''()%*' !"#$%&'($)*"&)+,#'-)#.,/'")))) !"#$#%&$' !" #" $" ?@=6ABCD6( %" E@B( &" '" (" )" ! ! !"#$%&'()(*+(,#-."&.'(*/0*()(123/45( 6$47&8&%#(9#:;<&7(=<"%;>( ! ! PROGRAMME Franz Schubert “Wanderer” Fantasy in C major, Op. 15 22” Frederick Chopin Nocturne in B flat minor, Op. 9, No.16” Claude Debussy L’sle Joyeuse 7” INTERMISSION Franz Liszt Sonata in B minor 30” PROGRAMME notes Franz Schubert (1797-1828) ‘Wanderer’ Fantasy, Op.15 The 'Wanderer' Fantasy (1822) takes its name from the Adagio (2nd movement), based on the melody of Schubert's lied *Der Wanderer (1816). Th is main theme, which reappears throughout the 4 movements in diﬀerent contexts, presents a profound composition that eventually achieves a grand stature. The introduction of the main theme is a superb moment. Set in the key of C major, the work acquires an epic quality henceforth associated with the key. Opening with fanfare chords, the first movement, Allegro con fuoco ma non troppo is dramatic, stating the motive along with cascades of arpeggios and classic scalic passages. Way into a climax, it descends, before a lyrical, contrasting theme emerges. This new theme takes on significance as it appears later in the scherzo (3rd movement) in D fl at major. With increasing iterations of the opening figures again, a stormy chordal climax decelerates into the quiet, to usher in the 2nd movement. The Adagio, a theme and variations in C sharp minor is most faithful to the original lied*. It is sorrowful, tumultuous and dramatic, varied in its tone, pace, and dynamics. The four variations alternate between D fl at major and C sharp minor, a characteristic feature of Schubert to achieve emotional changes. With successive rhythmic subdivision, the drama develops. Schubert's varied accompaniments serve to enhance poetic meaning. He seems inexhaustible in contriving graceful pianistic fi gures. From one pattern to the next, again and again, as in his song writing, the ingenious accompaniments conjure varied moods and contexts which eventually lead to a rumbling bass figuration that aﬃrms the melody before the movement closes. The scherzo, at Presto, is in essence a mockery of the first movement. In triple meter, it reiterates the fanfare motive with fortissimo chords and jokingly takes delight in contrasting pianissimo dynamics. The finale, marked Allegro, begins with fugal elements but is largely virtuosic. Furious runs epitomizes this piece as Schubert's most technically demanding composition for the piano. Schubert himself said, "the devil may play it". The exuberant coda emphasises the positivity of C major, anchors the work harmonically and emotionally. As a pioneer, with new, far-reaching harmonic and tonal experiments of that time, Schubert's sense of Romanticism does not distort, modify or dispense Classical forms. The massive structure is interesting with the composer's deliberate use of the cyclic form. Later, in his 'Great' C major Symphony, the use of intense rhythmic vitality in like manner results in a splendid work based on thematic development. Lyric beauty, dreamlike quality, pathos and the tone of some tragic utterance reveal and reflect the composer's very own charming, refined and sensitive personality. Frederic Chopin (1810-1849) Nocturne in B-flat Minor, Op. 9 No. 1 — Larghetto The Nocturne is generally credited to John Field, an Irish composer and pianist, who published his first three nocturnes in 1814. Th ese romantic character pieces are written in a somewhat melancholic style, with anexpressive, dreamy melody over broken-chord accompaniment. The majority of Chopin’s nocturnes adopt a simple A-B-A form. The A part is usually in a dreamy bel canto style, whereas the B part is of a more dramatic content. The distinction of melody, wealth of harmony and originality of piano style, make Chopin’s nocturnes the most well known works of the genre. The fi rst of Chopin’s works to be published in France, Germany and England were these nocturnes (Op. 9), which appeared over the period of December 1832 to June 1833. They were composed—in part—in Vienna and completed in Paris. Th is fi rst work immediately confirms the character of the nocturne. These poetic Nocturnes, sang not only the harmonies which are the source of the listeners’ most ineﬀable delights, but reveal an inner sense of melancholy, the restlessness and likewise agitated bewilderment of human nature. The irregularity of rhythmic patterns is one aspect of Chopin’s style of melodic ornamentation that continues to find varied expression in later works. This piece was composed in 1830/1832 and published in 1832/1833; it is dedicated to Marie Pleyel, the wife of publisher and virtuoso pianist Camille Pleyel. Claude Debussy (1862-1918) L'sle Joyeuse (The Island of Joy) L'sle Joyeuse is considered one of Debussy's happiest inspirations. Composed between 1904-1095, at the same time as the 1st set of Images for piano, and his symphonic sketches La Mer, it marks his aim to acquire a kind of musical freedom greater than any other art. Debussy's works were often associated with Impressionism - influenced by French impressionist painters, or more rightfully symbolism - the writings of French poetry of the early 20th century. One theme that runs through Debussy's thoughts is the need for French music to be true to itself. Boulez remarks that 'modern music was awakened by Debussy's L'après-midi d'un faune' (1892). From Nocturnes in 1892 to La Mer in 1903, Debussy's orchestral works showed textures that are extraordinarily varied, with the use of pentatonic tunes, uncontrained use of triads and major 9ths, within triple, quadruple, and quintuple metres. Musical materials would be derived from open 4ths and 5ths and sheer complexity emerges from the intricate combination of rhythms and patterns of dynamics. The use of trills too is stylistic of Debussy, with harmonic peculiarities, use of chromaticism and modality. He created coloristic timbres within which the orchestral use of the 'technique of illusion' (Lockspeiser) presents the impressions of light, colour, space and an unanalyasable sense of atmosphere and expectancy. Such were the features of Debussy's ideals in his orchestral works which found their places in the mesmerizing beauty of L'sle Joyeuse. Franz Liszt (1811-1886) Sonata in B minor The monumental B minor Sonata (1852-3) remains as one of the masterpieces of Romantic piano repertory. It was composed during the same period of which Liszt completed impressive large-scale works: the two piano concertos, the Faust and Dante symphonies; the Totentanz for piano and orchestra, and his symphonic poems. The sonata is both dramatic and lyrical, with frequent changes of moods. The work was dedicated to Robert Schumann in return for Schumann's dedication of his Fantasie in C, Op. 17. There exists a great deal of speculation surrounding the origins of this piece. While Liszt composed a great deal of programmatic works, at no point did he suggest that this piece was constructed upon any idea greater than pure music. However, it has been suggested that the piece could be programmatically linked to the *Faust legend. It could be based on the biblical story of the Garden of Eden or even be biographical. Despite that the sonata is constructed as a large scale, single movement work, it is a challenge to the established sonata form of the nineteenth century and represents a unique landmark in the history of piano music. Dubbed the 'double-function' form, it presents the synthesis of the sonata-form movement with the multi-movement instrumental cyclic form. It is widely believed that Liszt's piece still fits into a 3 or 4 movement sonata within a loose kind of sonata form. This structure is very much influenced by and similar to Franz Schubert's balanced tonal structure found in the ‘Wanderer Fantasy’, a work which Liszt greatly admired, performed often and arranged for piano and orchestra. I : a slow introduction - Lento assai, followed by Allegro energico - an Exposition and development. II : a 'slow' movement marked Andante Sostenuto III : the 'Final' movement which presents a fugue (scherzando) , followed by the recapitulation of the main themes. The final coda serves as a sublime and introspective afterthought. As in Liszt's other larger works, the sonata is notable for being constructed from some 5 to 7 motivic elements that are woven into an enormous musical architecture. Th e motivic units undergo thematic transformation throughout the work to suit the musical context of the moment. On the opening page, two thematic cells are presented - the first, a leaping octave declamation, the second a Mephistophelean gesture characterised by its repeated notes. The tonally ambiguous descending scales that open the work return at key moments. The way Liszt develops and combines these motivic ideas leads to a work of sheer power and cohesion. Each of the sections recalls classical structures. For instance, the exposition has the lyrical theme (2nd theme) largely in the relative key of D major before returning in the recapitulation to the key of the tonic major, B major. Everything is meticulously planned. A theme that sounds menacing and even violent in one context, could be transformed into a beautiful lyrical melody. This technique of metamorphosis of themes binds the sonata's sprawling structure into a single cohesive unit. Throughout recording and concert history the B minor Sonata has been interpreted by generations of pianists whose intense and on-going interest in the work serves as a testimony to its timeless quality, and a collective tribute to the genius of Franz Liszt. (Programme Notes by Josephine Koh) Artiste’s Proﬁle Ms Josephine Koh has been appointed Singapore’s first artiste for Bösendorfer (Vienna, Austria) since 2009. Having started piano lessons at the age of 7, she completed her music diplomas in Singapore - Licientiate (LTCL), Fellowship (FTCL) Trinity College of London, and L(MUS)TCL for Composition and Th eory, before pursuing professional performance studies in Italy under Vincenzo Balzani. She became Associate of the Royal College of Music (ARCM) and competed actively in various international competitions in Europe in the 1990s. As a recitalist and accompanist, she has performed in Italy, Germany, London, Switzerland and China. In 2006, Ms Koh studied conducting in the UK under George Hurst and Denise Ham. Last year, she was selected by the International Conductors Institue of the USA on a vigorous programme to conduct the Bacau Philharmonic Orchestra in Romania. Her conducting mentors include Charles Gambetta, Robert Gutter and Ovidiu Balan. A graduate in English and Professional Management from the Open University UK, Ms Koh is the director and founder of Josephine Koh Music Studio. With her musical training in voice and choral singing, Ms Koh began her teaching career as music lecturer at the LASALLE College of the Arts. She also held the post of music tutor and accompanist at the Centre for the Arts, National University of Singapore (NUS) before becoming the current Music Director and Conductor of the NUS Harmonica Orchestra in 2005. Under her baton, the NUS Harmonica Orchestra has since developed into a unique musical group, winning the Gold award at the Asia Pacific Harmonica Festival (2010) and Group of the Year Award(2011) at the CFA - NUS. Another of Ms Koh’s music enterprise includes Wells Music Publishers - Singapore’s foremost music publishing house which has scaled great heights with her many publications exhibited annually at Musikmesse, Frankfurt in Germany. As managing director and resident author, her internationlly renowned titles include series such as Practice in Music Th eory, Scales & Arpeggios-Fingering Method, Quick Study Practice for Diploma Students, Teachers’ Choice Selected Piano Repertory and Musical Forms and Terms. Ms Koh now prepares for her concert performances on the Bösendorfer Concert model 225. She continues to nurture students in her most unique ways, developing them intellectually, with the musical discipline to excel in several other fields. Where her schedule allows, she assists with enrichment programmes for musicians of the Singapore Arms Forces (SAF), adjudicate music competitions, conduct workshops and seminars for music teachers in Singapore and other regions. Acknowledgments Many thanks to all supporters, friends and representatives of the following: Yamaha Music (Asia) Private Limited 68, Ochard Road, #06-02, Plaza Singapura. Tel: 63363311 BÖSENDORFER www.boesendorfer.com Josephine Koh Music Studio 29B Binjai Park, Singapore 588529. Tel: 64687570, Fax: 64687162 email: [email protected] website:www.jkmusicstudio.com Wells Music Publishers 29A Binjai Park, Singapore 588529. Tel: 64682928, Fax: 64687162 email: [email protected] website:www.wellsmusicpublishers.com Chiu Piano Co. Pte Ltd 301 Upper Thomson Road, #02-06, Thomson Plaza, Singapore 574408. Tel: 64547679 website: www.chiupiano.com.sg Representatives of Wells Music Publishers and Bösendorfer at Musikmesse, Frankfurt, Germany 2011