Wednesday, December 4, 2019, 8pm Zellerbach Hall

Sheku Kanneh-Mason, cello Isata Kanneh-Mason, piano

Ludwig van BEETHOVEN (1770–1827) 12 Variations on Mozart’s “Ein Mädchen oder Weibchen” (from Die Zauberflöte) in F major, Op. 66

Witold LUTOSŁAWSKI (1913–1994) Grave for Cello and Piano

Samuel BARBER (1910–1981) Cello Sonata in C minor, Op. 6 Allegro ma non troppo Adagio Allegro appassionato

INTERMISSION

Sergei RACHMANINOFF (1873–1943) Cello Sonata in G minor, Op. 19 Lento – Allegro moderato Allegro scherzando Andante Allegro mosso

This performance is made possible, in part, by Patron Sponsors Nadine Tang and Bruce Smith. Cal Performances’ 2019–20 season is sponsored by Wells Fargo.

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PROGRAM NOTES

12 Variations on Mozart’s “Ein Mädchen oder just completing its metamorphosis from a Ba- Weibchen” (from Die Zauberfl öte) roque continuo instrument to equal compan- in F major, Op. 66 ionship with the higher strings. Th e two early Ludwig van Beethoven sonatas are modeled in their form on the Clas- In 1795, Beethoven appeared publicly as a sical piano sonata with violin accompaniment, pia nist for the fi rst time in Vienna, an event but are distinctively progressive in the way they that garnered suffi cient notice that the follow- accord almost equal importance to both instru- ing year he was invited to give concerts in ments. A similar partnership of cello and pia- Prague, Nuremberg, Dresden, and Berlin. In no marks the 12 Variations on “Ein Mädchen the Prussian capital, he was introduced to the oder Weibchen,” based on the playful, folkish music-loving King Friedrich Wilhelm II, a aria in which the bird catcher Papageno wish- capable amateur cellist who had warmly re- es that he had “a little maiden or a wife.” Th e ceived Mozart and Boccherini at his court and fi rst nine variations are largely fi gural in nature, graciously accepted the dedication of Haydn’s preserving the tempo and structure of the orig- Op. 50 quartets. While he was in Berlin in 1796, inal theme, but the tenth and eleventh varia- Beethoven also met Friedrich’s court cellist, the tions, a pair of emotional Adagio stanzas, lend eminent French virtuoso Jean-Louis Duport, the composition a depth of feeling that sets it and was inspired by his playing to compose a apart from many of the older Classical works in pair of sonatas for his instrument and piano, the form. Th e fi nal variation, in dancing triple which were published together the following meter, provides a spirited ending for the piece. year as Op. 5 with a dedication to the King. In return, Beethoven received a magnifi cent Grave for Cello and Piano snuffb ox “like those given to the ambassadors,” Witold Lutosławski he reported, fi lled with gold louis d’or. Witold Lutosławski was among the giants of In 1796, Beethoven also created sets of varia- late-20th-century music. Born into a highly cul- tions for cello and piano on themes by Handel tured family in Warsaw, Poland on January 25, (“See the Conquering Hero Comes” from Ju- 1913, Lutosławski took up piano and violin as das Maccabaeus, WoO 45) and Mozart (“Ein a teenager before entering the Warsaw Conser- Mädchen oder Weibchen” from Die Zauber- vatory to study keyboard and composition. His fl öte, published in 1798 with the indefensibly fi rst important work, the Symphonic Variations high opus number of 66—an extra “6” appar- (1938), dates from the year aft er his graduation. ently got tacked on by mistake). Beethoven He supported himself during the diffi cult years held the music of Mozart in the highest regard of World War II, when he was in constant fear (the two met just once, when the then-16-year- of deportation, as a pianist in the Warsaw cafés. old Bonn musician came to Vienna for a fort- At that time, he also worked on his First Sym- night of lessons in 1786), and he valued The phony, which was condemned following its Magic Flute above all other operas because of 1947 premiere for not conforming to the gov- its musical diversity and its high moral tone. ernment-prescribed style of “socialist realism.” (He had little taste for Mozart’s other Viennese Many of his works of the following decade operas—Seraglio, Don Giovanni, Figaro, Così avoided “formalism” by deriving their melodic fan tutte—because of what he had decided was and harmonic inspiration from folk songs and the “immorality” of their stories.) In 1801, Bee- dances, a period that culminated in the splen- thoven again mined Mozart’s Masonic master- did Concerto for Orchestra of 1950–54. Aft er piece for the theme for another cello and piano the Funeral Music for string orchestra of 1957, work, a set of seven variations on the duet of Lutosławski’s music was written in a more de- Pamina and Papageno, “Bei Männern, welche cidedly modern idiom, akin in some respects to Liebe fühlen.” 12-tone serialism but still individual in its for- When Beethoven fi rst broached the medium mal strength, colorful sonority, lucid texture, of cello and piano in 1796, the cello was only and emotional power. His last works, notably

Opposite: photo by Jake Turney 16

PROGRAM NOTES the Th ird (1983) and Fourth (1992) Sympho- side of Lake Lugano, which Barber described in nies and the Piano Concerto (1987), turned to a letter to his parents: “Hidden away in moun- an idiom that is less dissonant, dense, compli- tains of extreme natural beauty, almost unpas- cated, and unpredictable, and more lucid and tured, and overlooking a magnifi cent valley obviously melodic than the compositions of with parts of three lakes, dividing new moun- the preceding two decades. tain-ranges which in turn form a background Stefan Jarociński was a distinguished Pol- for the vistas of Switzerland—hidden away ish musicologist and a life-long friend and here, little known, not caring to be known, is champion of Lutosławski. Both came from this little settlement of quaint villas, of all styles, privileged families, both attended the Stefan of diverse degrees of luxury…. Th ere are exqui- Batory School in Warsaw as youngsters, and site formal gardens, immaculately kept….” In both shared an interest in the music of Claude late June 1932, aft er hiking from Innsbruck to Debussy; Jarociński published an important Lake Lugano with Menotti, Barber began his study in 1976 titled Debussy: Impressionism Cello Sonata at Cadegliano. He took the gestat- and Symbolism. Aft er Jarociński died unexpec- ing score to his lessons with Scalero, who sum- tedly in May 1980, Lutosławski composed in mered nearby at Montestrutto, and had largely his memory the Grave for Cello and Piano, draft ed the fi rst two movements by the time which derives much of its material from the he returned to Curtis in the fall. Back in Phil- pitches D–A–G–A, the “forest motif” that adelphia, Barber enlisted a classmate, the cellist opens and permeates Debussy’s opera Pelléas et Orlando Cole, to try out the new composition Mélisande. In Lutosławski’s brief piece, Debus- and to off er some technical advice, and the work sy’s motive is announced solemnly at the start was fi nished early in December 1932. Cole and before a longer theme is spun from it—whose Barber gave the sonata a trial performance at most easily recognizable element is a series of the Art Alliance in Philadelphia soon aft er the repeated notes—and becomes more agitated fi rst of the year, and played its formal public pre- with each modifi ed repetition. (Th e work’s sub- miere at a League of Composers concert in New title is “Metamorphoses.”) Th e composition York City on March 5, 1933, the same program closes with the solemn music of the opening, on which Barber’s setting of Matthew Arnold’s so Lutosławski’s Grave describes an emotion- Dover Beach was introduced. With those pre- al arch from grief to rising anger to grief again mieres and the fi rst performance of the Overture and stillness at the end. to “Th e School for Scandal” by the Philadelphia Orchestra fi ve months later, Barber announced Cello Sonata in C minor, Op. 6 himself as one of the most promising composers Samuel Barber on the American musical scene. In 1924, at the tender age of 14, Samuel Barber Barber was a great and natural melodist, and entered the inaugural class enrolled at Philadel- his innate lyricism found a fi ne vehicle in the phia’s Curtis Institute of Music. He fi rst studied Cello Sonata, which Orlando Cole said was piano (with Isabelle Vengerova), and in succes- “very cellistic, very singing.” Th e main theme sive years added lessons in composition (Rosa- of the sonata-form opening movement recalls rio Scalero), singing (Emilio de Gogorza), and the arching melodies, rich chromaticism, and conducting (Fritz Reiner), eliciting the highest dense piano writing of Brahms, but Barber’s praise from his instructors for his musical gift s own personality emerges clearly as the music and his keen intelligence. In 1928, aft er winning progresses, not least in some complex rhythms; the Bearns Prize for his Violin Sonata, Barber the second theme is a sweet cello strain intoned began the practice of regular traveling to Eu- over a rustling accompaniment. Two hammer- rope for music study and general cultural edu- blow chords mark the beginning of the brief cation. He usually spent the summers with his but dramatic development section. Th e reca- classmate Gian Carlo Menotti and the Menotti pitulation begins with a tranquil reiteration of family in the village of Cadegliano on the Italian the main theme in long notes before the return

Opposite: photo by Robin Clewley 17 PROGRAM NOTES of the exposition’s subsequent materials, ap- sonata, written in for his long-time friend Ana- propriately adjusted as to key, rounds out the toli Brandukov. Composer and cellist gave the movement. Th e second movement is an inge- fi rst performance on December 2, 1901 in Mos- nious confl ation of Adagio and Scherzo, with a cow. Rachmaninoff and Brandukov had been dashing central Presto framed at beginning and associated ever since their student days a de- end by a tenderly expressive paragraph. Th e fi - cade earlier, when they participated together in nale, another sonata form, uses a broad heroic Rachmaninoff ’s own Trio Élégiaque at the com- melody and a delicate staccato passage as its poser’s fi rst formal public concert, in Moscow main and second themes. on January 30, 1892. A year later Rachmaninoff composed a second Trio Élégiaque (Op. 9), in Cello Sonata in G minor, Op. 19 memory of Tchaikovsky, which he premiered Sergei Rachmaninoff with Brandukov and the violinist Julius Conus. Th e absolute failure of Sergei Rachmaninoff ’s Brandukov, along with Rachmaninoff ’s cousin, First Symphony at its premiere in 1897 thrust the conductor Alexander Siloti, were best men the young composer into such a mental de- for the composer at his wedding to Natalia Sat- pression that he suff ered a complete nervous ina on April 29, 1902. collapse. His family, alarmed at the prospect In its fecund lyricism and rich emotionalism, of Sergei wasting his prodigious talent, sought the Cello Sonata, the fi nest and last of Rach- professional psychiatric help. An aunt of Rach- maninoff ’s few chamber works, is a musical maninoff , Varvara Satina, had some time be- pendant to the Second Piano Concerto—which fore been successfully treated for an emotional is no bad thing. It is his only large composi- disturbance by one Dr. Nicholas Dahl, and she tion for cello, and the fi rst of his three sonatas; suggested that the family consult him. Rach- the other two are for solo piano. Th e Cello Sona- maninoff , who began treatments in January ta is symphonic in its scope and expressive am- 1900, recalled years later, “My relatives had in- bition. Th e work opens with a large movement formed Dr. Dahl that he must by all means cure in sonata form prefaced by a dreamy slow intro- me of my apathetic condition and bring about duction. Th e cello states the lyrical main theme such results that I would again be able to com- over a busy accompaniment, while the comple- pose. Dahl had inquired what kind of compo- mentary melody, a simple, almost chant-like sition was desired of me, and he was informed theme of touching simplicity, is initiated by the ‘a concerto for pianoforte,’ which I had given piano. Much of the development section is in- up in despair of ever writing. In consequence, geniously extrapolated from a half-step motive I heard repeated, day aft er day, the same hyp- fi rst heard in the introduction. As is character- notic formula, as I lay half somnolent in an istic of several of Rachmaninoff ’s large formal armchair in Dr. Dahl’s consulting room. ‘You structures, the recapitulation emerges without will start to compose a concerto—You will pause or strong demarcation from the climax work with the greatest of ease—Th e composi- of the development. Th e whirling Scherzo that tion will be of excellent quality.’ Always it was follows presents some extremely challenging the same, without interruption. Although it problems of bowing to the cellist, who, in com- may seem impossible to believe, this treatment pensation, is rewarded with two superb melo- really helped me. I began to compose again at dies—one serving as the second theme of the the beginning of the summer.” Th e Second Pia- Scherzo and the other as the principal theme no Concerto was completed and launched with of the central trio. Th e Andante is a wonderful enormous success within a year, the fi rst music moonlit song of great warmth and nostalgia. to carry Rachmaninoff ’s name to an interna- Th e fi nale is another fully realized sonata form, tional audience. In gratitude, the new work was with a second theme even more melodically in- dedicated to Nicholas Dahl. gratiating than that of the opening movement Full of confi dence and pride, Rachmaninoff and a robust, invigorating coda. immediately followed the concerto with a cello —© 2019 Dr. Richard E. Rodda

17b PLAYBILL ABOUT THE ARTISTS

Sheku Kanneh-Mason, one of the brightest Recital performances in 2018–19 and 2019– young stars on the classical music scene, be- 20 have included and will include debuts at the came a household name worldwide in May Barbican Centre’s Milton Court, Wigmore Hall, 2018 aft er performing at the wedding of the Zurich Tonhalle, and Lucerne Festival, as well Duke and Duchess of Sussex at Windsor Castle. as his current tour of North America, which His performance was greeted with universal includes concerts in Boston, Los Angeles, and excitement aft er being watched by nearly two Ann Arbor, as well as Sheku’s recital debut at billion people globally. Carnegie Hall in New York City. Th e winner of the 2016 BBC Young Musician Sheku is currently a full-time ABRSM competition, Sheku is already in great demand Scholarship student at the Royal Academy of from major orchestras and concert halls world- Music, studying with Hannah Roberts. He wide. In January 2018, his debut recording for began learning the cello at the age of six with Decca Classics, Inspiration, was released, featur- Sarah Huson-Whyte and then studied with ing the Shostakovich Cello Concerto No. 1 with Ben Davies at the Junior Department of the the City of Birmingham Symphony Orchestra Royal Academy of Music, where he held the (CBSO) and Mirga Gražinytė-Tyla. Th e success ABRSM Junior Scholarship. He has received of the album propelled Sheku to a debut spot at master class tuition from Guy Johnston, Robert No. 18 on the offi cial UK album charts, and No. Max, Alexander Baillie, Steven Doane, Rafael 1 on the classical chart. Alongside short works Wallfi sch, Jo Cole, Melissa Phelps, and Julian by Shostakovich, Off enbach, Casals, and Saint- Lloyd Webber and in July 2017 participated in Saëns, Sheku’s own arrangement of Bob Marley’s the Verbier Festival Academy in master classes “No Woman No Cry” was also featured on the with Frans Helmerson and Miklos Perenyi. A album, going viral on social media and clocking keen chamber musician, Sheku performs with one million streams in its fi rst month on Spotify sister Isata and brother Braimah as a member of alone. In June 2018, Sheku received the Male the Kanneh–Mason Trio. He plays an Antonius Artist of the Year and the Critics’ Choice honors and Hieronymus Amati cello c. 1610, kindly on at the re-launched Classic BRIT Awards, and in loan from a private collection. July 2018, he became the fi rst artist to receive the new BRIT Certifi ed Breakthrough Award, hav- Isata Kanneh-Mason’s debut album, Ro- ing sold over 30,000 copies of his debut album mance, drew popular and critical acclaim, en- in the UK and surpassing 100,000 album sales tering the UK classical charts at No. 1 when it worldwide. was released in July 2019, leading Gramophone Sheku has already performed with a number magazine to describe the recording as “one of of the major UK orchestras and made debuts the most charming and engaging debuts” and during the 2018–19 season with the Seattle Classic FM to praise Isata as “a player of con- Symphony, Orchestre Philharmonique de siderable talent.” Isata recorded the all-Clara Radio France, Netherlands Chamber Orchestra Schumann disc for Decca Classics as an hom- at the Concertgebouw, Atlanta Symphony, and age to the composer and pianist in the year Japan Philharmonic, as well as returning to the of what would have been her 200th birthday, BBC Symphony Orchestra to perform the Elgar selecting works from across her compositional Concerto in his hometown of Nottingham. output including solo piano pieces, a sonata, This season, he opens the London Phil- chamber music with violinist Elena Urioste, har monic season and makes debuts with transcriptions of two of her husband Robert’s the Frankfurt Radio Symphony, Baltimore songs, and the Piano Concerto, which she re- Symphony, and Los Angeles Chamber Orches- corded with the Royal Liverpool Philharmonic tra, among others. He also makes his debut in Orchestra and conductor Holly Mathieson. a number of major German cities, performing While continuing her postgraduate studies Elgar with the CBSO. with Carole Presland as a Gwendolyn Reiche

18 ABOUT THE ARTISTS scholar at London’s Royal Academy of Music, Snape Proms, and the Musikfestspiele Saar; Isata has embarked on a successful and in- and in venues from Antigua and the Cayman creasingly busy concert career as a solo artist, Islands, to Perth. with concerto appearances, solo recitals, and Isata reached her category fi nal in the 2014 chamber concerts throughout the UK and BBC Young Musician competition, winning abroad, including a return to King’s Place in the Walter Todds Bursary for the most prom- solo recital and a debut with the Royal Phil- ising musician. She has since performed sev- harmonic Orchestra at the Royal Albert Hall. eral times on television and radio, including Isata also continues to perform with her sib- on BBC Radio 3, the South Bank Sky Arts lings, including regular duo recitals with Awards, the Andrew Marr Show, the Radio 3 her brother, cellist Sheku Kanneh-Mason. RPS Awards, BBC2’s Proms Extra, Radio 4’s Highlights this season include a tour of Italy; Front Row and Woman’s Hour, Al Jazeera TV, appearances at the Edinburgh Festival, Wig- BBC World Service, Channel 4, Th e One Show, more Hall, Amsterdam Concertgebouw, ITV’s Born To Shine, BBC2’s Classroom He- Th éâtre des Champs Elysées, and Rheingau roes, and in a feature for CBS Sunday Morning. Festival; and an extensive 10-city North Amer- Isata made her debut as a television presenter ican tour including their debut recital at New for the coverage of the 2019 BBC Proms. York’s Carnegie Hall and a return to the Van- She previously completed her undergrad- couver Recital Society. uate degree at the Academy as an Elton John Isata has also performed in the Portland Scholar, and performed with Sir Elton in 2013 Piano Series in Oregon, the Barbican Centre’s in Los Angeles. Isata is also grateful for sup- Sound Unbound festival, and the Color of port from the Nottingham Soroptimist Trust, Music Festival in South Carolina; at the Ed- Mr. and Mrs. John Bryden, Frank White, and inburgh, Cheltenham, and Bath festivals, the Awards for Young Musicians.

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