Schubert Club presents

Augustin Hadelich, violin Joyce Yang,

Tuesday, November 29, 2016, 7:30 PM | Ordway Concert Hall Thursday, December 1, 2016, 10:30 AM | Ordway Concert Hall

Pre-concert conversation by David Evan Thomas one hour before the performance

Sonata No. 8 in G major, Opus 30, No. 3 Allego assai Tempo di minuetto, ma molto moderato e grazioso Allegro vivace

Berlin Music (2010)

Sonata in D Major, K. 306 Wolfgang Amadeus Mozart Allegro con spirito Andantino cantabile Allegretto—Allegro

Intermission

Divertimento after The Fairy’s Kiss (Homage to Tchaikovsky) Sinfonia: Andante—Allegro sostenuto—Andante Danses suisses (No pause before this movement) Scherzo Pas de deux: Adagio—Variation—Coda

Valse-scherzo, Opus 34

These concerts are dedicated in memory of Charlotte P. Ordway, by her children

PLEASE SILENCE ALL ELECTRONIC DEVICES Please hold applause between movements MaudMaud Moon Moon Weyerhaeuser Weyerhaeuser Sanborn Sanborn International International Artist Series Artist SeriesNovember 29/December 1

Continuing to astonish Mr. Hadelich plays on the 1723 “Ex-Kiesewetter” Stradivari audiences with his violin, on loan from Clement and Karen Arrison through the phenomenal technique, Stradivari Society of Chicago. poetic sensitivity, and Augustin Hadelich is represented by Schmidt gorgeous tone, Augustin Artists International. Hadelich has established himself as one of the great violinists of his generation. His remarkable consistency throughout the repertoire, from Paganini to Adès, is seldom encountered in a single artist.

Highlights of his 2015-2016 season include debuts with the Chicago Symphony, Pittsburgh Symphony, the Orpheus Chamber Orchestra in Carnegie Hall, and the Finnish Radio Orchestra, as well as return performances with the London Philharmonic, The Orchestra, and the symphonies of Atlanta, Cincinnati, Detroit, Louisville, Milwaukee, New Jersey, Oregon, Seattle, Utah, and Born in 1986 in Seoul, South Korea, Joyce Yang received Vancouver. Other projects include a return to the Wigmore her first piano lesson at the age of four. She quickly took to Hall in London, a recording with the London Philharmonic, a the instrument, which she received as a birthday present, residency with the Bournemouth Symphony, and numerous and over the next few years won several national piano recital appearances in Germany. competitions in her native country. By the age of ten, she With the 2015-2016 season’s addition of the Chicago and had entered the School of Music at the Korea National Pittsburgh symphonies, Mr. Hadelich will have appeared University of Arts, and went on to make a number of concerto with every major orchestra and chamber orchestra in the and recital appearances in Seoul and Daejeon. In 1997, U.S., several on numerous occasions. Festival appearances Yang moved to the United States to begin studies at the include his 2015 debuts at Ravinia and the Grand Teton pre-college division of the with Dr. Yoheved Music Festival, as well as return engagements at Aspen and Kaplinsky. During her first year at Juilliard, Yang won the Bravo! Vail Valley. He has also performed at Blossom, Britt, pre-college division Concerto Competition, resulting in a Chautauqua (where he made his American debut in 2001), performance of Haydn’s Keyboard Concerto in D with the Eastern Music Festival, the Hollywood Bowl, Marlboro, Juilliard Pre-College Chamber Orchestra. After winning the and Tanglewood. ’s Greenfield Student Competition, she performed Prokofiev’s Third Piano Concerto with that Among Mr. Hadelich’s recent and upcoming worldwide orchestra at just twelve years old. She graduated from appearances are the Badische Staatskapelle, BBC Juilliard with special honor as the recipient of the school’s Philharmonic, BBC Symphony, Danish National Symphony, 2010 Arthur Rubinstein Prize, and in 2011 she won its 30th Dresden Philharmonic, German Radio Philharmonic, Annual William A. Petschek Piano Recital Award. Helsinki Philharmonic, Hong Kong Philharmonic, Malaysia Philharmonic, Mozarteum Orchestra, Netherlands Blessed with “poetic and sensitive pianism” (Washington Philharmonic, Norwegian Radio Orchestra, Orchestre Post) and a “wondrous sense of color” (San Francisco Classical Philharmonique de Strasbourg, NHK Symphony, Royal Voice), Joyce Yang captivates audiences with her Scottish National Orchestra, RTE National Symphony virtuosity, lyricism, and interpretive prowess. As a Van Cliburn Orchestra, São Paulo Symphony, Stuttgart Radio Orchestra, International Piano Competition silver medalist and Avery and a highly acclaimed tour of China with the Fisher Career Grant recipient, Yang showcases her colorful These concerts are dedicated in memory of Charlotte P. Ordway, by her children San Diego Symphony. musical personality in solo recitals and collaborations with the world’s top orchestras and chamber musicians.

schubert.org 21 Yang came to international attention in 2005 when she won In spring 2014, Yang “demonstrated impressive gifts” the silver medal at the 12th Van Cliburn International Piano (New York Times) with a trio of album releases: her second Competition. The youngest contestant at 19 years old, she solo disc for Avie Records, Wild Dreams, on which she took home two additional awards: the Steven De Groote plays Schumann, Bartók, Hindemith, Rachmaninoff, and Memorial Award for Best Performance of Chamber Music arrangements by Earl Wild; a pairing of the Brahms and (with the Takàcs Quartet) and the Beverley Taylor Smith Award Schumann Piano Quintets with the Alexander Quartet; for Best Performance of a New Work. and a recording of Tchaikovsky’s Piano Concerto No. 1 with Denmark’s Odense Symphony Orchestra that International Since her spectacular debut, she has blossomed into an Record Review called “hugely enjoyable, beautifully shaped “astonishing artist” (Neue Zürcher Zeitung). She has performed —a performance that marks her out as an enormous as soloist with the , Chicago Symphony, talent.” Of her 2011 debut album for Avie Records, Collage, , Philadelphia Orchestra, the featuring works by Scarlatti, Liebermann, Debussy, Currier, Baltimore, Detroit, Houston, Milwaukee, San Francisco, Sydney, and Schumann, Gramophone praised her “imaginative and Toronto symphony orchestras, Deutsches Symphonie- programming” and “beautifully atmospheric playing.” On Orchester Berlin, and the BBC Philharmonic (among many the Avie label, Yang joins Hadelich to record a duo disc others), working with such distinguished conductors as James (featuring a repertoire of Schumann, Kurtág, Franck, and Conlon, , , Peter Oundjian, David Previn) slated for 2016 release. Robertson, Leonard Slatkin, Bramwell Tovey, and Jaap van Zweden. In recital, Yang has taken the stage at New York’s and Metropolitan Museum; the Kennedy Center in Washington, DC; Chicago’s Symphony Hall; and Zurich’s Tonhalle.

Program Notes

Beethoven, c. 1804 Sonata No. 8 in G major, Opus 30, No. 3 by Jos. Mähler Ludwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827)

Opus 30 is the third batch of Beethoven’s early violin sonatas (after Opus 12 and the composite Opus 23/24). Composed in 1802, this set was published in the spring of 1803 jointly by the Viennese Bureau d’Arts et d’Industrie and in London by Joseph Dale. 1802 was the year in which Beethoven wrote ruefully that he found himself “not always able to escape indolence.” If we look at the catalogue of his works, we in turn can find that it was also the year in which he composed, along with Opus 30, the three piano sonatas, Opus 31, the Second Symphony, and the Piano Concerto No. 3. To a friend he reported that “I live only in my notes, and with one work barely finished, the next is already begun. The way I write now I often find myself working three, four things at the same time.”

22 SCHUBERT CLUB An die Musik The G-major Sonata begins in a whirlwind of spinning internationally performed composers of his generation, much sixteenth-notes. This turns out to be the wind-up to of Dean’s work draws from literary, political, environmental or an exuberant shot into the sky. Ideas are short, sharply visual stimuli, including a number of compositions inspired contrasted, epigrammatic, and the second theme surprises by paintings by his wife Heather Betts. “I like voices to sing,” us by being in D minor. The development is brief, but with its Dean has said. “I like long lines and melodic motivic materials, chains of trills—a device Beethoven would explore more and which have the capacity to include really important DNA more deeply over time—and its descents into the deepest information about a piece. It does help the understanding of a bass regions, the violin answering from very high up and far piece for an audience which is confronting it for the first time, away, it is a most exciting episode. without making it necessarily ‘easy.’” His music is championed The first movement’s keynote, G, is also the first note we by many of the leading conductors and orchestras worldwide, hear in the second movement, but the harmony Beethoven including Sir Simon Rattle, Andris Nelsons and Marin Alsop. slips under it, mellow E-flat major, gives it a meaning a world Dean received the 2009 Grawemeyer Award for his violin apart. The tender music is in the manner of a minuet, but, concerto, The Lost Art of Letter Writing. Beethoven adds, very moderate in tempo as well as grazioso. Berlin Music was written for Midori, and was premiered by But we do have those sforzando accents to assure us this her in Stockholm with Charles Abramovic, piano in 2011. The is really Beethoven. It comes to us like the most natural, composer offers this note: spontaneous music in the world, but the sketches show Berlin Music, written in July–August 2010 during my first that getting it to sound that way cost Beethoven immense extended period back in the city in more than ten years, trouble. Each time the lovely opening tune returns it is newly pays homage to the role Berlin’s rich musical life played in scored, and always with magical effect. The last movement, my development as musician and composer. Beethoven’s take on a Haydn finale, is another whirlwind, a perpetual motion. It pays a deliciously surprising visit to the The first four, relatively short movements form a suite second movement’s E-flat major, although in a completely of character pieces that are followed by a lengthier final different mood, and it ends in a riot of offbeat accents and in movement. In fact, work on the piece began with this unbuttoned exuberance. final Hauptsatz—or “main movement”—and it serves Program note © by Michael Steinberg therefore as both wellspring and summary of the ideas Used by kind permission of Jorja Fleezanis. and harmonies found in all of the preceding movements. As my starting point in this particular instance, I noted several violin chords and sonorities that came about by playing around on a fiddle with the G string tuned down a whole tone to F. It is remarkable how significant a change such a seemingly small adjustment like this can make to the overall sound, color and resonance of the instrument. Furthermore, hitherto impossible passagework then becomes quite playable, such as the extended passage of running major sixths in the violin part early on in the final movement.

In addition, the violinist is required to play the third movement moto perpetuo using a practice mute, while Brett Dean the pianist changes instruments and plays an adjacent upright piano, similarly muted by a practice pedal. The Berlin Music (2010) nervous energy emitting from closed practice rooms, such Brett Dean as I remember so intensely from my student days at Berlin’s Australian composer and violist Brett Dean (b. Brisbane, 1961) Hochschule in Bundesallee, momentarily takes center stage. studied in Brisbane before moving to Germany in 1984 where –Brett Dean he was a permanent member of the Berlin Philharmonic Orchestra for fourteen years. Now one of the most

schubert.org 23 Program Notes continued

Sonata in D Major, K. 306 Wolfgang Amadeus Mozart (b. Salzburg, 1756; d. Vienna, 1791)

The six so-called “Kurfürstin” sonatas, K. 301–306, were products of a journey Mozart undertook in 1777–78 to find a permanent position. Departing Salzburg in September 1777, Mozart’s itinerary took him to Mannheim, where he fell in love with the singer Aloysia Weber; to Paris, where he stayed from March to September 1778; back to Mannheim, where Mozart presented his sonatas to the Palatine Electress (Kurfürstin); and home in January 1779. The set of six was published by Jean-Georges Sieber in Paris as Mozart’s Opus 1. All but this last Sonata in D Major are in two movements, and this is the only one with a true slow movement. Mozart scholar Alfred Einstein calls K. 306 “simply a great concert sonata in which Mozart tries to forget that he is writing for amateurs: brilliant, sonorous and rich Dushkin and Stravinsky in the first movement; concertante in the Andante cantabile and the Finale.” Divertimento, after The Fairy’s Kiss As is natural in a sonata “for piano and violin,” piano states Igor Stravinsky the opening theme, while violin reinforces the bass. The (b. Lomonosov, Russia, 1882; d. , 1971) second theme, proposed by the violin, tends toward the minor mode. In developing this material, violin at first Stravinsky’s collaborator on most of his violin works was quaintly mimics the piano’s right hand, then collaborates in Samuel Dushkin, a Polish-American student of Auer a series of rigorous sequences. Lest anyone think there is a and Kreisler who was some ten years younger than the single formula for a sonata movement, Mozart brings back composer. For several years they toured together in recital, the themes in reverse order. The main subject serves as even stopping in Minneapolis on a 1935 American tour. a coda. Beginning with the 1931 , Dushkin crafted the composer’s violin writing in the Duo concertante, Suite Emphasis in the Andantino is on song, as violin enters on italienne (an arrangement of material from Pulchinella) and a sustained tone—but discreetly, mezza voce—then adds a this Divertimento. Stravinsky praised Dushkin’s “remarkable counterpoint to piano’s opening theme. gifts as a violinist” and “delicate understanding.” Dushkin The closing Allegretto is a binary system: partners embrace found Stravinsky’s music “so original and so personal that it for a gracious, French rondo theme, then cavort to a saucy constantly posed new problems of technique and sound for Italianate tune. After several go-rounds, there is a cadenza the violin,” adding: “these problems often touched the core for both partners, with the piano making the first move. of the composition itself.” One is reminded of Papageno’s song in The Magic Flute, The Fairy’s Kiss (Le baiser de la fée), an orchestral ballet “Ein Mädchen oder Weibchen,” and it’s hard not to imagine commissioned by Ida Rubinstein for her company, was Mozart in love. composed in the summer of 1928 largely at Echarvines Countess Palatine Elisabeth in the French Alps. Stravinsky wholeheartedly embraced Auguste of Sulzbach, dedicatee of the choreographer’s idea to use Tchaikovsky’s piano pieces the “Kurfürstin” sonatas and songs to tell the story of Hans Christian Andersen’s The Ice Maiden. Tchaikovsky’s music was a life-long passion for Stravinsky. The Stravinsky household boasted a photograph of Tchaikovsky inscribed to Igor’s father, a bass, commemorating the singer’s performance as the monk in Tchaikovsky’s opera The Sorceress.

24 SCHUBERT CLUB An die Musik In drawing on Tchaikovsky’s music, Stravinsky employed a process common in the Renaissance called parody (a term used here in a descriptive not derogatory sense). He had made just such a parody of “Pergolesi’s” music in Pulchinella.“ As an act of homage, The Fairy’s Kiss is surely one of the most curious ever conceived by one composer for another,” writes Lawrence Morton. “Stravinsky treats Tchaikovsky’s oeuvre “as a storehouse of raw material, not unlike a collection of folk music. Tchaikovsky’s faults—his banalities and vulgarities and routine procedures—are composed out of the music. Everywhere, Stravinsky invoked Tchaikovsky; everywhere he composed his own music.”

To create a divertimento, a suite of movements of light- hearted character, Stravinsky cut the ballet by half. Two Yosif Kotek and Tchaikovsky clearly-recognizable Tchaikovsky bits are found in the Sinfonia, which is largely based on the children’s song “Lullaby in a Storm,” and in the Danses suisses, which quotes the Humoresque, Opus 10, No. 2 for piano.

Nadezhda von Meck

Tchaikovsky wrote to his brother Modest about Kotek in January 1877. “I am in love, as I haven’t been in love for a long time. Can you guess with whom? I have known him for six years already. I always liked him, and on several occasions I have felt a little bit in love with him.” Tchaikovsky went so far as to confess his love, but there is no evidence that Kotek reciprocated. The violinist was Valse-scherzo, Opus 34 one of the attendants at Tchaikovsky’s intimate and Pyotr Ilyich Tchaikovsky ultimately disastrous wedding to Antonina Milyukova (b. Kamsko-Votinsk, 1840; d. St. Petersburg, 1893) later that July.

In 1876 a wealthy widow asked Moscow Conservatory Composed right before the Violin Concerto, Opus 35, director Nikolay Rubinstein to recommend a violinist to on which Kotek was a key consultant, the Valse-scherzo accompany her in chamber music. Rubinstein suggested was ordered by Kotek for a Lenten concert. Its scherzo Yosif Kotek (1855–1885), a student in Tchaikovsky’s theory element comes from the stuttering quality of successive class at the Conservatory. The woman also asked Tchaikovsky down-bows on the G string. Tchaikovsky dedicated the to make piano arrangements of his violin works for her to Concerto to Leopold Auer; Kotek received the dedication play. “With your music I live more lightly and pleasantly,” she of the Valse-scherzo, a lesser, but still utterly charming wrote in appreciation. That woman was Nadezhda von Meck work by one of the greatest waltz-composers. and she would become Tchaikovsky’s faithful correspondent Stravinsky, Mozart, Tchaikovsky notes © 2016 and patroness. by David Evan Thomas

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