxication, burning kisses, love-making and finally, the all-encompassing experience of ecstasy. (Scriabin wrote: “the creative act is inextricably linked to the sexual act. I definitely know that in myself the creative urge has all the signs of sexual stimulation…”) The Fifth Sonata, regrettably, is only a do-it- yourself version of all this.

The delirious Fifth sonata was his quickest composition – it only took him six days. Although nominally in F-sharp major, this one-movement sonata proudly announces a new, atonal era in Scriabin’s development, as it cuts the moorings to tonality. From this moment, there are no more compulsory modulations; cadences vanish and the elements that constitute the sonata form become more di use. Unusual clusters of chords based on tritones and diminished sevenths begin to appear, foreboding Scriabin’s ‘Mystic Chord’ that he developed and used extensively later, particularly in Prometheus and his 9th Sonata (Messe noire) sonata. From this point, Scriabin’s harmony becomes impossible to comprehend under traditional tonal rules; melody and harmony become one indivisible whole. For 60 years musicologists tried to break the code behind his harmonic system and only in 1968 did the Soviet musicologist Dernova managed it. The reason the code was unbreakable was mainly because the chords were thought to relate to some kind of a tonal centre. But the key was to view the chords themselves as independent, self-sustaining tonal centres with their own implied or expressed simultaneous ‘tonics’.

Scriabin’s chords have a sound similar to Debussy’s post-Wagnerian ‘enhanced’ dominant seventh chords and even share characteristics with the typical ‘terminal’ chord in jazz and ragtime which was starting to blossom around the same time (c.1900). The actual ‘Mystic Chord’ can be broken up into six notes to produce simultaneously harmonies, chords and melodies in a serialist manner – a term not coined until 1947. Scriabin did exactly that in Poème, Op. 59 No.1 (1910), before Schoenberg came up with his twelve-tone technique, one of the main di erences being that Scriabin did not use his system as rigidly. It is obvious, however: had Scriabin lived a little longer, the twelve-tone technique that sparked a whole new movement could easily have been conceived under his pen, instead of Schoenberg’s.

Apart from its architectonic properties, another perplexing quality of a Scriabin chord is the sheer variety of moods it can induce, depending on the context: in the Fifth Sonata the same chord can sound icy, cosmic and even frightening (bar 23) or warm, hopeful and nostalgic (bar 183). The warmth radiating from this particular chord – the ‘warmest’ place in the piece – feels like a heated blanket gently enfolding the cold universe. This is where, for me, Scriabin wins over serialism where any potential variety of moods is mostly a by-product of randomness within the limits of the simplistic rules applied.

***

Camille Saint-Saëns
Danse Macabre   arr. Yevgeny Sudbin

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 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 but Yevgeny Sudbin takes a middle path, pruning some of the textural additions of Horowitz while adding a few of his own.

 

Donald G. Gíslason 2019

 

PROGRAM NOTES: PAUL LEWIS

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Franz Joseph Haydn
Sonata in E minor Hob. XVI:34

It is unusual to encounter a sonata in a minor key from “Papa” Haydn, a composer best known for his chipper disposition. But his Sonata in E minor likely dates from the late 1770s, which could explain its turbulent mood. The 1770s was the decade of Sturm und Drang (storm and stress), an aesthetic trend that promoted extreme emotionalism in art. In music, the result was moody or stormy works in a minor key evoking abnormal psychological states.

The first movement of the E minor Sonata exemplifies this tribute to abnormality both in its obsessive repetition of the same motivic material over and over again and in the disjointed nature of its construction. It lurches forward in small motivic gasps, echoed between the hands, and sometimes simply stops dead in its tracks for an unnerving moment of silence in which nothing at all happens—the equivalent of a worrisome character in a film dropping what he is doing and looking directly into the camera for several seconds. Its eruption into a fiery coda at the end of the recapitulation foretells a structural anomaly that would be used to great effect by his student, Beethoven.

There is a slightly manic quality to the way in which the Adagio second movement appears fully decked out in melodic circumlocutions of ornament straight out of the gate, like a person who talks too much because of some sense of nervousness or anxiety. The worry is brought to the surface when the minor mode surfaces at the very end, in a cadence on the dominant that leads directly to the concluding rondo.

The opening refrain of this finale features a simple, toe-tapping, folk-like melody over a churning Alberti bass that gives it a kind of devil-may-care breeziness, despite its being in the minor mode. The movement makes great play out of the alternation of major and minor, but these are merely differences in tone colouring. The underlying sense of bubbly good spirits is evident throughout. Haydn gives us here a taste of what Mendelssohn was to do many decades later: use the minor mode to convey merriment rather than concern.

Johannes Brahms
3 Intermezzi Op. 117

Brahms’s late piano works are often described as ‘autumnal’. They are seen as the products of a musical career approaching its close, combining the serene, often wistful outlook of old age with outbursts of a passion more remembered than spontaneous, more relived than urgent. And yet these late works are anything but the lesser offerings of a composer in decline. They represent the distilled essence of his musical style, applied with the calm assurance of a master craftsman, a composer with nothing left to prove.

While generally subdued in mood and dynamic range, these works offer a wealth of intriguing piano textures set in a lavishly orchestral range of tone colours. Their formal dimensions are modest. Most are laid out in a simple ternary (A-B-A) design in which an opening A section yields to a contrasting B section, and then returns to conclude the piece as it began. Although these are small-scale works, the concentration of Brahms’s musical thinking is evident in how tightly their motivic elements are woven together.

*                      *                      *

The Three Intermezzi of Op. 117, published in 1892, combine a childlike simplicity of expression with an underlying seriousness of mood much akin to melancholy. Brahms described them as “three lullabies of my sorrows” and a quality of consolation is indeed evident in the andante pacing and ‘rocking’ character of all three.

The first of the set, the Intermezzo in E flat major, actually quotes the German translation of a Scottish lullaby above the first line of the score. The ‘inner’ quality of the opening melody is symbolically enhanced by its position in the middle of the texture, with repeated pedal tones brightly ringing above it, and quietly throbbing below. Its middle section moves darkly in a series of short sighing phrases in E flat minor, making all the more magical and luminous the reprise of the opening lullaby at the end.

The Intermezzo in B flat minor is ingeniously crafted as a miniature sonata movement. Its first theme is a yearning, Schumannesque melody pieced together from a succession of two-note slurs, unfolding delicately atop a pattern of arpeggios passed between the hands. The second theme in block chords is a variant of the first—a typical Brahmsian touch—and the development section dwells expansively on the flowing arpeggios of the opening section. Remarkable in this intermezzo are the many passages of smoky piano overtones that Brahms sends wafting up from the nether regions of the keyboard.

The final Intermezzo in C# minor is a musical cabinet of curiosities. Its modal folk-like melody is presented austerely at first in bare-bones octaves that alternate with more fulsome harmonized settings, many of them featuring the tune buried in the middle of the harmony. The middle section in the major mode scatters a rainbow of tonal colours in widely-spaced sonorities over a full five octaves of the keyboard, each phrase predicated on the resolution of a series of syncopations across the bar line. Particularly captivating in this intermezzo is how teasingly irregular it is, almost entirely laid out in five-bar phrases.

Ludwig van Beethoven
Diabelli Variations Op. 120

In 1819 the Viennese composer and publisher Anton Diabelli (1781-1858) issued a call to 51 Austrian composers to contribute a variation each to a waltz theme of his own composition. He would publish these in a collected edition for the relief of widows & orphans of the Napoleonic wars, an initiative that was part charitable (Bob Geldof’s Band Aid avant la lettre) and part clever marketing. The invitation list included the leading compositional lights of the era, including Schubert, Hummel, Franz Xaver Mozart (Wolfgang’s son), and Beethoven’s friend and patron, the Archduke Rudolph, personages whose association with Diabelli’s publishing firm would greatly enhance its prestige. Even the pre-pubescent Franz Liszt got into the collection, likely through the intercession of his teacher Carl Czerny, who was also on the list.

Fifty of the fifty-one composers duly submitted their single variation. One did not. Ludwig van Beethoven had a better idea. In a creative spurt he began working on a massive work based on Diabelli’s theme, completing more than 20 variations in 1819 and picking up the project again to add more in 1823, in which year his complete set of 33 Diabelli Variations was published.

This monumental work has often been compared to Bach’s Goldberg Variations for its encyclopedic scope and masterful display of compositional technique. Alfred Brendel has declared it “the greatest of all piano works” and odds are that his student, Paul Lewis, shares that view. While audiences have found its extreme length, bizarre chromaticism and wild contrasts a stumbling block to a heartfelt embrace of the work, a knowledge of Beethoven’s ribald sense of humour and fondness for parody goes a long way towards bringing the reluctant listener on board.

*                      *                      *

Diabelli’s theme, the initial starting point of the work, has found few admirers, having been labelled as trivial, banal, even outright stupid by any number of distinguished scholars with whom it is hard to disagree. But its very weaknesses—its chugging chordal accompaniment and repetitive harmonic sequences, its cutesy opening grace-note figure answered ludicrously octaves below in the bass, not to mention its lumbering air of yokelish self-confidence—are the very features that Beethoven zeroes in on for his variations. So rather than simply decorating the musical ideas of the waltz, Beethoven uses these characteristics to give each variation a radically distinct personality, drawn musically in high relief. Var. 9, for example, does nothing but obsess over the theme’s initial grace-note figure, like a stuttering child that can get out no more than the first word of his sentence.

Most of the set is ruled by an ethos of Homeric jest, with parody and originality vying in equal measure for the listener’s interest. The most comical of the set is undoubtedly Var.13, in which the chattering accompaniment of the theme is omitted entirely, leaving long gaps of silence against which the loud pompous chords outlining the theme’s harmonic structure sound absolutely silly.

References to other composers’ music undoubtedly inform the style of many of the variations but seldom as overtly as in Var. 22 in which Diabelli’s waltz theme is dressed up as Leporello singing Notte e giorno faticar from the opening of Mozart’s Don Giovanni. It is hardly a coincidence that Leporello’s complaint about how hard he has to work could apply equally well to the pianist’s own labours in the following Var. 23, a parody of a five-finger exercise by piano virtuoso Johann Baptist Cramer (1771-1858). And yet, Beethoven himself is no slouch when it comes to creating brilliant and arresting piano textures, especially with flurries of trills, as in Variations 6, 10, 16, and 21, or in the cascading canonic entries that dazzle the ear in Var. 19.

These high-impact pianistically-inspired variations sit side-by-side with more contrapuntal treatments of the theme, such as the fughetta of Var. 24, after which the learned and lyrical effusions of the following stomping German dance of Var. 25 sounds particularly incongruous. These ‘sound gags’ stop for good, though, when the tone colour turns for the first time to the minor mode in Var. 29, initiating a set of three slow variations of imposing seriousness. From here on in, Beethoven gets into his hot-air balloon and begins a steady ascent into the ethereal realms of musical poetry familiar from his last sonatas Opp. 109 to 111.

Var. 31 is a profoundly expressive, richly-ornamented aria that invites comparisons with Variation 25 from Bach’s Goldbergs. This is followed in Var. 32 by a monumental multi-themed fugue that transmutes the trite repeated chords of the waltz theme into a shoulder-poking fugue subject of a distinctly Handelian stamp to bring the work as a whole to what seems to be its apotheosis.

But no. Instead, a dramatic series of arpeggios stretching from one end of the keyboard to the other sweeps all the musical toys off the table so as to begin again … with a final minuet. The rough bass-heavy waltz that began the proceedings 33 variations ago now closes this work as an elegant courtly dance ascending to the stars in the high treble in a manner not unlike that of the arietta finale of the Sonata in C minor Op. 111.

Donald G. Gíslason 2019

PROGRAM NOTES: FILIPPO GORINI

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Ludwig van Beethoven
Sonata A flat major Op. 110

Beethoven’s penultimate piano sonata is remarkable for the utter simplicity of its musical ideas and the directness with which they are expressed. The most obvious late-period features of this work are an extremely wide keyboard range and a melding of slow movement and finale into a continuous musico-dramatic unit.

The first movement, marked con amabilità (likably), opens with a tune one could well imagine accompanying a thoughtful walk in the forest. Simple as it is, it moves to become simpler still, passing into a songful melody-and-accompaniment texture before evaporating into a delicate pattern of harmonic lacework luxuriantly caressing the keyboard over a space of four octaves. It is this gracious pattern of figuration, almost Romantic in its warmth of tone and celebration of keyboard colouring, that most attracts the ear in this movement. Its complete absence from the central development section is amply compensated for when it rises richly up from the bass to inaugurate the return of the main theme in the recapitulation.

The second movement is one of Beethoven’s most jocular scherzi. Its main section is based on two popular tunes of the time: the feline nativity ode Unsa Kätz häd Katz’ln g’habt (Our cat has had kittens) and the anti-hygienic anthem Ich bin liederlich, du bist liederlich (I’m so slovenly, you’re so slovenly). Inspired thus in equal measure by the reproductive capacity of household pets and the haphazard grooming habits of the Austrian male, Beethoven lards his first section with rhythmic irregularities, dynamic surprizes, dramatic pauses and other raw signifiers of loutish humour. The central section continues the mayhem with a series of tumble-down passages high in the register, rudely poked from time to time by off-beat accents.

The sonata concludes with a wonderfully vivid piece of musical theatre, rife with dramatic contrasts and unusual turning points in the musical action. Combining the traditional lyrical slow movement and triumphant finale, it opens with an evocation of the opera stage: a lonely solo voice pleads its case in a halting recitative and then in an affecting lament of considerable intimacy over soothing & sympathetic triplet pulsations, set in the troubled key of A flat minor.

But then, like a ray of Enlightenment sunshine announcing the triumph of Reason over Emotion, a three-voice fugue steps onto the stage, replacing the little sigh motives and rhythmic hesitations of the previous section with quietly confident, evenly spaced 4ths and 3rds, the same intervals used in the opening bars of the first movement.

All this Baroque counterpoint fails, however, to ward off a relapse into pathos as the heart-rending arioso returns, even more plangently whimpering than before, until Beethoven astonishes us with the ultimate coup de théâtre. In what could only be construed as a musical representation of strengthening psychological resolve, we hear the same major chord, repeated over and over, getting louder and louder, leading back to the fugue theme, now presented in inversion. A new mood of quiet triumph and victorious liberation spills over into increasingly elaborate fugal lacework until even the fugal pretense is dropped and the sonata concludes in a glorious songful strain of rejoicing expressed over five octaves of the keyboard.

Béla Bartók
Sonata Sz. 80

In 1926 Bartók’s musical style took a ‘Bachian’ turn towards more clearly polyphonic textures. His Sonata from that year presents us with three movements in two distinct character profiles. The opening and closing movements are bold, direct and massively self-confident, characterized by driving energy and a machine-like sense of rhythm. The slow middle movement, by contrast, is unremittingly bleak, filled with dull, aching dissonances that audience members who have experienced dental surgery may find triggering.

The first movement opens with a motive comprised of a short skip and a series of hammered repeated notes, reminiscent of the striding pulse of the last of Stravinsky’s Three Scenes from Petrushka. Stravinskian, as well, is the sonic resonance ringing out clearly from the well-spaced chords that accompany this stomping, hammering pulse throughout the movement. Bartók doesn’t really present us with ‘themes’ as such, but rather short motivic cells that are continually varied, and frequently subject to hemiola effects as they shift in alignment, rhythmically, with respect to the bar line. This is a very athletic movement, with many sudden changes of register, including passages in which the right hand leaps across the left in order to punch out notes deep in the bass.

If repeating the same action over and over again and expecting a different result is the very definition of insanity, then the opening 6 bars of Bartók’s 2nd movement—featuring an A-flat-E-flat-F chord in the left hand, repeatedly set against a jarring E natural in the right—are clear cause for concern. This movement is bafflingly dissonant. Textured in uncompromisingly gritty 3-voice counterpoint that plods foreword at a relentless quarter-note pace, it offers little to orient the ear in its tangled texture of semitones and minor 9ths: only occasional reminders of the opening harmonic sound-salad and a fixation on rising scale figures. Even the abruptness of its final cadence, normally a place of emotional resolution and rhetorical disarmament, comes as a shock to the nervous system.

The monothematic final movement is by comparison a pleasant jog in the park. Its principal concern is a jaunty little folk tune of a pentatonic stamp announced at the outset. The melodic outline of this ditty—a gapped space of five tones down, then back up—gives it the air of a sea shanty, but the more it gets varied with repetition the more it starts to sound like “Good King Wenceslas”. Despite its constant changes in time signature between 3/8, 2/4 and a very Stravinskian 1/4, this movement manages nonetheless to come off as a real toe-tapper.

Karlheinz Stockhausen
Klavierstück IX

The 20th century witnessed the development of new approaches to thinking about the sounds that make up what we call ‘music’. The 12-tone system of Arnold Schoenberg spawned the serialist movement, dominated by a search to create new formal structures for music organized around ‘series’ (i.e. fixed patterns) of pitch, dynamics, timbre and other properties of sound. And then, beginning in the 1950s, sounds never heard before by human ears, artificial sounds created electronically, were admitted into the composer’s toolkit.

German composer Karlheinz Stockhausen was at the centre of all these developments, producing works based on the newly developed structural principles, and utilizing the new sound palettes that had been discovered. Through this work he quickly became the public face of avant-garde contemporary music—so famous, in fact, that he is featured in the crowd of faces on the cover of the Beatles’ 1967 album Sgt. Pepper’s Lonely Hearts Club Band (fifth from the left, in the back row).

The 19 works that Stockhausen composed with the title Klavierstücke (keyboard pieces) between 1954 and 2003 embody some of his most important ideas about how music can be internally organized, and the sound gestures that can form part of it. The ninth piece in this series, Klavierstücke IX completed in 1961, is one of his best-known piano works.

This work presents many challenges to the uninitiated, as the parameters of music that we are used to identifying—harmony, melody and rhythm—are not hierarchically deployed in the way that we take for granted in ‘traditional’ music. But a listener coming to this music for the first time should not be overly concerned with its ‘geometric’ dimensions—for example, with how the rhythmic proportions throughout the piece are organized by the Fibonacci series 1, 1, 2, 3, 5, 8, 13, 21 (etc.) in which each number in the series is the sum of the two preceding numbers. Nor try to count how many times the dissonant four-note chord that opens the work is played in the first (shall we say) ‘phrase’, and how many times in the second. (It’s 139 and 87, for those who like to keep track).

Analytically-oriented listeners might attempt to follow the two main ideas in the piece that alternate in dialogue: the opening four-note chord repeated at varying speeds and dynamic levels, and a slowly rising chromatic scale. But committed admirers of impressionism will want to just set their minds free, close their eyes, and imaginatively listen to the sounds emanating from the stage as if they were the soundtrack to a movie, asking themselves as they listen: what kind of movie is this?

Ludwig van Beethoven
Sonata in C minor Op. 111

Beethoven’s last sonata is surely his most poetic essay for the piano, conceived as a musical diptych expressing the contrasting states of human existence—earthly struggle and spiritual transcendence—framed in terms of the raw elemental building blocks of music itself. It comprises a fast-moving, contrapuntally active sonata-form movement in the minor mode matched with a slow-paced, harmonically stable set of variations in the corresponding major mode.

There is a skeletal starkness to the musical fabric of the first movement, its jagged leaps over harmonically aberrant intervals evoking a mood of worried restlessness, a mood only reinforced by frequent scurrying passages of fugato that seem to emphasize a disunity between the voices rather than their complementarity. Strikingly lacking in this movement is any sense of lyrical repose. The 2nd subject appears only briefly, more in the spirit of emotional exhaustion than heartfelt fulfillment. At every turn, Beethoven seems to emphasize the unusually large space that separates the voices and the hands (separating the mortal from the divine?), at one point orchestrating a climactic antiphonal exchange between treble and bass of more than six octaves.

The C major chord on which the C minor first movement ends is taken up in the second movement Arietta, marking not only a change in mode, but a fundamental change in the construction of the musical texture. Instead of angular motivic gestures we have an eloquently simple and well-rounded melody. Instead of contrapuntal conflict we have harmonic fullness and warmth. The first three variations introduce the compositional process that will guide this melody through its successive transformations: a gradually increasing animation in the figuration accompanying the variation theme. The 3rd variation arrives at degree of elation that in its syncopations prefigures the arrival of jazz, before the timbre turns dark with low murmurings underpinning melodic fragments of the theme pulsing above.

It is here that Beethoven begins to gaze up at the stars in textures that twinkle luminously in the highest register of the keyboard. As the theme becomes ever more cradled in the swaddling clothes of its enveloping figuration, it appears to glow, sonically, from within, by means of pearly chains of trills, until is transmuted, finally, into the essence of the divine.

Donald G. Gíslason 2019

PROGRAM NOTES: BEHZOD ABDURAIMOV

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Richard Wagner
Isolde’s Liebestod arr. Franz Liszt

The 19th century in Europe was an age in which psychological states went mainstream in the arts, becoming a particularly powerful stimulus for musical expression. A new genre, the nocturne, for example, captured that eerie feeling of being alone with one’s lyrical thoughts at a still point in the night. Other constellations of feelings and moods were captured in the era’s invention of new “character pieces” such as impromptus, rhapsodies and moments musicaux.

No 19th-century composer went further in marshalling the resources of musical expression into direct and compelling proxies for emotional experience than Richard Wagner. And none of his operas exhibit a more focused concentration on one single emotion, romantic love, than Tristan and Isolde (1859).

Wagner’s opera tells the tale of Isolde, an Irish princess promised in marriage to the King of Cornwall who, on her way over to be married, falls in love with his nephew Tristan after they drink a love potion together. Tristan’s death in consequence of this betrayal sets up the final scene of the opera, the Liebestod (“love-death”) scene, in which Isolde, standing over Tristan’s dead body, commemorates him rapturously by imagining their passion and his death as a single indissoluble unity.

Wagner vividly brings to life the insistent quality of the emotion of love through his use of the same phrases, repeated over and over again in a continuous chain of chromatic harmonies which seem to open up new vistas of experience with each occurrence. The feeling of yearning and love-longing is so tellingly conveyed by the use of suspensions and delayed resolutions that it is hard not to feel like an adolescent again while listening.

Liszt lavishly layered his transcription with tremolos to evoke the fine gradations of orchestral colour in Wagner’s score, and thickened the keyboard texture with a machine-gun spray of repeated chords to convey the massive impact of a full orchestral tutti. These techniques inevitably raise questions of musical taste, and it is the performing pianist’s challenge – as it always is when playing Liszt – to avoid suggesting the kitschy excesses of staged melodrama or silent-film music.

Franz Liszt
Sonata in B minor

“This is nothing but sheer racket … it’s really awful,” wrote pianist Clara Schumann on first hearing Liszt’s B minor Sonata, dedicated to her husband Robert. The pre-eminent Viennese critic Eduard Hanslick couldn’t have agreed more. Blending high dudgeon with feigned condolence, he scornfully sneered: “whoever has heard that, and finds it beautiful, is beyond help.” Suffice it to say, Liszt’s piano sonata was not welcomed into the canon with open arms, but something more akin to raised pitchforks.

The problem may well have been that in writing this sonata, completed in 1853, Liszt was going ‘against brand’. Long known for his programmatic works—each with a story to tell, and thus a built-in framework for interpretation—Liszt had shocked many in the musical world by composing a piece of absolute music, a work based purely on the interplay of abstract musical ideas. His Sonata in B Minor came across as an impenetrably dense musical hairball of intertwined motives, in a single-movement format that seemed to combine the characteristics of both a sonata-form movement (exposition, development, recapitulation) and the four-movement layout of a complete sonata (sonata allegro, slow movement, scherzo, finale). In this he was undoubtedly influenced by Schubert, whose Wanderer Fantasy with a similar unified design he had recently arranged in a version for piano and orchestra.

Binding Liszt’s sonata together is the process of thematic transformation, i.e., changing the character of musical themes while retaining their essential identity, their melodic outline. The multiple personalities of the idée fixe theme in Berlioz’s Symphonie fantastique is an early example, and Wagner’s use of leitmotif is a later development of the same technique. So to follow what Liszt is doing in this sonata, you need to follow the four major themes he is shape-shifting as it proceeds.

The first three are spelled out on the first page of the score. The work opens with a pair of slow, descending scales of an exotic stamp. Then comes a forthright theme hammered out in double octaves beginning with a bold downward leap and ending with a diminished 7th arpeggio. Finally, the bass gruffly growls out a rascally little motive down low, rife with repeated notes.

The transformations begin immediately as these three themes spawn passage after varied passage of keyboard textures, all motivically interlinked, until a solemn, chorale-like fourth theme of slowly rising melody notes arrives over a pulsing carpet of sonorous chordal harmonies to complete the line-up.

In the course of this sonata the list of ‘transformations’ seems limitless. The gruff growling theme of repeated notes is transformed, among other things, into a dreamily delicious, Liebestraum-like lyrical melody in the ‘slow movement’ section. The bold theme in double octaves is tamed and brought to heel as the subject of an extended fugato in the following ‘scherzo’. And the chorale-like theme abandons its dignified ‘churchy’ solemnity and acquires major rhetorical muscle, elbowing its way into your eardrums as an important protagonist in the piece. Meanwhile, the slow descending scales that opened the work recur as boundary markers delineating major sectional divisions.

Liszt’s B minor Sonata is now recognized as one of the most important keyboard compositions of the 19th century, and the very complexity of its structuring—the quality that caused so much antipathy at its first publication—is now the chief reason it is so widely admired.

Sergei Prokofiev
10 Pieces from Romeo and Juliet Op. 75

Prokofiev completed his ballet Romeo and Juliet in 1936 and by all accounts this was not a good year to be a Soviet musician. It wasn’t the low pay or difficult working conditions that were top-of-mind for most, but rather the risk of being dragged from their homes and executed by firing squad. Comrade Stalin, you see, was getting grumpy and his Great Purge (1936-1938) had begun.

Plans to produce the ballet had to be cancelled, due to its association with a theatre director who had been purged. So in 1937, as friends and neighbours were randomly disappearing from the apartment block where he lived, Prokofiev moved to salvage his ballet by fashioning a number of suites from the score, including one for piano entitled 10 Pieces from Romeo and Juliet, which he performed in public that year and published as his Op. 75. His strategy worked. Performances of the suites, both for orchestra and for piano solo, sparked interest in mounting productions of the complete ballet, which began in 1938, and Romeo and Juliet went on to become one of the composer’s most successful works.

In creating a version for piano, Prokofiev was coming full circle, as the original score had been composed for piano first, and then orchestrated. These pieces, then, are not mere orchestral reductions, but pianistically conceived scene paintings with the hands of the virtuoso pianist in mind. In keeping with its role as music for dance performance, the tonal language is relatively simple, in parts reminiscent of the clear textures of his ‘Classical’ Symphony in D (1917). Also present in abundance are Prokofiev’s trademark quirks: quicksilver diversions to remote keys, melody notes that land one note off from where you expect them to go, and his classic “off-road” harmonic wanderings within phrases that always somehow manage to find their way back home just in time for the final cadence.

The suite begins with two dance movements in a popular vein that introduce us to the moods and manners of the common folk of fair Verona, where the composer sets his scene. The carefree opening Folk Dance gets its ‘folkiness’ from its simple two-voice texture and the drone-like elements in its bass line. The following Scene: The Street Awakens is simpler still, its chipper mood guaranteed by the steady pulse of its prancing accompaniment.

We then go indoors for the arrival of guests to the Capulet ball. The opening Minuet theme is ceremonially repeated as new guests arrive, alternating with more flowing passages as each new arrival wanders in to inspect the room.

Juliet as a Young Girl sees our 14-year-old heroine playfully scampering around her room as she gets dressed, incessantly fussed over by her Nurse. Moments of tenderness intervene when she catches sight of her own beautiful self in the mirror.

The heavy pulse, eccentric tone clusters, and fractured harmonies of Masks alerts us to the fact that Romeo and his best mate Mercutio are crashing the party. The widely-spaced arpeggiated chords in the left hand of this piece are a major test of the pianist’s agility and endurance.

Romeo and Juliet meet and dance together for the first time in the most famous and recognizable piece from this ballet, the dance of the Montagues and Capulets. Ominous, elegant, seductive and sinister, this music sums up the entire dramatic conflict of the ballet’s storyline.

This is followed by the calm and soothing reassurances of Friar Laurence, whose quiet dignity and seriousness of purpose is conveyed in the steady deliberate pace of his music portrait.

Mercutio, by contrast, is portrayed as whimsical, brash and self-confident, almost to the point of recklessness. The amount of wide-ranging keyboard scamper in this piece tells us that here is a guy who runs with scissors.

The Dance of Girls with Lilies shows us Juliet’s girlfriends, who have come to wake her up on the day she is to be married to Paris, the husband her family has chosen for her. The recurring minor harmonies in this piece hint that there is something wrong, something unstated but slightly creepy, about her situation.

The finale is an affectionate look back at Romeo and Juliet before Parting after they have spent the night together. Their drowsiness as they are awoken by the rising sun is conveyed by the static harmonies and chiming pedal tone of the opening. A mood of blissful nostalgia hovers over this piece to bring the suite to a close on a note of romantic reverie.

Donald G. Gíslason 2019

PROGRAM NOTES: ZOLTÁN FEJÉRVÁRI

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Robert Schumann
Waldszenen Op. 82

It is not by chance that Carl Maria von Weber’s opera Der Freischütz, the founding work of German musical Romanticism, is set in a forest. Nor is it a coincidence that German Romantic poets from Ludwig Tieck to Joseph von Eichendorff and Heinrich Heine extolled the deep spiritual joys of Waldeinsamkeit: ‘alone time’ in a forest.

The Germans, you see, have a thing for forests. In the Teutonic imagination, a forest is a place of primordial re-connection with the restful, wondrous, and sometimes thrillingly spooky elements of Nature, all of which Robert Schumann sets before us in the nine character pieces of his Forest Scenes Op. 82, composed in 1849.

Unfolding as a series of intimate scenes, the set begins with our entry (Eintritt) into a cool and shadow-dappled tree world of murmuring forest sounds, out of which emerges a simple tune suitable for humming, its asymmetrical phrasing evoking the moment-by-moment wandering gaze of the forest stroller.

This idyllic daydream is interrupted by the urgent horn calls and intermittent rifle-fire of Jäger auf der Lauer (hunters lying in wait) who break out into the open to pursue their prey, with echoes of the furious triplets from Schubert’s Erlkönig conveying the excitement of the chase.

The two ‘flower’ pieces that follow are starkly contrasting. The naively simple Einsame Blumen (lonely flowers) proceeds in a gentle, continuous flow of 8th-note melody with a phrase structure as teasingly irregular as that of the opening Eintritt. The eerie double-dotted rhythms of Verrufene Stelle (haunted places) convey the macabre scene described in a poem by Friedrich Hebbel that stands at the head of this piece, describing a dark red flower that draws its colour from earth that has drunk human blood. The Schumann’s wife, the pianist Clara Schumann, refused to play this piece in public, describing it as “haunted music.”

A mood of unfettered delight returns in the rippling triplets and evenly balanced 4-bar phrases of Freundliche Landschaft (friendly landscape) while the comforts of a warm fire and comfy chair are evoked in Herberge (the inn). There is a forthright, almost ‘churchy’ self-confidence in this hymn to hostelry that makes it a perfect representation of Biedermeier coziness.

The most famous piece in the cycle is Vogel als Prophet (bird as prophet), a brilliant piece of sound painting that imitates the flitting of wings as a bird darts from tree to tree. In its chorale-like middle section it sanctifies the mystical powers of aviary prophecy.

There is a triumphal quality to the following Jagdlied (hunting song) that is reminiscent of the finale of Schumann’s Symphonic Etudes Op. 13. The hunters in question are obviously in an upbeat mood, returning home with full sacks of game and anticipating the feast to come.

In his song-like farewell (Abschied) to the forest’s flora and fauna Schumann returns to the reflective mood with which the cycle began, enriched, however by numerous references to the melodies and keyboard textures featured in previous scenes.

Leoš Janáček
In the Mists

Janacek’s four-movement piano cycle from 1912 presents us with intimate, personal and emotionally immediate music that stands stylistically on the border between eastern and western Europe. Its sound world is that of the fiddles and cimbalom (hammered dulcimer) of Moravian folk music, as is its use of small melodic fragments, repeated and transformed in various ways. In the composer’s use of harmonic colour, however, there is more than a mist of French impressionism à la Debussy, but an impressionism filtered through Czech ears.

The Andante sets the tone of introspection with its dreamlike repetition of a tonally ambivalent 5-note melody, set against non-committal harmonies in the left-hand ostinato. A contrasting middle section brings in a less troubled chorale melody that alternates with, and then struggles against, a cascade of cimbalom-like runs, before the nostalgic return of the melancholy opening material.

The varied repetition of a 4-note motive dominates the many contrasting sections of the Adagio, as a noble but halting melody engages in conversation with rhythmically and melodically transformed versions of itself.

The Andantino is similarly fixated on a single idea, presenting the gracious opening phrase in a number of different keys until it is interrupted by an impetuous development of its accompaniment figure. It ends, however, exactly as it began.

The 4th movement, Presto, with its many changes of metre, is reminiscent of the rhapsodic improvisational style of the gypsy violin. The cimbalom of Moravian folk music can be heard most clearly in the thrumming drones of the left-hand accompaniment and in the occasional washes of metallic tone colour in the right hand.

Béla Bartók
Out of Doors

In Bartók’s Out of Doors suite of 1926, the sound world of Hungarian village life is projected through a thick lens of aesthetic primitivism in which rhythm and melody alone engage the ear. Traditional harmony, dependent on chord spacing that parallels the layout of the overtone series, has no place in keyboard textures so richly encrusted with tone clusters and bristling with dissonances.

Radical simplification is the modus operandi of these textures. Rhythm is often reduced to a steady beat or ostinato, providing a background pulse to an irregular overlay of melodic fragments of small range and short duration. Notes repeated on the same pitch are a major constituent element in both background and foreground layers of sound. This is chunky, ‘Lego’ music built up from simple rough-hewn elements, but assembled in patterns of considerable sophistication.

The opening With Drums and Pipes divides the piano into two distinct registers. In the deep bass, a loud stuttering volley of sounds, both muffled and clearly-pitched, represents an echoing pair of drums while the mid-range offers up the pipes (i.e., low wind instruments) in a similar imitative interplay of overlapping short motives.

The Barcarolla features the same continuous 8th-note motion, but in a constantly wandering two-voice texture that imitates the rocking motion of a Venetian gondola, over which a plaintive gondolier’s melody struggles to be heard.

The creak and skirl of village bagpipes is portrayed with astonishing accuracy in Musettes, with quicksilver trill figures representing the typical ornamentation patterns of traditional pipe-playing. The questionable tuning of these instruments is conveyed through pungently dissonant drone patterns in the bass.

A heightened awareness of stillness in the night is the principal characteristic of The Night’s Music, with its tightly-packed tone clusters imitative of the eerie nocturnal musings of crickets, cicadas and frogs.

The suite closes with The Chase, a toccata-like romp over hill and dale with a furiously churning ostinato in the left hand that surely must count among the most extreme technical challenges of Bartók’s entire piano output.

Robert Schumann
Fantasie in C major Op. 17

Schumann’s love life and his admiration for Ludwig van Beethoven interacted in a curious way in the composition of his C major Fantasie Op. 17, his largest and perhaps greatest work for solo piano. In 1836 the path of true love was not running smooth for young Robert as he pined in vain for his beloved Clara, the teenaged daughter of his teacher Friedrich Wieck. The Fantasie’s first movement was composed under the stimulus of these strong emotions and expresses them in a spontaneous flow of soaring melodies and swirling rhapsodic accompaniments that only finds temporary respite in its mysterious middle section Im Legenden-Ton (‘in the character of a legend’).

That same year a civic project was launched to raise a memorial to Beethoven in Bonn, the city of his birth, and Schumann offered to raise funds with the publication of a ‘grand sonata’ in three movements. The tribute to Beethoven may well have been conceived before the first movement was completed, however, as its Adagio coda features a melodic quote from the last song in Beethoven’s An die ferne Geliebte, which could easily have been intended for Clara: “Take, then, these songs [which I have sung for you].”

The second movement is a stirring march of nostril-flaring patriotic fervour that alternates, in rondo fashion, its forthright opening theme with contrasting material in a pervasive dotted rhythm. This movement’s coda features a sustained sequence of hair-raising leaps in opposite directions that test the pianist’s nerves and virtuoso credentials.

The last movement is a poetic reverie that drifts between the gentle unfolding of evocative harmonies murmuring with intimations of melody in the inner voices and more openly songful patches that create their own swells of passionate climax and subsiding emotion.

Schumann’s three-movement ‘sonata’ was eventually published in 1839 under the title “Phantasie” and the monument to Beethoven in Bonn was indeed built, thanks to a generous top-up of funds on the part of Franz Liszt, to whom Schumann’s work is dedicated. The unveiling took place in 1845, with Queen Victoria, no less, in attendance.

Donald G. Gíslason 2019

PROGRAM NOTES: PAUL LEWIS

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Johannes Brahms
7 Fantasies Op. 116

If the word fantasy implies improvisation and free association of thoughts, then the collection of three capricci and four intermezzi that Brahms published under the title Fantasien in 1892 are misnamed, as they are among the most densely expressive and tightly crafted miniatures to come from his pen. Some have seen the collection as a kind of multi-movement ‘sonata’, with the three intermezzi in E (Nos. 4-6) grouped together as a slow movement. Less controversial is the notion that the motive of the descending 3rd forms a unifying thread running through the entire set.

Expressive devices seem to be in overdrive in this collection of richly layered pieces, with the fundamental parameters of musical construction – rhythm, harmony, melody, and tone colour – constantly shifting under our feet as we listen. Rhythm is the most obvious of these, its regularity being subverted at every turn by the use of hemiola, syncopation, and other dislocations of the metrical pulse. Harmonies swimming in rich pools of bass overtones constantly come in and out of the shadows and further stretch our sense of time when resolutions are delayed.

The tone palette is orchestral in its range of colours, suggesting the various instrument choirs of a large ensemble, with textures ranging from heftily scored to virtually threadbare. The contrapuntal weave of these works is thick and two-voice imitative duets abound, sometimes even in the same hand. You get the impression that the real meaning of these pieces is often being whispered to you in the middle voices.

Each is in ternary (three-part) form, with a contrasting middle section and an opening section that returns at the end, often varied in some essential way. The moods presented may be fiery or deeply reflective, with the term capriccio generally describing those of more extraverted character and intermezzo – those more inly wrapped in musical thought.

The opening Capriccio in D minor presents a volcanic lava flow of piano sonority stretching from the very bottom of the keyboard to the upper mid-range, and is particularly ambiguous in its metrical pulse.

The Intermezzo in A minor begins like a sarabande, with a prominent stress on a long-held second beat of the bar. Its harmonic colouring is a bittersweet mix of wistful minor tonality and major-mode contentment.

The Capriccio in G minor is restless in its pursuit of chains of descending thirds. Its middle section rapturously develops out of an instinct for chorale-singing.

The Intermezzo in E major has the quality of a nocturne, its middle section luminous with the soft gleam of moonlight.

The Intermezzo in E minor is remarkable for its eerie opening, configured in two-note groups of full chords and single notes, creating an almost hiccup-like texture of mismatched resonances on the keyboard.

The second Intermezzo in E major that follows evokes a stately court dance of some sort, quizzically interrogated by a chromatically climbing middle voice.

The final Capriccio in D minor restlessly explores the descending 3rds motive in its opening section. Its middle section is a marvel of keyboard scoring that features a leading voice in the middle of the texture surrounded by garlands of ornamental figuration.

Franz Joseph Haydn
Sonata in C minor Hob. XVI:20

The period of the 1770s was remarkable for two important developments in music history. The first was the replacement of the harpsichord by the fortepiano as the preferred instrument for keyboard composition and performance. The second was the aesthetic movement known as Sturm und Drang (storm & stress) that promoted emotional intensity and deep expressivity as leading characteristics in artistic expression. In music, this resulted in works streaked with pathos, anxiety, and moodiness, often in minor keys and rife with dramatic contrasts of soft and loud.

Haydn’s C minor Piano Sonata, composed in 1771, stands emblematic of both developments. The sudden dynamic contrasts in the score reveal it to be Haydn’s first keyboard sonata expressly written for the piano, while its dark tone and wide emotional range mark it as a typical product of the Sturm und Drang era.

This is evident from the way the first movement opens, with a pair of two-note sigh motives, more sobs than sighs. And yet the movement’s mood is not one of sustained hand-wringing but rather of emotional volatility, a volatility expressed most tellingly in its quicksilver changes in rhythm and texture that keep the listener constantly on edge. Lavishly applied trills, turns, and mordents, combined with perky dotted rhythms and impetuous scale figures, convey energy and a focused sense of purpose but they alternate with sigh motives and even an adagio cadenza that daydreams the proceedings to a complete halt in the middle of the exposition. Indicative of the sense of worry and restless unease that underlies the movement as a whole is the way that it ends softly, as if with a whimper.

The second movement, Andante con moto, has an archaic feel to it, as if some echo from the preceding Baroque era were being channeled in the simple two-voice texture with which it opens: a noble melody of small range advancing in measured steps over a walking bass. It reaches its peak of expressivity in its many passages of throbbing syncopations between the left and right hands.

Haydn makes a move to the dark side in his choice of finale. The standard practice of the time was for a last movement to be gay and lighthearted but the Allegro finale of the C Minor Sonata is by contrast psychologically intense and filled with a sense of urgency. Its peak of restless energy is reached in an extraordinary display of virtuoso hand-crossings of its second half.

Ludwig van Beethoven
7 Bagatelles Op. 33

If you have ever wondered what it might be like to have Beethoven at your dinner party, half in his cups and mischievously holding forth at the keyboard for the entertainment of all, then such an experience has been frozen in time for you in the score of his Bagatelles Op. 33. These seven little “trifles” (bagatelles in French) were published in 1803 for the popular market and they find him “trifling” with his audience’s expectations at every turn. Who knew that Beethoven could be such a cut-up?

Bagatelle No. 1 in E flat opens with the most naively innocent tune, sent aesthetically off-track from the get-go by a generous lathering of ornamentation in questionable taste that gets ever more garish with each reprise of the theme. And the formal proportions of the piece are way off-base, with trivial transition sections and routine cadencing patterns hilariously repeated and developed beyond their musical merits.

Now, Beethoven’s scherzo movements are known for their metrical and rhythmic jokes, but Bagatelle No. 2 in C major (actually labelled a scherzo) is way over the top in its manipulation of rhythm and accent, leaving the listener struggling to understand where the basic pulse is supposed to be. And the transition from the mock-serious Minore section back to the jumpy opening material is so abrupt as to be ludicrous.

No. 3 in F major spoils its charmingly folk-like melody by placing its second phrase in a remote key, unprepared, which makes the modulation back to the original key for the repeat all the more awkward. The problem only gets worse when Beethoven adds appoggiatura ornamentation to the theme, highlighting the incongruity.

No. 4 in A major parodies a sugary musette, with a stationary pedal tone in the bass supporting a treble melody that doesn’t move much either. The middle section in the minor mode proceeds with much more harmonic variety, except that it is all accompaniment. There is no melody above for it to accompany!

The first section of No. 5 in C major sparkles in the high register, a real “tickling of the ivories.” But it does nothing more than set up, and then execute, a cadence pattern, over and over again. This piece is a parody of vapid passagework, and features on its last page a comic representation of a composer sitting at the keyboard, playing the same single note over and over again, trying to figure out where to take the music. In the end he decides … to repeat what he has already written before.

The tune of No. 6 in D major is at war with itself. The first phrase longs to be taken seriously as lyrical, but the second phrase spoils the effect with a playful cadence.

You could be forgiven for thinking that the repeated 3rds at the opening of No. 7 in A flat major were about to issue out into an early version of the Waldstein Sonata Op. 53. This final bagatelle is a cautionary tale about the dangers of too much repetition and the erroneous notion that you can get a different result by merely doing the same thing over and over again.

Franz Joseph Haydn
Sonata in E flat major Hob. XVI:52

Joseph Haydn wrote his last three piano sonatas on his second visit to England (1794-95), keenly aware that the sound of the English piano was very different from that of its Viennese counterpart. Viennese pianos were quick and responsive but their sound, like their action, was light. English pianos had a heavier action, longer keys, and a fuller, more room-filling sound.

The so-called ‘London’ piano school (Clementi, Cramer, Dussek) excelled in exploiting this ‘beefier’ sonority to create keyboard textures brimming with dramatic effects that played to the instrument’s strengths: full chords in both hands, frequent dynamic contrasts, dizzying runs plunging from the top to the bottom of the keyboard, and dulcet double 3rds for an extra-sweet sonority in the upper register.

Haydn obviously knew this bag of tricks carefully, because his Sonata in E flat contains all of them, and more. Opening boldly with a fanfare of full-textured 6- and 7-note chords, its first 10 bars feature no less than 5 alternations between forte and piano, the last coming at the end of a dramatic run that swoops down a good 4 octaves to a low E flat. The 1st theme abounds in double 3rds while the 2nd theme imitates the tick-tock action of a mechanical clock, a popular musical motif of the period. Piano sonority is putty in Haydn’s hands, swelling with the throb of orchestral tremolos, then subsiding in long held notes. A good example of this is just before the development section.

A different kind of sonic theatre is enacted in the 2nd movement sarabande, a stately piece in 3/4 time with a noticeable emphasis on the 2nd beat. Added stateliness is assured by the double-dotted rhythm in the theme, but the real story in this movement is in the ornamentation. The score is simply swimming in grace notes and other grand ornamental additions to the melodic line, many of them ecstatic runs gliding up to the high register in the manner of an improvising opera singer.

The finale pulses to the beat of a army drum, introduced at the opening in a series of repeated notes over a low bass pedal: the shepherd’s musette meets the military tattoo. Adding to the comic tone of the proceedings, all this mechanical precision is frequently stopped dead in its tracks by inexplicable pauses that often set the listener up for a sound explosion and a burst of activity to follow. Add in more than a handful of cheeky fz accents on weak beats of the bar and you have as good a demonstration of Haydn’s impeccable musical wit as his keyboard music has to offer.

PROGRAM NOTES: SIR SIMON KEENLYSIDE

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Johannes Brahms
Songs from Opp. 6, 72, 86 & 96

It may be surprising to learn that while Brahms is universally revered as a giant of 19th-century instrumental music, he is often listed as one of the lesser composers of 19th-century art song. This may be because the texts he chose to set were for the most part not those of the great German poets. It may also be because he was loathe to indulge in the type of word-painting that Schubert had established so effectively as a major dramatic feature of the Lied (art song) genre.

But Brahms was strongly of the view that truly great poetry had no need of music, and so he chose lesser works that his musical ideas could more easily illuminate. His musical ideal in vocal music remained the simple German folk song with one general mood, subtly varied in response to the meaning of the text. A major role in creating that mood was the piano accompaniment, as illustrated in the songs chosen by Sir Simon.

In Nachtigallen schwingen (Nightingales beat their wings) the twitter and rustling of birds is picturesquely sounded out in the piano’s chattering triplets that create an animated aural backdrop to the singer’s identification with them as he walks through the forest.

Even more vivid is the piano’s depiction of the ebb and flow of waves breaking and foaming on the shore in Verzagen (Despair).

The piano conveys the tramp-tramp-tramping of footsteps over heathery terrain in Über die Heide (Over the heather) while its gentle drowsy pulse and saturated harmonies evoke the mood of Brahms’ famous lullaby in O kühler Wald (O cool forest).

An unusual and slightly eerie alternation between major and minor captures the ear immediately in the piano introduction to Nachtwandler (Sleepwalker). It almost sounds like a mistake, but conveys brilliantly the floating psychological state of the somnambulist.

A more playful interaction between piano and singer characterizes the last song in the set, Es schauen die Blumen (The flowers gaze), in which the piano plays the role of supportive sidekick, often echoing the vocal line back to the singer, as if to say: “Hear, hear. Well said.”

Francis Poulenc
Quatre poèmes de Guillaume Apollinaire

Francis Poulenc was absolutely besotted with the works of French poet Guillaume Apollinaire (1880-1918), originator of the terms cubism and surrealism. Apollinaire’s manner of constructing the fantastical ‘word salads’ of his poems finds its musical equivalent in the way that Poulenc composed these four settings of Apollinaire poems in 1931. Poulenc would compose isolated phrases individually, and then assemble them together as a kind of cubist collage.

The result is a kaleidoscopically colourful mix of sometimes comical non-sequiturs depicting with twinkling irony and dreamy nostalgia the somewhat louche demi-monde of society in which the composer thrived, and into which he threw himself with gay (in all senses) abandon. A pose of restrained elegance, however, keeps the aesthetic pose well this side of ‘camp’.

L’Aiguille (The eel) is a valse-musette that, in the composer’s words, “evokes the atmosphere of a shady hotel, with a rhythm inspired by little steps in felt shoes, and should be touching.”

Carte postale is dedicated to Madame Cole Porter and strikes a tone of amorous mockery.

The last two works in the collection, Avant le cinema and 1904, are patter songs that rely on the straight face of the singer for their wit to come across at just the right voltage.

Francis Poulenc
Suite Française for piano

In 1935 Poulenc was commissioned to write incidental music for Edouard Bourdet’s play La Reine Margot about Marguerite de Valois (1553-1615), wife of Henri de Navarre (1553-1601), later crowned Henri IV of France. To get the right period feel for his music, Poulenc plundered the Livre de danceries of 16th-century French composer Claude Gervaise, whose dances he rewrote in a modern neo-classical style for chamber orchestra, much as Stravinsky had done with the music of Pergolesi for the ballet Pulcinella. A piano version of this incidental music to La Reine Margot came out in the same year under the title Suite Française.

Like Stravinsky, Poulenc mostly kept the four-square phrasing, simple repetitive rhythms and modal harmonies of the original scores, creating variety by setting various sections for different choirs of instruments within the orchestra – a feature mimicked in the piano version. The modern sound of Poulenc’s score comes from his austerely sonorous, widely-spaced chord figurations, replete with 7ths and 9ths, as well as many acerbic ‘wrong-note’ harmonies.

The dances vary in mood, with the lively bransles, fanfare-like Petite marche militaire and celebratory Carillon alternating with the more serene and wistful Pavane, Complainte and Sicilienne.



Francis Poulenc
Le travail du peintre


Poulenc was a keen and enthusiastic observer of visual art. In the journal he kept on a visit to the United States he wrote enthusiastically about the paintings that captured his attention at the museums he visited. The idea of writing a song cycle about 20th-century painters that he admired first came to him after the publication in 1948 of Voir, an anthology of his friend Paul Eluard’s poems about the painters in his life. Eluard was also an art lover and an avid collector, who owned works by all the painters included in the song cycle that Poulenc eventually composed almost a decade later as settings of Eluard’s poems. Le Travail du peintre (The work of the painter) was commissioned by the American soprano Alice Esty, who gave the first performances of the song cycle in 1957 in Paris with the composer at the piano.

Poulenc’s settings are more a reaction to Eluard’s poems than a direct appreciation of the painters they set out musically to describe. Pablo Picasso is iron-willed, filled with invincible energy. The playful fantasy and dreamlike mischief of Marc Chagall is captured in what Poulenc called a “rambling scherzo.” Georges Braque is fondly remembered for his aquatints and etchings of birds in flight, imitated with the zesty chirping of bird sounds in the piano. The carefully composed cubist constructions of Juan Gris find their correlative in the balanced phrases of the song composed in his honour. Paul Klee receives short shrift in a quick song having little, it seems, with the painter’s actual work but inserted because of a need for contrast in the cycle as a whole.

The song devoted to Juan Miró seems fixated on that painter’s treatment of the sky. And finally, Jacques Villon, pseudonym of Gaston Duchamp (brother of the more famous Marcel) is memorialized in a litany of phrases that Poulenc sets with an even, regular pacing as a timeless contemplation of eternal human values.

Franz Schubert
Selected Lieder

Schubert is credited with single-handedly transforming the German Lied from its status as a form of home entertainment mostly cultivated by amateurs, and largely ignored by serious composers, into a worthy vehicle for artistic expression at the highest level. Not a bad item on your resumé if you were a mere teenager, as Schubert was when in 1815 at the age of 17 he composed his first epoch-making lieder, Erlkönig and Gretchen am Spinnrade.

What distinguished Schubert’s contributions to the genre was the way in which he brought the full range of musical resources – harmony, texture and declamatory style – to bear on the expression of the poetic text, as the selections on Mr. Keenlyside’s program amply demonstrate.

Using the Romantic literary trope of intimate communion with Nature, the lover in Ludwig Rellstab’s poem Liebesbotschaft (Message of Love) asks the burbling brook, ably represented by the cheerfully flowing figuration of the piano, to take his message of love downstream where his beloved lies daydreaming at the river’s edge.

Alinde is another song combing water imagery and the theme of love’s yearning. Its gently rocking barcarolle rhythm in 6/8 time represents both the lapping of waves at the water’s edge and the lover’s impatience as he waits for his beloved to arrive. An endearing, almost cutesy touch is provided by the small run-up ornaments in the piano.

Standchen (Serenade) is a song drawn from Shakespeare’s Cymbeline. In the scene in which it appears none-too-bright Cloten has crept into the bedroom of Imogen, who lies sleeping, to sing her this artless song with the hope that she will awake, arise, and make him happy in the way that only a young woman in nightclothes can. Cloten’s doltish overestimation of his chances in this regard is underlined by harmonies based on pedal tones and a naively upbeat rhythmic pattern in the piano.

Pity the budding epic poet in An die Leier (To the Lyre) whose musical sidekick, his lyre, has a mind of its own and will only let him sing love songs. Anxious calls to war are conveyed in clangorous dotted rhythms of diminished 7th chords out of which sweet dominant 7ths always seem to emerge to send the music in a more amorous direction.

In Nachtstück (Night Piece) an old man slowly walks into the forest at the close of day to commune with nature and consider his own approaching death. The opening introduction depicts his slow measured gait but more consoling music intervenes when he considers the rest that death will bring.

Similar thoughts on the impermanence of human life motivate An den Mond in einer Herbstnacht (To the Moon on an Autumn Night), a quasi-operatic solo aria, complete with recitative, bound together by a recurring ritornello in the piano. The constant presence of the moon shining down on the singer is evoked by the piano’s frequent echoing of the vocal line.

Herbstlied (Autumn Song) is Schubert’s tip of the hat to the lads and lasses who bring in the harvest. Folksong-like in the simplicity of its melody and its structuring in balanced phrases, it has an almost Handelian sense of quiet dignity and restful lyricism.

The last song in Sir Simon’s selection of Schubert songs is Abschied (Farewell) from the Schwanengesang song collection. This parting song is remarkable for its complete absence of melancholy. The singer is obviously leaving on his own terms and happy to do so. We can just see him, trotting away from town on horseback, the prancing hoof-steps of his mount picturesquely painted in the staccato articulations of the piano accompaniment.

Donald G. Gíslason 2018

PROGRAM NOTES: ANDREA LUCCHESINI

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Domenico Scarlatti
Six Sonatas K 491 – K 454 – K 239 – K 466 – K 342 – K 146

The 550-odd sonatas of Domenico Scarlatti are perhaps the most successful works to migrate from the harpsichord to the modern grand piano. Their transparent texture of simple two- and three-part keyboard writing has one foot in the imitative counterpoint of the Baroque while anticipating the Classical era of Haydn and Mozart in their clarity of phrase structure and harmonic simplicity. Especially appealing to modern performers is their pungently flavourful evocations of the popular folk music of the Iberian peninsula, where Scarlatti worked at the royal courts of Spain and Portugal.

A frequent pattern in these works is for technically challenging figurations in the right hand to be repeated in the left, so their value as teaching pieces was recognized early. They were, in fact, first published under the title Esercizi. Their survival in the modern repertoire no doubt derives from the flurries of repeated notes and register-spanning arpeggios that make them such effective vehicles for pianistic display.

The Scarlatti sonatas are typically in binary form, with a first half ending in the dominant and a second half that works its way back from the dominant to the home tonality. They are now referenced by means of the Kirkpatrick (K) numbers assigned to them by Ralph Kirkpatrick in 1953, replacing the less chronologically precise Longo (L) numbers of Alessandro Longo’s first complete edition of 1906.

The sounds of court life come alive in the ceremonial fanfares of trumpets and volleys of brass choirs in the Sonata in D major K 491, with its simple repeated phrases and stomping cadence patterns enhanced with big cadential trills.

A similar ceremonial atmosphere reigns in the repeated-note drum beat of the Sonata in G major K 454 – until it erupts into exuberant multi-octave runs and frothy patterns of keyboard effervescence.

The clicks of castanets are heard in the snappy rhythms of the ever-so-Spanish Sonata in F minor K 239 while the following sonata in the same key (K 466) strikes a more wistful poetic mood with its plaintive whimpering phrases of complaint and heart-breaking cadential harmonies.

The Sonata in A major K 342 chases its own tail with scurrying patterns of scale patterns that only rarely stop to catch their breath.

The final work in the set, the Sonata in G major K 146, balances elegantly trilled scraps of melody with diving arpeggio gestures that suggest the brash strokes of the flamenco guitarist.

Luciano Berio
Six Encores

The Italian composer Luciano Berio had a gift for aphorism, for saying much and suggesting more in a brief span of time. His Six Encores written between 1965 and 1990 represent well Berio’s fascination with the piano as an instrument that generates pure sound rather than harmony or polyphony. Each piece demonstrates a single process at work, the unfolding of a single formal principle. The first two pieces in the set, for example, are concerned with the resonance that lingers when a piano key is played and not released.

The delicacy of Brin (French for “wisp, strand”) can be intuited from its name. A single, colourfully chromatic chord played at the very end contains all the notes “wispily” spun out before it arrives, the “strands” out of which it is slowly being put together. The pedalling here is watery, the mood reflective and sentimental, in keeping with Berio’s dedication of this piece to a friend who died at the age of 20, commemorated in the chiming of a high B-natural, the highest note in the piece, which occurs exactly 20 times.

In Leaf the overtones of notes held down cast a haze over the fistfuls of tone clusters punched out staccato. This and the preceding Brin, in the kaleidoscopic variety of viewpoints from which they present the same small amount of tonal material, have been compared to a “sound mobile” twisting in the air, to be taken in from all sides.

The four remaining pieces view the piano as a means of evoking the qualities of the four elements – water, earth, air and fire – and are named to associate each element with the keyboard (Klavier) of the instrument.

Wasserklavier is devoted to water and has been called “a loving forgery.” It re-imagines the Brahms Intermezzo in B flat minor Op. 117 No. 2 and the Schubert Impromptu in F minor Op. 142 No. 1 by passing their motivic components through a “refracted” contemporary lens. The descending 2nds of the Brahms Intermezzo, in particular, seem to come at the ear as if from a kind of fun-house distorting mirror.

Erdenklavier evokes the solidity of the earth with ringing open intervals – 4ths and 5ths – in a single line of melody featuring notes struck at widely differing dynamic levels and pedalled so as to last different amounts of time.

Luftklavier paints the air, a medium vibrating with energy, thanks to a colourful ostinato in the mid-range against which isolated pitches play in the wind on either side. The persistent fluttering tremolos in the score are reminiscent of Debussy while the rat-tat-tat of repeated notes recall Prokofieff’s Toccata Op. 11.

The last in the series of “elemental” pieces, Feuerklavier, rivals Scriabin’s Vers la Flamme in its tremolo-crazed depiction of the unpredictable patterns of flickering flames as they lick the air.

Franz Schubert
Sonata in B flat major D 960

It would be wrong to judge Schubert by the standards set by Beethoven, who represented the logical extension of an outgoing rationalist Classical age. Schubert represented the intuited beginning of a new Romantic age, an age in which formal models, previously held together by patterns of key relationships and motivic manipulation, would find coherence in a new kind of structural glue based on the psychological drama of personal experience.

Nowhere is this more apparent than in Schubert’s approach to the Classical era’s pre-eminent formal structure, the sonata. Like a good tailor adjusting an old suit, he lets out the seams of strict sonata form to allow it to breathe with the new lyrical air of his age. Concision and argumentative density are replaced with timeless daydreaming and lyrical breadth. Schubert’s sonata movements often contain three major themes instead of the standard two, arrived at and departed from by way of unexpected, sometimes startling modulatory surprizes. By this means he blunted the expectation that a sonata-form movement would be about resolving large-scale tonal tensions. Rather, he directed the listener’s attention to the moment-by-moment unfolding of melodic contours and harmonic colours. And yet even these moments are frequently punctuated by thoughtful pauses. In the end, what Schubert aims to create is a balanced and satisfying collection of lyrical experiences within the formal markers of the traditional sonata: exposition, development, and recapitulation.

Given these lyrical aims, it should not be surprizing that he favoured moderate tempos such as the Molto moderato of the first movement of his Sonata in B flat D 960, a work composed just months before his death in 1828. Its opening theme features a peaceful melody, with a hint of pathos in its second strain, supported by a simple pulsing accompaniment and ending with a mysterious trill at the bottom of the keyboard. This trill will be an important structural marker in the movement, repeated (loudly) at the first ending of the exposition and just before the start of the recapitulation.

A second theme of a more serious cast and a third of hopping broken chords round out the exposition, each passing fluidly between the major and minor modes like a tonal dual citizen, mirroring the dual modes of sweet yearning and inner anxiety that characterize the composer’s ‘outsider’ persona generally in works such as Die Winterreise. Major becomes minor and minor major as well in the development, which maintains the initial pulse of the opening as it builds to a fierce climax.

The second movement Andante sostenuto is surreal in its starkly spare texture of layered sonorities, featuring a somber but halting melody in the mid-range surrounded on both sides by a rocking accompaniment figure that quietly resounds like the echo inside a stone tomb. Only Schubert could create such a melody, one that combines sad elegy with tender reminiscence and pleading prayer, relieved only by the nostalgic strains of the movement’s songful middle section.

The third movement scherzo is surprizingly smooth-flowing in a genre known for its mischievous wit, but mixes it up with twinkling echo effects in the high register and exchanges of melodic material between treble and bass. The trio is more sombre and contained, expressing its personality more through syncopations, sudden accents, and major-minor ambiguities than through wide-ranging scamper and exuberance.

One might actually think that some of the lightness of mood from the previous movement had influenced the start of the finale, Allegro ma non troppo, which keeps wanting to start in the ‘wrong’ key (C minor, for a movement in B flat), but quickly sorts itself out to offer us one of Schubert’s most unbuttoned, ‘bunnies-hopping-in-a-box’ merry themes. And more still await us as a gloriously songful melody takes over, only to be rudely interrupted by a dramatically forceful new motive in a dotted rhythm that charges in, like a SWAT team breaking down the door of an evil-doer’s lair. But it was all a misunderstanding, of course, and these threatening minor-mode motives are soon dropped in favour of an almost parodistic variant of the same material in the major mode, something that kindergarten children might skip to at recess. The force of Schubert’s imagination ensures that this last movement of his last sonata is as vivid and riotous a ride through the rondo genre as that of his Erlkönig “through night and wind.”

Donald G. Gíslason 2018

PROGRAM NOTES: IGOR LEVIT

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Johann Sebastian Bach
Chaconne in D minor BWV 1004 (arr. Brahms)

The Bach revival of the 19th century began with a performance of the
 St. Matthew Passion in Berlin in 1829, conducted by the 20-year-old Felix Mendelssohn. It reached its stride at mid-century with the founding, by Robert Schumann and others, of the Bach-Gesellschaft, a society tasked with the publication of Bach’s complete works. Over the next 50 years, European musicians had ever-greater access, at a pace of almost one new volume a year, to the complete range of Bach’s creative output: cantatas, chamber music, concertos, and orchestral suites, as well as works for harpsichord, clavichord and organ – the whole lot of it.

Only one problem remained: getting the public on their side. The most popular solo instrument of the 19th century, both on the concert stage and in the family home, was the piano, and while Bach wrote for virtually every performing instrument of his time, the piano was not one of them. The piano only began to overtake the harpsichord in popularity in the 1770s, a good 20 years after Bach’s death, so any work by Bach played on the steel- framed, three-pedalled 19th-century piano, with its wide range of dynamics and tonal colours, was by definition a transcription.

And the transcribers were many. Each saw in Bach the figure that most appealed to his own individual aesthetic outlook. The virtuoso pianist Ferruccio Busoni saw the prototype of the Romantic hero, a lonely, moody, solitary figure capable of making the stone walls of his great church tremble with the force of his musical personality. Brahms, who became a subscriber to the Bach Gesellschaft edition in 1856, took another view. For him, Bach was a musical craftsman whose surpassing merit resided deep in the formal structures of his scores, not in their surface effect.

His transcription of the Chaconne from Bach’s Partita in D minor for Solo Violin BWV 1004 is thus an attempt to reproduce, as faithfully as possible, the sound of the violin on the piano. And in keeping with the severity of his approach, he wrote for the left hand alone, in order to reproduce for the performing pianist the challenges this polyphonic work would have originally posed for the solo violinist.

These challenges were not trivial. The chaconne is a musical form in which a thematic core, conceived of as a succession of chords, serves as the harmonic foundation for a series of variations. Bach’s Chaconne opens with a stern and resolute chord pattern in the distinctive rhythmic profile of a sarabande, with emphasis on the second beat of the bar. The work has a rough three-part design, beginning with 33 varied restatements in the minor mode, 19 in the major mode, and finally 12 more in the minor.

The majestic architecture and encyclopedic breadth of this work foreshadow the artistic heights that Bach was to scale in his Goldberg Variations and Well-Tempered Clavichord. Those used to hearing the Chaconne played in the more popular Busoni transcription will hear a new work in this rendition, one much more dependent on the musician’s ability to convey with fewer notes the greatness of its musical design through nuances of phrasing, dynamics, and expressive detail.

Ferruccio Busoni
Fantasia after J. S. Bach KiV 253

Busoni’s Fantasia was written in 1909 as an expression of personal grief at the death of his father, Ferdinando Busoni, the person who first introduced him to the music of Johann Sebastian Bach. The work is a hybrid between transcription and original composition, containing elements of both in equal measure.

Bach is present in fairly literal quotations from three works: the organ chorale partita Christ, der du bist der helle Tag (Christ, who art the light of the day), from which the ‘tolling bell’ motive of four long repeated notes comes; the fughetta on Gottes Sohn ist kommen (God’s son is come) from the Kirnberger chorale settings; and the chorale prelude Lob sei dem allmächtigen Gott (Praise be to Almighty God) from Bach’s Orgelbüchlein.

Busoni’s own writing in the Fantasia envelops the quotations from Bach in shrouds of downcast rumination, as symbolized by deep explorations of the low range, and by recurring gentle echoes in the high range that are emblematic of a mystical contemplation of the Beyond. How earthly pain vies with religious faith for the mourner’s cast of mind is easily grasped in the way that some of the chorale melodies are rhythmically displaced relative to the regular beat structure of the bass, especially in the dark and brooding introduction.

The high degree of harmonic indeterminacy in the writing gives it a ‘floating’ quality, as if the thoughts behind it were struggling through a fog of confused emotions. At times piercing, patterns of falling semitones evoke the stabbing pain of mourning. This heightened degree of expressiveness, and the means used to convey it, are much akin to the pianistic rhetoric of Scriabin.

The composer’s emotional ambivalence in this liturgical collection of consecrated memories is evident in the work’s closing gestures: a pair of echoes, the first up high, in the major mode, symbolizing heavenly peace, the last down in the bass, in the minor mode, symbolizing earthly grief.

Robert Schumann
Variations on an Original Theme in E flat major (“Ghost Variations”) WoO 24

In February of 1854, Robert Schumann was in a state of delirium, but a very musical one. He was surrounded by ghosts, he told his wife Clara, ghosts that fed him wonderful music and had occasionally tried to drag him down to Hell. Despite all this mental clatter, or perhaps because of it, he wrote down a theme offered to him by angelic voices and within a week had begun to compose variations on it. Work on the variations was interrupted, however, when he rushed out of the house half-dressed to throw himself from a bridge into the icy waters of the Rhine, from which he was rescued and returned home. The next day he completed his “Ghost Variations” and shortly afterwards was admitted to a sanatorium, where he died two years later.

The theme of Schumann’s last composition is a richly harmonized
 hymn that in its downward-seeking phrases blends the pious fervour 
of communal singing with the tenderness of personal reflection. In the first four of his five variations, Schumann leaves the melody remarkably ‘unvaried’, preferring to vary instead its textural setting. The first features a ripple of triplets in the lower voices, the second unfolds as a canon. The third variation adds an insistent rhythmic counterpoint between melody notes while the fourth is set in the minor mode.

It is the fifth variation, composed immediately after Schumann’s suicide attempt, that brings home the fragility of the composer’s psychological state in its wandering melody and harmonically wavering accompaniment, the aural traces of a mental window gently closing on the world .

Richard Wagner
Solemn March to the Holy Grail from Parsifal (arr. Liszt)

Richard Wagner’s last opera Parsifal is part music drama, part liturgical ritual, glorifying the religious devotion of a band of Arthurian warriors sworn to seek out and defend the sacred relics of Christendom. Chief amongst the treasures of these larger-than-life heroes is the Holy Grail, variously described in medieval legend as either a cup or plate used by Jesus at the Last Supper, or as the vessel used by Joseph of Arimathea to catch the blood owing from Jesus’ spear-wound at the Crucifixion.

In Act 1 a newcomer to the band, Parsifal, is granted entry to a communion ceremony at which this sacred relic is revealed before the assembled Knights of the Grail. Wagner’s reverential music for this scene is mystically exalting but with a disciplined, military edge to it, as well.

Wagner’s father-in-law, Franz Liszt, attended the premiere of the opera
 in 1882 and upon his return from Bayreuth composed a poetic evocation of this sacred scene using important musical motives to symbolize its dramatic meaning. The most immediately audible of these is the solemnly treading march motive of two falling 4ths which begins the work and continues as an ostinato pattern low in the bass throughout.

In the last half appears the famous Dresden Amen, a six-note rising scale figure sung by church choirs in the German state of Saxony beginning in the early 19th century and particularly associated with the city of Dresden, where Wagner had been Kapellmeister. This motive was also used by Mendelssohn in his “Reformation” Symphony No. 5. For Wagner, who wove musical representations of the actions and psychological states of his characters into the fabric of his opera scores, the Dresden Amen represents the Holy Grail itself.

Liszt is not writing a transcription here but rather a kind of free fantasy based on the motivic take-away of the first act of Parsifal. The virtuoso grandstanding of his earlier opera paraphrases and réminiscences is held largely in check. What emerges is a restrained meditation on the mood of mystery and the religious symbolism radiating out from the first great ‘reveal’ scene in Wagner’s evocation of Teutonic greatness in the German nation’s past.

Franz Liszt
Fantasy and Fugue on the Chorale Ad nos ad salutarem undam (arr. Busoni)

In 1847, Franz Liszt ended his career as a touring virtuoso pianist and took up residence in Weimar to concentrate on composition. Perhaps it was the experience of living in a place where Bach had lived and worked that prompted his interest in organ music, or perhaps it was the awakening of the religious feelings that would later see him take minor orders in the Catholic Church. Or indeed, perhaps it was because he simply couldn’t resist the temptation of writing for an instrument that could make even more noise than the iron-framed Érard pianos on which he broke so many strings in his concert career.

His first major composition for organ came in 1850, a gargantuan Fantasy and Fugue (lasting a good half hour) based on a chorale melody from Giacomo Meyerbeer’s opera Le Prophète, which had premiered in Paris in 1849. In the opera, three evil Anabaptist fanatics in 16th-century Holland connive to convince the Dutch population that they all need to be re-baptized in order to get on the right side of the Almighty. Their recruiting song Ad nos ad salutarem undam (Come to us, to the waves of salvation) is a snivelling little tune in the minor mode with numerous awkward intervals in a demonic dotted rhythm.

Liszt’s treatment of this theme unfolds in three distinct sections. In the opening section the theme is teased out in small dramatic fragments, bit by bit, its character hinted at strongly by menacing snippets of dotted rhythm that unfold in a wide variety of styles, from bombastic assertion to hushed recitative, over vast swathes of the keyboard.

The placid and quietly lyrical Adagio second movement provides much welcome relief from the rough-textured and rambunctious Fantasy preceding it. This movement presents the theme in its entirety, in the major mode, and calmly meditates on its melodic character.

All this daydreaming, however, is interrupted by a sweeping cadenza that announces a return to the minor mode and the last movement’s fugue. Liszt’s fugue subject is a nasty piece of work, highlighting the aberrant intervals and pointed dotted rhythms of the original theme. Of course, Liszt can’t stay long in a purely contrapuntal texture and his fugue soon devolves once again into free fantasy to end in a blaze of triumphalism that would make even Napoleon blush.

Busoni does a masterful job of translating Liszt’s somewhat awkward and unidiomatic organ figurations into the virtuoso language of the piano paraphrase. Mimicking characteristic keyboard textures from Liszt’s Sonata in B minor and Réminiscences de Norma to convey the sonic heft of the original organ work, he seems at every turn to ask: Why use just one note when ten will do?

Donald G. Gíslason 2018

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