the muriel mcbrien kauffman master pianists series Arnaldo Cohen, piano Saturday, March 8 8 pm Folly Theater BACH Partita No. 1 in B-flat Major, BWV 825 Praeludium Allemande Corrente Sarabande Menuets I and II Gigue BEETHOVEN Sonata No. 8 in C Minor, Op. 13, “Pathétique” Grave; Allegro di molto e con brio Adagio cantabile Rondo: Allegro BACH-BUSONI Chaconne in D Minor (from the Violin Partita No. 2, BWV 1004) INTERMISSION LISZT “Sonetto 104 del Petrarca” from 2ème Années de pèlerinage, S. 161 RAVEL Sonatine in F-sharp Minor Modéré Mouvement de Menuet Animé PROKOFIEV Sonata No. 7 in B-flat Major, Op. 83 Allegro inquieto; Andantino; allegro inquieto, come prima; andantino; allegro inquieto Andante caloroso Precipitato This concert is underwritten, in part, by the Sanders and Blanche Sosland Music Fund The Master Pianists Series is underwritten, in part, by the Muriel McBrien Kauffman Foundation Additional suport is also provided by: the friends of chamber music | Live Performance. Be There. program notes Partita No. 1 in B-flat Major, BWV 825 Johann Sebastian Bach (1685–1750) Bach’s six keyboard Partitas differ from his English and French suites in three principal respects. First, they are technically more difficult and require a larger keyboard. Second, their dance movements tend to be larger and more ambitious in scale. Finally, the Partitas are among the few of Bach’s compositions to be published during his lifetime. Furthermore, he had a hand in their publication and may even have been personally responsible for their engraving. He began publishing them three and one-half years after his move to Leipzig. Sarabande a model of elegance. Bach’s two Minuets have a startling simplicity, especially in comparison to the virtuoso movements that flank them. The second Minuet moves almost exclusively in quarter notes. Perhaps Bach sought to make at least some of the Partita accessible to less advanced players. His Gigue is singular in that the meter is in common time (4/4) rather than the customary 6/8, though the characteristic, rhythmic element of the perpetual triplet references the gigue’s tradition. This work requires hand crossings in every measure representing technical challenges for the pianist and a charming antiphonallike conversation between the high and low voices. This communication is under-girded with galloping triplets in The First Partita holds a special place in the Bach the center. The texture is akin to a toccata–or an étude. canon because it was the first composition whose This movement was widely known throughout the late publication he oversaw while working with Balthasar eighteenth and early nineteenth centuries, even when Schmid, a Leipzig engraver. The Partita appeared in 1726 most of Bach’s other music had fallen into oblivion. with a dedication to the Prince of Anhalt-Cöthen. It is the best known of the Partitas and the most frequently recorded. Bach was at the top of his game in his melodic Sonata No. 8 in C Minor, Op. 13, “Pathétique” and rhythmic ingenuity, and there is a wonderful Ludwig van Beethoven (1770–1827) playfulness and tenderness to this work. We live in a world dominated by media that often Baroque suites were fairly standardized by Bach’s day: influences the public’s taste. Beethoven’s Pathétique an opening movement followed by a courante, allemande, Sonata is a good example; it has worked its way into sarabande, and gigue. Optional additional dances were the public consciousness in various ways. Music lovers customarily inserted between the sarabande and gigue. associate the eloquent slow movement with the old Karl In the First Partita, Bach interpolated a pair of minuets. Haas syndicated radio program, “Adventures in Good These stylized dances are all in binary form, or two parts, Music.” That theme has also been adapted as an Anglican each of which is repeated. hymn and as a pop song. Poetic and transporting as the His texture is relatively light throughout, leaning Adagio cantabile may be on its own, its impact in the toward a more galant, less rigorously polyphonic context of the complete sonata is even greater. We can approach to these dances. Each of his seven movements hardly fathom the revolutionary effect this sonata must has its own charm. Bach casts his Praeludium as a have had on Beethoven’s listeners in 1798. three-part invention, expanding to four and five parts In French, pathétique means touching the in the last three bars of the movement which ends emotions, full of pathos, rather than the “pathetic” of with a decisive. Although only 21 measures long, this the direct English cognate. The German playwright Praeludium is a thoroughly convincing and satisfying Friedrich Schiller–the author of the “Ode to Joy” that opening to the suite. Bach follows it with a dizzying and Beethoven would later set as the choral finale to his virtuosic Allemande that requires smooth transference of Ninth Symphony–published an essay in 1793 called the sixteenth-note melody from one hand to the other. “Über das Pathetische.” The title is difficult to translate The Corrente, though technically still set in standard binary form, foreshadows sonata structure, with a shortened recapitulation. The suite would eventually be replaced by the sonata form which dominated the field in the mid-18th century through the 19th century. Stylish ornamentation and subtly varied rhythms make the because Pathetische has various meanings in German, but Schiller’s subject was focused primarily on the place of tragedy in works of art, including music. Beethoven biographer William Kinderman has argued persuasively that Schiller’s aesthetic concept fits well with Beethoven’s rhetoric and expressivity in this sonata. 38th season 2013-14 81 program notes The term Pathétique – which Beethoven himself assigned to this work – is not precisely programmatic, but rather descriptive of the music’s general character. Beethoven’s tonality supports this interpretation, since eighteenthcentury aestheticians regarded C Minor as a key of pathos. As is well known, Beethoven would return to the key of C Minor throughout his life. his Grave chords back twice: once at the beginning of the development section and again in the coda. We hear them differently each time because of the turbulence that has raged in the interim. The second movement, Adagio cantabile, provides a much-needed respite after the turmoil of the opening movement. Its texture, with both melody and an innervoice accompaniment is in the right hand, which was quite original for the time; it would become a more common practice in the Romantic era. The left hand moves in contrary motion to the melody. The movement is a rondo with variations on the theme each time it reappears. The finale is also a rondo whose principal motive is clearly connected to the second theme in the opening Allegro. Will you hear it? Not necessarily, unless you are an unusually analytical listener, but the subtle links in melodic gestures in all three movements are part of Beethoven’s genius in this remarkable sonata. Technically it is an eighteenth-century work, but almost everything about the stormy, passionate Pathétique is a foretaste of romanticism. Chaconne in D Minor (after Bach’s Violin Partita No. 2, BWV 1004) Ferruccio Busoni (1866–1924) Ferruccio Busoni is not a composer on the tip of everyone’s tongue. Yet he was an extraordinarily imaginative thinker, and one of the most fascinating figures in early twentieth-century music. The son of an Italian clarinet virtuoso and an Austrian pianist, he spent most of his youth in Austria, and was ultimately more Germanic than Italianate in his music and philosophy, although he remained fond of Italian culture. He showed enormous talent early and began to perform and compose when he was just a boy, taking his first Photograph of Ferruccio Busoni (circa 1911) composition lessons at age thirteen. Between 1881 and 1894, Busoni studied at the Accademia Filarmonica in The essential pathétique conflict opposes the capacity for Bologna for three years, then lived in Vienna, Leipzig, suffering with rational resistance against capitulation to Helsinki, Moscow, Boston, and New York. By the time those feelings. In Beethoven’s astonishing first movement, he established a permanent home in Berlin in 1894, he marked Grave, the conflict takes musical shape in the was an internationally famous pianist. alternation of tempi. He starts with a slow introduction, the first in any of his piano sonatas. Solemn, forbidding As a composer, Busoni’s evolution was somewhat rockier. He was heavily influenced by Bach, Schumann, chordal gestures lingers on tense chords and maximize the impact of silence. When the music explodes into the and Mendelssohn as a young man. Then, at the turn of Allegro, rapid tremolo octaves in the left hand underscore the century, he underwent an abrupt change of heart and the agitation and fury of the material. Beethoven brings became keenly interested in such innovators as Arnold Schoenberg and Béla Bartók. Ultimately his greatest the friends of chamber music | Live Performance. Be There. program notes obsession proved to be Bach. Starting in 1892 he began transcribing and arranging many of Bach’s organ compositions for piano. He continued to do so until 1919, incorporating many of the transcriptions into his touring repertoire. The Chaconne became one of his most successful works in this vein. Busoni’s biographer Larry Sitsky describes the composer’s version as “a type of double transcription.” Busoni first mentally imagined it as an organ piece and then transcribed it for piano in his particular style. There was never any intention to imitate the violin. Although faithful to the original, it maintains its own pianistic integrity as well. Bach’s simple four-bar harmonic progression makes the Chaconne comparatively easy to follow for the listener. It consists of thirty sequential variations in D Minor, and then twenty in D Major, with a coda of ten final variations back in the original minor mode. We do not realize how emotionally draining this music is until the ineffably tender D Major variations provide temporary respite from the stern atmosphere of the whole. Busoni is remarkably faithful to the formal construction of the original, making only two adjustments to the music: he lengthens a diminishedseventh arpeggio by one measure for dramatic effect, and repeats one four-bar variation to introduce a different internal voicing. Pianistically, his concept is stunning. He celebrates the Chaconne’s multiple voices, adding doublings for emphasis, filling out the chords and exploring the full range of the piano’s seven octaves as well as its potential for dynamic variety. The piano technique draws on both Lisztian virtuosity and Brahmsian breadth. Busoni also incorporates a late Romantic approach to Bach, designating tempo changes and other performance indications not present in the original. Busoni’s student Egon Petri reported that, late in life, Busoni maintained a steadier tempo when performing the Chaconne. Modern interpreters tend to be more flexible with respect to how closely they observe Busoni’s tempi. Whatever interpretive choices a performer makes, there is no disputing that all performers who tackle this work must have stamina, a flair for the drama and sheer courage. BORROWING FROM THE SOLO VIOLIN REPERTOIRE Each of Bach’s solo violin sonatas is in four movements, following the accepted Baroque church sonata pattern of slow-fast-slow-fast. All three have a fugue as the second movement. The three partitas vary more in structure, although each is partly based on popular dance movements of the era. Only one, however, has a Ciaccona: the second partita. It concludes the partita and, at about fifteen minutes, is longer than the previous four movements combined. The Chaconne (to use it’s more common French spelling) is arguably the most celebrated movement in the violin literature. A series of 64 continuous variations, it places extraordinary demands on both the player and the listener. Bach composed his violin partitas in 1720 (the manuscript, which survives, is dated), but the pieces were not published until 1802. Since then, the list of editors reads like a who’s who of violinists, including Ferdinand David (edition published 1843), Joseph Hellmesberger (1865), Arnold Rosé (1901), Joseph Joachim and Andreas Moser (1908), Leopold Auer (1917), Jenö Hubay (1921), Carl Flesch (1930), and Ivan Galamian (1971.) Mendelssohn arranged the Chaconne as a concerto movement; Schumann wrote a piano accompaniment for it. Johannes Brahms arranged the Chaconne for Clara Schumann in 1879 as a left-hand piece, in order to give her right hand a rest during concerts. Other chamber and orchestral versions proliferated during the nineteenth century. None of these formidable precedents deterred the young Ferruccio Busoni from turning his hand to the Chaconne in 1892. – L.S. ©2013 “Sonetto 104 del Petrarca” from 2ème Années de pèlerinage, S. 161 Franz Liszt (1811–1886) Liszt’s Années de pèlerinage (Years of Pilgrimage) are three volumes of piano music originating in the mid1830s, when he and his mistress Marie d’Agoult first left Paris for Switzerland and Italy. The first volume is subtitled Suisse, the second Italie; the third, which was not published until 1883, remained untitled. Liszt continued to work on the Années de Pèlerinage until the late 1870s. Most of the pieces are descriptive, and many of them exist in more than one version. 38th season 2013-14 83 program notes That is the case with the Sonetto 104 del Petrarca, which originated as a song for tenor and piano, taking its name Pace non travo (“I find no peace”) for the title of Petrarch’s sonnet. In 1846, Liszt published the three Sonetti as solo piano pieces, twelve years before the entire 2ème Année de pèlerinage appeared. He revised them for the 1858 publication of the larger set. In that version, which most pianists play, Sonetto 104 is thought to be the finest of the three. The Pace non trovo named after the poetic incipit, is vintage Liszt, but one needs to suspend the commonlyassumed perception of his music as only flamboyant display. This piece takes its cue from the lyrical love poetry that Petrarch wrote to his beloved Laura in the fourteenth century. That does not mean it is absent of the rhetorical flourishes associated with Lisztian piano technique. Rather, it interpolates such passages judiciously, housed within a reverie. Mostly reflective, occasionally passionate, Sonetto 104 is six minutes of understated romantic extravagance. Sonatine in F-sharp Minor Maurice Ravel (1875–1937) Durand to publish the Sonatine in 1905, launching a successful and lifelong publishing relationship. The next ten years were to be the most productive and fruitful of Ravel’s career. Ravel began work on the Sonatine in 1903 in response to a competition advertised in The Weekly Review, an Anglo-French publication founded by Arthur Bles, dealing with literature and the arts. The contest, which was a ploy to increase circulation, called for entries of a sonatina no longer than 75 bars of music. Ravel’s friend Michel-Dmitri Calvocoressi, a prominent critic and musicologist, urged him to submit an entry. The resulting work became the Sonatine’s first movement (it was 77 measures long.) Alas, the competition never came to pass, because The Weekly Review was on the verge of bankruptcy. Fortunately, Ravel chose to complete the piece, adding a Menuet and a brilliant finale over the next two years. Mme Paul de Lestang introduced it at a private performance in Lyon on March 10, 1906. The Paris premiere followed three weeks later at the Salle de la Schola Cantorum; Gabriel Gravlez was the pianist. The piece was an immediate success and has been a staple of the keyboard literature ever since. From 1803 to 1968, France’s Académie des Beaux-Arts awarded the Prix de Rome annually to gifted young French composers and artists. The prize ceased only during the two World Wars. In music, Prix de Rome recipients included—among the forgotten composers—such greats as Berlioz, Gounod, Bizet, Massenet, Debussy, and Charpentier. The award, bestowed by a jury, carried a stipend covering three years of residency at the Villa Medici in Rome. Maurice Ravel tried and failed five times to win the Prix de Rome between 1900 and 1905. He had already established a reputation with his popular Pavane pour une infante défunte (1899.) That reputation was enhanced by Jeux d’eau (1902) and his String Quartet (1903.) The oversight by the Prix de Rome jury became something of a scandal in 1905 when Ravel was disqualified again, and it emerged that all the finalists were students of one teacher who was a member of the jury. Though smarting from the humiliation, Ravel’s inspiration flourished. He rebounded by completing two masterpieces for piano that same year: the Sonatine (1903–05) and Miroirs (1904–05.) He also authorized Auguste and Jacques the friends of chamber music | Live Performance. Be There. Ravel in 1925 program notes Do not confuse Ravel’s Sonatine with the study sonatinas of Muzio Clementi. The title is indeed a throwback, and the first movement is a textbook neoclassical sonata form. Ravel’s musical language is tinged with the whole-tone scales and impressionist textures of the early 20th century, and is decidedly French. The work’s genius lies in his amalgam of old techniques with original piano writing and an individual style. The composer’s biographer H.H. Stuckenschmidt has written: Emotion and mechanics become compatible worlds in this piece. Just as clear and self-contained as are the three mood-impulses of the three clearly separated movements, equally astonishing is the unity achieved through the motivic kernel common to all of them. . . . [The Sonatine] is a monothematic, or more correctly, a monomotivic cycle. The impulse of a single interval, the fourth, sets the themes of all three movements into motion. the so-called wartime trilogy followed a sixteen-year hiatus during which he ignored the solo sonata form. It is as if he had been stockpiling a wealth of ideas and the floodgates opened. Although one cannot ignore World War II in any consideration of these three works, the Seventh Sonata is more closely linked to a personal crisis in Prokofiev’s life. His marriage to his first wife, the Spanish singer Lina Llubera, had been disintegrating since the mid1930s. He met the young writer Mira Mendelson in 1939; they soon became lovers. In March 1941, he left Lina and began living with Mira (they eventually married in 1948.) After Hitler’s armies invaded the USSR in the summer of 1941, Prokofiev and Mendelson’s existence became nomadic. That August, the Soviet authorities ordered large numbers of artists to evacuate to Nalchik The first movement is deliberate, with its lyrical opening theme broken up by the motor rhythm of the inner voices. Ravel’s Menuet is cast in the mold of his early Menuet antique (1895), with a lighter, more sophisticated touch. He rethinks the ancient dance, infusing it with elements of intellect and wit that add to its charm. The finale, Animé, is a toccata related to the finale of Debussy’s Pour le piano (1901.) Dazzling in its difficulty, this conclusion eradicates any misconception that the Sonatine is a student work, as it drives to a scintillating climax in F-sharp Major. Sonata No. 7 in B-flat Major, Op. 83 Sergei Prokofiev (1891–1953) The publication of Prokofiev’s Sixth, Seventh, and Eighth Piano Sonatas as Opp. 82, 83, and 84 seems to link them chronologically, and they have been historically grouped as a wartime trilogy. In fact, Prokofiev sketched all three sonatas in 1939, before Europe erupted into war. The premieres took place between 1940 and 1944 with publication in 1941, 1943, and 1946, respectively. The association with the Second World War has clung to the Seventh Sonata, probably because of its violent, forceful rhythms. Prokofiev composed for piano throughout his career. His sonatas span the period from 1907 to the end of his life. When he died in March 1953, he left a tenth sonata incomplete and was planning an eleventh. Yet Sergei Prokofiev (c. 1918) 38th season 2013-14 85 program notes in the Southern Caucasus. In December, with Nazi troops just 200 miles away, the couple was relocated to Tbilisi. There, in the first months of 1942, Prokofiev worked on the Seventh Piano Sonata and the first draft of his opera War and Peace. He completed the sonata on May 2, 1942, then traveled with Mira to Alma-Ata, the capital of Kazakhstan, to begin work on his next large project: writing the musical score for director Sergei Eisenstein’s film Ivan the Terrible. The couple returned to Moscow for two months at New Year’s 1943, in part to attend Sviatoslav Richter’s first performance of the new sonata. The premiere on January 18 was a musical milestone for the Soviets, who perceived music, cinema, theatre and the other arts as valuable propaganda vehicles to assert the Soviet Union’s cultural superiority. Two months later, Prokofiev was awarded a Stalin Prize for the B-flat Major sonata. The piece is a striking combination of percussive, brittle writing juxtaposed with passages that verge on reverence. Although Prokofiev identifies the sonata as being in B-flat Major, there is no key signature. The first movement opens with persistent march rhythms, demonic and forceful, then changes abruptly to a dreamy Andantino in alternating 9/8 and 6/8 meter. Prokofiev alternates tension and repose, but the overriding mood is summed up in his marking Allegro inquieto (anxious.) The flowing Andantino returns, but nervousness and anxiety ultimately carry the movement. Rich, sonorous harmonies in E Major and A-flat Major link the Andante Caloroso (warm) slow movement to the romantic tradition. At least one scholar finds both a quotation from Schumann and a coded message in this movement (see sidebar.) It unfolds as a slow waltz, building to a dramatic climax in the middle of the movement marked Poco più animato. Twice, Prokofiev requires runs of sixty-fourth notes in the right hand against thirty-seconds in the left. The chords are big and far flung, approaching the clangor of church bells. A mysterious, hypnotic transition returns to the opening E Major theme. The Sonata’s show-stopper is its perpetual motion finale, marked Precipitato. It is indeed precipitous, with a lurching 7/8 punctuated by A CODED MESSAGE? The opening theme of the Seventh Sonata’s slow movement bears a striking resemblance to Robert Schumann’s Wehmut (“Melancholy”), the ninth song from the cycle published as Liederkreis, Op. 39 (1842.) Both pieces are in E Major, and the contour of Prokofiev’s melody is indeed close to Schumann’s. Daniel Jaffé, in his biography of Prokofiev, perceives a secret meaning that derives from the song’s text written by Joseph Eichendorff: Sometimes I may be singing As if I were full of joy, But secretly tears are flowing, And then my heart feels free. The nightingales will sing, When spring breezes play outside, Their melody of yearning Out of their prison’s tomb. Then all the hearts are listening, And everyone is glad, But none can feel the sorrows, The bitter grief in the song. Jaffé makes a point that Prokofiev sketched most of the Sonata’s themes in 1939, when he was far more concerned with the impact of Stalin’s purges than by the threat of war. His theory is borne out by the reminiscences of Sviatoslav Richter, the pianist who premiered the Seventh Sonata and who became the foremost interpreter of Prokofiev’s piano music. Richter recalled: The audiences perceived the spirit of the composition as if it were reflecting everything with which they lived, just as they did when they heard Shostakovich’s Seventh Symphony for the first time. Right from the start the sonata projects you into an alarming atmosphere of a world that has lost its balance, so to speak. Disorder and uncertainty reign supreme. Man is observing the havoc of destructive forces. But life . . . does not cease to exist for him. He still senses it, he is still capable of love. And with these emotions he addresses himself to everybody. He joins everyone in their protests and common suffering. Then comes a sudden stiffness of will and desire for victory which sweeps away everything in its path. Man gains strength in his struggle and achieves gigantic power which assert life itself. Although the Soviets seized on Shostakovich’s Symphony No. 7 (the “Leningrad”) as a patriotic symbol of resistance to the Nazis in wartime, Shostakovich conceived most of the symphony in 1939, before the outbreak of war and the German invasion. Richter knew this, of course. His description of Prokofiev’s Sonata reads like an alternative program for the sonata, suggesting the composer’s personal and political subtext for all three movements. – L.S. ©2013 the friends of chamber music | Live Performance. Be There. program notes ostinato octaves on B-flat and D-flat in the left hand. The movement falls squarely in the toccata tradition, requiring flexibility and strength, clarity and lightning quick reflexes. Satanic, propulsive and chaotic, this is music to make the heart pound, which is why the Seventh Sonata is the most popular of Prokofiev’s nine sonatas. Program Notes by Laurie Shulman ©2013 B Arnaldo Cohen razilian-born pianist Arnaldo Cohen has a reputation for astonishing his audiences with the musical authority and blistering virtuosity of his performances. His graceful and unaffected platform manner belies playing of white-hot intensity, intellectual probity, and glittering bravura technique bordering on sheer wizardry. Arnaldo Cohen came to prominence after winning First Prize at the Busoni International Piano Competition and making his debut at the Concertgebouw in Amsterdam. For five years, he was a member of the acclaimed Amadeus Trio and has performed with many string quartets, including the Lindsay and Chillingirian Quartets. He began his musical studies at the age of five, graduating from the Federal University of Rio de Janeiro with an honors degree in both piano and violin, while also studying for an engineering degree. He went on to become a professional violinist in the Rio de Janeiro Opera House Orchestra to earn his livelihood while continuing piano studies with Jacques Klein, a disciple of the legendary American pianist William Kapell. Cohen pursued further training in Vienna with Bruno Seidlhofer and Dieter Weber. Mr. Cohen is also recognized for his deep dedication to educating the next generation of musicians and music lovers, was in October 2012 appointed Artistic Director of the prestigious Portland Piano International Series. He is the recipient of an honorary fellowship awarded by the Royal Northern College of Music in Manchester, and until recently held a professorship at the Royal Academy of Music in London. After living in London for many years, he relocated in 2004 to the United States, where he holds a full professorship at the Jacobs School of Music at Indiana University. His performances in recent seasons have spanned the United States and Canada geographically, including appearances with major orchestras such as the Philadelphia Orchestra, the Cleveland Orchestra, the Chicago Symphony, and the Los Angeles Philharmonic. Recital appearances regularly include important venues in Philadelphia, Chicago, San Francisco and Toronto, among other music centers. He has also performed with the Royal Philharmonic, the Bavarian Radio Symphony Orchestra, Orchestre de la Suisse Romande and the Santa Cecilia Orchestra of Rome under such leading conductors as Kurt Masur, Yehudi Menuhin and Wolfgang Sawallish. Arnaldo Cohen appears courtesy of Arts Management Group For more information visit www.arnaldocohen.com 38th season 2013-14 87
© Copyright 2024