GRADUATION RECITAL GRADUATION RECITAL July 19, 2013 July 19, 2013 Eric Y. Zhao Saman Arfaie CONCERT PROGRAMME RACHMANINOFF BEETHOVEN Prelude in C sharp minor, op 3 no. 2 from Morceau de fantaisie Sonata in G major, op. 49 no. 2 Saman Arfaie INTERMISSION 15 minutes Refreshments will be available Sarah Zhao CHOPIN Prelude in B minor op. 28 no. 6 CHOPIN Ballade no. 3 in A flat major Sarah Zhao I. Allegro ma non troppo BEETHOVEN Sonata in E major, op. 109 Eric Y. Zhao I. Vivace ma non troppo. Adagio espressivo. II. Prestissimo III. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo LISZT MENDELSSOHN Consolation no. 4 in D flat major Piano trio in D minor, op 49 I. Molto Allegro agitato RICE-OXLEY KEANE Somewhere Only We Know SCHUBERT Wanderer Fantasy, op 15 I. II. III. IV. Saman Arfaie Henry Liao, Violin Tyler Song, Cello Eric Y. Zhao DEBUSSY Impromptu in A flat major op. 90 no. 4 Saman Arfaie Sarah Zhao Eric Zhao Saman Arfaie Allegro con fuoco, ma non troppo Adagio Presto Allegro L'isle Joyeuse THANK YOU SCHUBERT Eric Y. Zhao For joining us for this recital. Your support means the world to us. Eric Y. Zhao THE PIECES Tonight's concert features a set well loved of classical and romantic repertoire. It opens with one of Sergei Rachmaninoff's most famous works, the Prelude in C sharp minor. From piano pianissimo to fortissimo, from pesante to agitato, the piece is filled with the drama, dynamic contrasts, and harmonic richness that the composer has become known for. It was the first of a set of 24 preludes, one in each key, similar to the set published by Frédéric Chopin. Chopin's B minor Prelude op. 28 no. 6 is also featured. In this short piece filled with understated sentiment, a mournful and singing bass line is complemented by a series of soft and repetitive treble chords. Tonight, this prelude serves to introduce a larger work by Chopin, the Ballade in A flat major. Third in a set of four cornerstone piano works, the A flat major Ballade has the most subtle and delicate quality. Its wistful melodies feel almost to drift together accidentally in a sea of soft syncopated chords and arpeggios. Aside from Chopin, few romantic era composers are as renown for their piano works as Liszt. The Consolation in D flat major belongs to a family of six charming and poetic miniatures. In this piece, a departure from the virtuosic etudes he is so well known for, Liszt explores the harmonic capacities of a charming melody conceived by a Russian Grand Duchess. This slow and gradual exploration stands in contrast to the Impromptu in A flat major, op. 90 no. 4, in which Schubert displays the Haydnesque ability to construct a complete piece out of a single motif. The technically challenging broken chord pattern simultaneously constructs a gripping harmony and a texture, while a simply stated melody rises out from the bass register. Schubert was a contemporary of Ludwig Van Beethoven, and his compositional style often seems to be a natural continuation of Beethoven's. A student of Haydn, Beethoven demonstrates the same facility with motifs in his Sonata in G major, op 49 no. 2. This is his 20th sonata, and along with his 19th and 25th, it is regarded as one of his technically easier sonatas, possibly written for young and beginning pianists. Nevertheless, it contains all of the earmarks of a grander work, only in miniature, and is an excellent demonstration of the prevalent sonata-allegro style. With three strikingly contrasting main themes, this sonata is full of humour and charm. In contrast, the Sonata in E major, op. 109 is a work of tremendous scale. It is a forward-looking piece that makes clear a transition into a treatment of form and content more often seen in romantic era compositions. Although the first movement follows conventional sonata-allegro form, it displays incredible conciseness. Despite its brevity, it is filled with musical meaning. Its daring form makes room for two primary motifs played not only in different keys, but also at different tempi. The second movement is a whirlwind of emotion with sweeping figures that make use of the full range of Beethoven's piano. Yet its impact gives way to tenderness and its lush fortissimos are lined with playful and delicate counterpoint. The third movement, entitled gesangvoll, which means "with a sing-song quality," opens with the most simple and innocent of themes. Through the variations, the theme is delicately danced as in a ceremonial waltz, fragmented as in a pointillistic painting, joyfully pronounced as in a fanfare, made into a lush four part counterpoint as in a string quartet, and articulated with religious fervor as in an energetic chorale. The final variation sees a gradual progression into increasingly fast note values, culminating in a rich and harmonious climax marked by an always-present trill. It at last modestly restates the original theme, marking a return home from this deep exploration. This piece is the antepenultimate of Beethoven's 32 sonatas, and was published together with the 31st and 32nd. Although Felix Mendelssohn's melody, harmony, and sense of scale are decidedly romantic, the structure of his works hearkens to the classical. The impeccably constructed Piano trio in D minor, op 49 is highly regarded for its structural precision, its hauntingly beautiful themes, and the incredible virtuosity of its piano part. The violinist and cellist exchange delicious melodies and countermelodies held together like glue by the intricate textures and rich ambience produced by the piano. Here, the piano is treated as if it were an orchestra. Debussy treats the piano in a similar manner in L'isle Joyeuse, the most recent composition of our selected classic piano repertoire. The piece is thought to be inspired by the painting L'Embarquement de Cythère, by the French Rococo artist Jean-Antoine Watteau. In Greek myth, Cythère is thought to be the birthplace of Venus, goddess of love. Indeed, L'isle Joyeuse reflects both the ecstacy and the tenderness of love in its episodic nature and its extensive use of the lydian mode. Schubert's Wanderer Fantasy is considered his most technically demanding composition for the piano. It was composed in 1822, shortly after the Unfinished Symphony and was dedicated to Carl Emanuel Liebenberg Von Zsittin. The work derives its name from the Lied "Der Wanderer," which holds the theme upon which each movement opens with a variation. The entire work is therefore based upon a single central motif, and all four movements are played attaca. The first movement is a grand statement of the theme, and establishes Schubert's intent to treat the piano as if it were an orchestra, drawing upon its various timbres to produce fanfaring brass and lush strings. The second movement extends the theme into a melodious song atop a deep and rolling bass. The third movement returns to the character of the first, this time in presto. The technically marvelous fourth movement breaks into fugato with liberties, perhaps drawing inspiration from the final movement of Beethoven's most demanding piano sonata, op. 106. The Wanderer Fantasy is a staple in repertoire of a daring and brilliant pianist. Saman Arfaie moved to Canada, his second home, in the late summer of 2009. Born and raised in Iran he can really say he appreciates the best of both worlds. Having a great affection and tender feelings towards the gargantuan cosmos of Classical music, he continues to enjoy the touch of the weight of the keys under his fingers, the harmony of notes flowing, and all the emotions that they inspire. Saman has had the honor to participate in various music festivals and competitions and win awards at the senior division and has also served as the U-hill Chamber music club president for the past two years where he focused on uniting the school culture by organizing music concerts both in and out of the school. Eric Y. Zhao is a excited to be performing a repertoire of some of his favourite advanced pieces for solo piano and piano trio. After discovering an early interest in music , he began piano studies with Mindy Cao Gofsky in 2004. In 2008, he completed the Royal Conservatory of Music Grade 10 Examination with first class honours and continued piano studies with Dr. Patricia Hoy, an adjunct professor at the University of British Columbia and a celebrated soloist and collaborative pianist. Eric has pursued musical interests as a guest musical instructor for the University Transition Program and a co-organizer and performer in numerous benefit concerts within the community. When not busy taking part in numerous Model United Nations conferences and debate tournaments in Vancouver, he reads about philosophy, particularly ethics and metaphysics, and can be found listening to Alan Watts lectures or reading Immanuel Kant's "Critique of Practical Reason" during his spare time. Saman has recently graduated from University Hill Secondary and he will be studying at the University of California Berkeley as a pre-med student where he can fully explore his interest in Science. This year, Eric graduated from the University of British Columbia with a Bachelor in Science in Honours Physiology and a minor in Physics. He has been involved in research in genomics and bioinformatics at Canada's Michael Smith Genome Sciences Centre and the Child and Family Research Institute. He has also engaged in multiple sclerosis research at the UBC MRI Research Centre. He volunteers weekly at the Palliative Care Unit of Vancouver General Hospital. He plans to merge his medical and research interests as a student in UBC's MD/ PhD program. More information at www.eyzhao.com. Henry Liao is studying Violin Performance in the Marcel A. Desautels Faculty of Music at the University of Manitoba with Oleg Pokhanovsky under full scholarship. Henry has won numerous awards at the provincial and national levels for his performances of solo and chamber works. He has also performed as a soloist with the Vancouver Philharmonic Orchestra and the Ukraine National Symphony Orchestra. Sarah Zhao is a student at University Hill Secondary School. She has been studying piano since 2008 with Tara Wohlberg. This summer, she is completing her Grade 8 examination in the Royal Conservatory of Music. Aside from music, she is engaged in dance and the visual arts. Tyler Song is entering his graduating year in the Faculty of Engineering at the University of British Columbia, studying chemical engineering. He has played cello since since the age of 7 and most recently studied with UBC professor Eric Wilson. Tyler was previously a member of the UBC Symphony Orchestra as well as the Vancouver Youth Symphony Orchestra, and continues to perform frequently with local chamber groups. Special Thanks University Chapel Staff Jason Dunbar Youth Pastor Christina Lui Associate Pastor Jennifer Rolston Administrator Geoff Chapman Senior Pastor Edward Chang Soheila Mashayekhi Luke Parkinson Khashayar Arfaie Ben Gu Liheng Li Christopher Morano Yongjun Zhao Patricia Zhu Connor Gallacher Ali Hooshmand