the school of music horowitz piano series at yale

Peter Frankl Seventieth Birthday Celebration

with , piano Robert Blocker, piano Claude Frank, piano and members of the Philharmonia of Yale Shinik Hahm, music director

Friday, October 14, 2005 at 8:00 p.m. Morse Recital Hall in Sprague Memorial Hall the school of music • yale university thomas c. duffy, acting dean h o r o w i t z piano series at yale with Boris Berman, piano Robert Blocker, piano Claude Frank, piano and Members of the Yale Philhamonia Shinik Hahm, Music Director

Friday, October 14, 2005 at 8:00 pm Morse Recital Hall in Sprague Hall  All Works by (1756-1791)

Concerto for Three Pianos in F Major, K. 242 Allegro Adagio Rondeau: Tempo di menuetto Claude Frank, piano 1 Boris Berman, piano 2

Concerto for Two Pianos in E-flat Major, K. 365-316a Allegro Andante Rondeau: Allegro Robert Blocker, piano 2

INTERMISSION

Concerto No. 27 in B-flat Major, K. 595 Allegro Larghetto Allegro Program Notes

The Concerto No. 7 in F Major for three pianos, Köchel 242, composed in Salzburg in early 1776, also exists as a two-piano version, arranged for performances by Mozart and his sister Nan- nerl. Leopold Mozart took great advantage of his talented son and daughter from a young age – they toured Europe extensively as children – and relished particularly the spectacle of their duo performances. To this end, the younger Mozart wrote a number of two-piano (sometimes one keyboard, four-hands) sonatas and divertimenti for himself and his sister. As he explored the con- certo medium, soloist with orchestra, he began to experiment with duo-sonata tactics. The concerto in F, in its version for three pianos, is “Dedicated to the incomparable merit of Her Excellency, Her Ladyship the Countess Lodron, née Countess d’Arco, and her daughters, their Ladyships the Countesses Aloysia and Giuseppa … by their most devoted servant, Wolfgang Mozart.” The Mozarts and the prominent Lodron family were neighbors in Salzburg in the middle 1770s, and Mozart dedicated a number of keyboard works in this period to his patroness, the Countess Antonia Lodron, an avid amateur keyboardist. The opening Allegro is a broad, clear movement that immedi- ately exposes the stripped-down orchestra, strings plus oboes and horns. The first two solo parts are more difficult, but the third, for the younger daughter, is less technically demanding. (The third part, in the two-piano version, is easily covered by the first two parts.) Instead of improvising cadenzas on the spot, as he would have done in performances of his own music, Mozart wrote out the cadenzas in the first and second movements. The work concludes with a dance-like rondo (marked Tempo di Menuetto). Mozart wrote the Concerto No. 10 in E-Flat Major for two pianos, K. 365 in 1779 to be performed with his sister, after the family’s moderately successful trip to Paris via Munich, Augsburg, and Mannheim. While the trip increased Mozart’s fame away from home and was somewhat lucrative, it came with a catch: the death of his mother, who died in Mannheim in July 1778. In the year fol- lowing his mother’s death, Mozart wrote two momentous works for two soloists and orchestra, the double piano concerto K. 365 and the Sinfonia concertante K. 364 for violin and viola. Both are in E-flat, the “Masonic” key. Mozart, as a Freemason, accorded special horowitz piano series 2005-2006 significance to the number three; each of the three flats in the key signature, for example, represent the three pillars of the Masonic lodge. The two-piano concerto is typical of Mozart’s work in E-flat; the soloists engage in dialogue, only to converge in poignant, almost operatic unison sections, punctuated by a digression to E-flat minor, the parallel minor mode (instead of to the more usual relative, C mi- nor). The Andante is highlighted by glorious interplay between the oboes and soloists, with a complacent oboe countermelody float- ing above the arpeggiated solo line. To conclude, Mozart musters his orchestral forces – still only a string orchestra augmented with oboes, bassoons, and horns – for a broad, exuberant rondo-finale. In Vienna after 1781, Mozart returned to the piece and added clari- nets, trumpets, and timpani to the outer movements. The earlier version will be played on tonight’s program. From 1782 to 1786, his early years in Vienna, Mozart wrote 15 piano concertos, mostly for himself as performer. Between 1786 and his death in 1791, however, he wrote only two more, the “Coronation” Concerto (K. 537) and the Concerto in B-flat, K. 595, which he finished in January 1791. With the exception of the clarinet concerto K. 622, the B-flat piano concerto was Mozart’s last orchestral work. In contrast to some of his brighter, bombas- tic major-key concerti, this setting is dark and more introspective. From the outset of the first movement, Mozart creates a sense of uneasiness by oscillating between major and minor and by using descending melodic figures to create a somber feeling of resigna- tion. The Larghetto, which is more flowing than an expectedAndante tempo marking, is a sparse, gentle example of ternary (ABA) form. The brisk concluding Rondeau is reminiscent of earlier “hunting” finales in 6/8, but is characterized by sharp turns into minor and an intricate solo-woodwind interplay. With his operatic use of solo- ist pitted against orchestra, then enveloped into a chamber music texture, Mozart’s last piano concerto is a supreme illustration of his mature compositional voice. — Elizabeth Adams yale school of music

Peter Frankl made his name on the international circuit as a young pianist in the 1960s and, since that time, he has appeared with the conductors Ab- bado, Ashkenazy, Barbirolli, Blomstedt, Boulez, Chailly, Davis, Doráti, Fischer, Haitink, Kempe, Kertész, Leinsdorf, Maazel, Masur, Muti, Sanderling, Solti, and Szell, among others. Following his London debut in 1962 and his New York debut with the , he has been per- forming with many in the USA (Chicago, Philadelphia, Boston, Washington, Los Angeles, San Francisco, Pittsburgh, etc), the Berlin Philharmonic, Leipzig Gewandhaus, Amsterdam Con- certgebouw, Orchestre de Paris, Israel Philharmonic, all of the Lon- don orchestras, and many others in Europe. His numerous world tours have taken him to Japan, Korea, Australia, New Zealand and South Africa, playing with orchestras, in recitals, and in chamber music concerts. He has appeared over twenty times at London’s BBC Promenade Concerts and has been a regular participant at the Edinburgh, Cheltenham, Aldeburgh, Verbier and Kuhmo Festivals. Among the highlights of his many Edinburgh Festival appearances were his performance of the Britten Concerto under the baton of the composer and the opening televised concert with the Philharmo- nia Orchestra conducted by Muti. He was the soloist at the Enescu Festival in Bucharest with the Festival Orchestra at one of the last concerts Yehudi Menuhin ever conducted. In the , Peter Frankl has been regular guest artist at the summer festivals in Aspen, Chautauqua, Hollywood Bowl, Marlboro, Norfolk, Ravinia, Yellow Barn, and Santa Fé and he often performs with well-known artists such as , Kyung Wha Chung, András Schiff, Tamás Vásáry, and many string quartets such as the Amadeus, Bartók, Borodin, Fine Arts, Guarneri, Pano- cha, Takács, Tokyo, and Vermeer. He has given master classes all over the world, including the Royal Academy and Royal College in London, Liszt Academy in Budapest and the Van Cliburn Institute in Texas. Among his highly praised recordings are the complete works for piano by Debussy and Schumann, the two Piano Concerti by horowitz piano series 2005-2006

Brahms (live recording), Mozart concerti, a solo Bartok and Chopin album, a Hungarian Anthology, the complete four-hand works by Mozart (with Tamas Vasary), the three violin sonatas by Brahms (with Kyung Wha Chung), Bartok’s violin-piano pieces on Hungar- ian Folk Tunes (with Peter Csaba), the three piano trios and the two Clarinet Sonatas by Brahms, and the piano quintets by Brahms, Schumann, Dvorak, and Martinu. Peter Frankl studied at the Franz Liszt Academy in Budapest with Professors Hernádi, Kodály and Weiner and won first prizes at several international competitions. He lives in London and is visiting professor at Yale University. In recognition of his artistic achievements he was awarded the Order of Merit by the President of the Hungarian Republic.

Boris Berman, piano, is well known to the audiences of more than forty coun- tries on six continents. He regularly ap- pears with leading orchestras, on major recital series, and in important festivals. He studied at the Tchaikovsky Conservatory with the distinguished pianist . Mr. Berman was the founding director of the Music Spectrum concert series in Israel from 1975 to 1984 and of the Yale Music Spectrum series in the United States from 1984 to 1997. An active recording artist, Mr. Berman was the first pianist to record the complete solo works by Prokofiev (Chandos). Other acclaimed releases include all piano sonatas by (Music and Arts) and a recital of Shostakovich piano works (Ottavo), which received the Edison Classic Award in Holland, the Dutch equivalent of the Grammy. The recording of three Prokofiev concertos with the Royal Concertgebouw Orchestra, Neeme Jarvi conducting (Chan- dos), was named the Compact Disc of the Month by CD Review. Other recordings include works by Mozart, Beethoven, Franck, Weber, Debussy, Stravinsky, Schnittke, and Cage. In 1984, Boris Berman joined the faculty of the Yale School of Music, where he is professor of piano and coordinator of the piano department. He has been the founding director of the Yale Summer Piano Institute and of the International Summer Piano Institute in Hong Kong. He also yale school of music

gives master classes throughout the world. In 2000, Yale University Press published Mr. Berman’s book, Notes from the Pianist’s Bench.

International concert pianist, award-win- ning educator, and indefatigable community volunteer are just a few descriptive titles one can attribute to Robert Blocker. Robert Blocker began his study of piano at the age of five, presenting his first public recital two years later. Today, he concertizes throughout the world. His engagements have included performances in the United States, Europe, Mexico, China, and several Pacific Rim countries. Recent orchestral en- gagements include the Beijing Symphony Orchestra, Shanghai Symphony, Houston Symphony, Monterey Philharmonic, Prague Chamber Orchestra, and Daejeon (South Korea) Symphony. These appearances have won him critical acclaim as noted in the Los Angeles Times review: “…great skill and accomplishment, a measurable virtuoso bent and considerable musical sensitivity… mesmerizing moments.” Robert Blocker’s many contributions to the music community include service on the advisory boards for the Avery Fisher Artist Program and the Stoeger Prize at Lincoln Center, and the Gilmore Artist Advisory Board. Dr. Blocker appears frequently on the radio and television and in 2000, Steinway and Sons featured him in a film commemorating the tercentennial of the invention of the piano. In fall, 2004, Yale University Press published his volume, The Robert Shaw Reader. Dr. Blocker’s honors and awards as artist and educator are nu- merous, including the Tuesday Musical Club Prize, ’s Order of Palmetto, outstanding professor awards at Brevard College (North Carolina) and Baylor University (Texas), and three honorary degrees. Among his 17 biographical listings are Who’s Who in America and the International Who’s Who in Music. Robert Blocker was the Lucy and Henry Moses Dean of Music at Yale University from 1995 to 2005. He currently serves as Provost and Vice President of Southern Methodist University in , Texas. horowitz piano series 2005-2006

Leading one of the most distinguished careers of any pianist, Claude Frank has repeatedly appeared with the world’s foremost orchestras, at major festivals and at its most prestigious universities since his debut with Leon- ard Bernstein and the New York Phil- harmonic in 1959. In recent seasons, Claude Frank has given joint recitals with his daughter, violinist , throughout the United States and abroad. He also appeared with his wife, the late pianist Lilian Kallir, at Town Hall in , and has performed in recitals at the Ravinia Festival in Chicago. As soloist with orchestra, Mr. Frank has appeared with most of the great orchestras of the world. In chamber music, he has appeared with such eminent groups as the , Juilliard Quartet, Cleveland Quartet, Em- erson Quartet, American Quartet, Mendelssohn Quartet, Tokyo Quartet, and the London Mozart Players, as well as with Alexander Schneider’s chamber ensembles and at the Metropolitan Museum of Art. Among the many festivals at which he has appeared are Menuhin’s Gstaad Festival in Switzerland and the Midsummer Mo- zart Festival in California, as well as festivals in Portland, Norfolk, Vancouver, and Marlboro. He is a frequent performer in New York City’s Mostly Mozart Festival. A renowned teacher as well as performer, Claude Frank has been professor of piano at the Yale School of Music since 1973 and is on the faculty at the Curtis Institute of Music in Philadelphia. Of special interest are his master classes at Yale University, , , and North Carolina School of the Arts, among many others. A milestone in Claude Frank’s career was RCA’s release of his recordings of the 32 Beethoven sonatas and his worldwide perfor- mances of the cycle. Critical reception of his bestselling recording was unanimous nationwide. Mr. Frank has recorded the cycle of Beethoven Violin & Piano Sonatas with his daughter, Pamela, for Music Masters. Claude Frank lived in Nuremberg until the age of 12, when he joined his father in Brussels. Shortly thereafter he went to live in yale school of music

Paris, where he studied in the Paris Conservatoire. The German occupation forced Mr. Frank to leave France. He emigrated to New York, where he studied with and Karl Ulrich Schnabel, and studied composition and conducting at . At Tanglewood he studied with .

Shinik Hahm has conducted major orchestras and opera companies in North and South America, Europe, and Asia. He served as music director of the from 1995 to 2004, when he was appointed Music Director of the of Yale, the orchestra of the Yale School of Music. Since 1988, he has been music director of various orchestras including the Green Bay Symphony Orchestra, Abilene Philharmonic, and currently is the music director/conductor of the Daejeon Philharmonic and the Tuscaloosa Symphony Orchestras. An active opera conductor, he has performed numerous times with the Silesian State Opera in Poland. Since 1992, he has made annual appearances with the Korean Radio and Television Symphony Orchestra, and led that orchestra in its 1995 tour of the United States in celebration of the fiftieth anniversary of Korean independence. This June, he brought the Daejeon Philharmonic to Carnegie Hall, the Kimmel Center in Philadelphia, and other major American cities. He has conducted the orchestras of Los Angeles, Warsaw, Fort Worth, Atlanta, Boul- der, Bangkok, Louisville, Toronto, Omaha, Hartford, Prague, Bilbao, St. Petersburg, , and many others. Among numerous distinc- tions, he has won the Gregorz Fitelberg International Conducting Competition as well as the Korean Cultural Medal, Korea’s highest civilian honor. He has earned degrees at Rice University and at the Eastman School of Music. horowitz piano series 2005-2006

The Philharmonia Orchestra of Yale Shinik Hahm, Music Director Christine M. Lin, General Manager VIOLIN 1 BASS Lauren Basney, concertmaster Joseph Magar, principal Bee-Seon Keum Ian Whitman Won Hye Kim Lorna Tsai FLUTE Yi-Ting Chen Mingzhu Wang Caroline Shaw Hong-yi Mo OBOE Alex Weill Michael Barnett Aaron Hill VIOLIN 2 Kevin May 1 Wayne Lin, principal Kyle Mustain 2 Jooyeon Kong Sarah Schram 3 Daniel S. Lee Katherine Wilcox Preston Hawes Nicholas DiEugenio BASSOON Jaewon Choi Ève Gendreau 2 Robert Gupta Dantes Rameau 3

VIOLA HORN Alisa Seavey, principal Emily Engle 2 Seong Eun Kim Caia LaCour 3 Chun Lim Douglas Umana 1 Noelia Gomez Gonzalez Anna Pelczer Numbers indicate principal CELLO players as follows: Bo Young Song, principal 1. K. 242 Xian Zhuo 2. K. 365-316a Ashley Bathgate 3. K. 595 So-Yoon Park upcoming concerts on the horowitz piano series Wednesday, December 7 Tigran Alikhanov Beethoven: Sonata No.21 in C major, op. 53, “Waldstein” Schumann: Carnival, op.9; Mussorgsky: Pictures at an Exhibition Tuesday, January 17 Claude Frank Program to be anounced Thursday, February 16 Boris Berman In celebration of the Shostakovich Centenary Bach: Italian Concerto, selection of Preludes and Fugues Shostakovich: Sonata No. 2, selection of Preludes and Fugues Tickets: $15, 10, 8 ($5 students). Call 203 432-4158 yale school of music Upcoming Concerts All events in Morse Recital Hall in Sprague Hall and free unless otherwise indicated. Information: (203) 432-4158, WWW.YALE.EDU/MUSIC

Sunday, October 16 at Thursday, October 20, 4:00 pm at 8:00 pm Faculty Artist Series New Music New Haven Wendy Sharp, violin Martin Bresnick, direc- With Anna Grinberg, tor. Aaron Jay Kernis, piano, and Robin Sharp, featured composer. violin. Works by Mozart, Kernis: “Aria-Lament” for Prokofiev, Brahms, Solo Violin, and “Simple Schubert and Sarasate. Songs” for Chamber Orchestra; plus works by Sunday, October 16 at Matthew Barnson, Yoshiaki Onishi, Douglas 8:00 pm Fisk, Jacob Cooper, Ryan Vigil. Faculty Artist Series James Taylor, tenor. With Donald Sulzen, piano. “Small Cycles, Great Masters.” Works by Britten, Fauré, Beethoven and Schumann.

Friday, October 21 at 8:00 pm Duke Ellington Fellowship The Heath Brothers. Jimmy Heath, saxophones, and Tootie Heath, drums. With Jeb Patton, piano, and Paul West, bass. $12, $18, $25 ($8 students) Fri & Sat, October 28 & 29 at 8pm One-Act Operas Tuesday, October 18 at 8:00 pm Doris Yarick Cross, artistic director Chamber Music Society Marc Verzatt, stage director. The Kopelman Quartet with Boris Friday: Puccini: Il Tabarro (The Cloak) Berman, piano. Mikhail Kopelman and Ravel: L’enfant et les sortileges (The Child Boris Kuschnir, violin; Igor Sulyga, viola; and the Spells) Mikhail Milman, cello. All-Russian program. Saturday: Debussy: L’enfant prodigue Prokofiev: no. 2 (The Prodigal Son) Shostakovich: Piano Quintet Poulenc: Les mamelles de Tiresias (The Tchaikovsky: String Quartet no. 3 Breasts of Tiresias) $25-32 (students $13) Student rush $5 Plus scenes from Mozart’s Cosi fan tutte each night. $12, $8 ($5 students)

continued on back Upcoming Concerts Continued from previous page All events in Morse Recital Hall in Sprague Hall and free unless otherwise indicated. Information: (203) 432-4158, WWW.YALE.EDU/MUSIC

Tuesday, November 1, at 8:00 pm Guest Artist Recital Meehyun Ahn, piano. Scriabin: Twelve preludes from op. 11; Bach-Busoni: Chaconne; Prokofiev: Sonata No. 3; Tchai- kovsky-Pletinev: Suite from The Nutcracker

Wednesday, November 2, at 12:30 pm Lunchtime Chamber Music

Thursday, November 10, at 8:00 pm Woolsey Hall PhilharmoniaTour Fund Benefit Sarah Chang, violin Shinik Hahm, music director Tchaikovsky: Symphony No. 4 in F minor, Violin Concerto. Patron seating available at $75 and $100. Tickets: Reserved: $25 to $50 General admission: $15 ($10 students);

Yale School of Music Thomas C. Duffy, Acting Dean Tuesday, November 8 at 8:00 pm Chamber Music Society Bonus concert Concert and Press Office Biava Quartet with Jesse Levine Vincent Oneppo, Director Austin Hartman and Hyunsu Ko, violin; Kelly Yamaguchi, Box Office Manager Mary Persin, viola; Jacob Braun, cello. Tara Deming, Operations Manager With Jesse Levine, viola. Debussy: Quartet Christopher Melillo, Operations Assistant in G minor; Stacy Garrop: Demons and Angels (premiere): Mozart: Viola Quintet box office: sprague hall, mon-fri 9 am-5 pm in C minor, K. 406. $10 (students $5) 203-432-4158. 24-hr. info line: 203-432-4157 www.yale.edu/music