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:
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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.
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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
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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.
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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
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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)
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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
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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
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