Theme& Variations

Beethoven Sonata Op. 109

Schubert Impromptu Op. 142#3

Mozart Sonata K. 331

Carol Rosenberger, piano DE 3452 1 0 13491 34522 2

Ludwig van Beethoven (1770-1827): Sonata in E, Op. 109 (22:58) 1. Vivace, ma non troppo (4:04) 2. Prestissimo (2:42) 3. Andante molto cantabile ed espressivo (16:12)

4. Franz Schubert (1797-1828): Impromptu in B-Flat, Op. 142 No. 3 (13:10)

Wolfgang Amadeus Mozart (1756-1791): Sonata in A, K. 331 (25:56) 5. Andante grazioso (15:10) 6. Menuetto (7:12) 7. Alla Turca (3:34)

Total Playing Time: 62:04

Carol Rosenberger, piano

Recorded May, 1997, First Congregational Church, Los Angeles, California Executive Producer: Amelia Haygood Recording Producer: Andrew Keener Recording Engineers: John Eargle, Jeff Mee Editing: Peter S. Myles, Ramiro Belgardt Production Assistants: Phyllis Bernard, Catharine Jaap Cover Photo: Ken Veeder; Design and Layout: Lonnie Kunkel Boesendorfer Imperial Concert Grand Piano Piano Technician: Richard Davenport © 2015 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998 (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 [email protected] • www.delosmusic.com Made in USA 2 recorded this program in 1997, Now, some 17 years a$er the release of as a “Companion Disc” for a chil- “…such Stuff as Dreams…” it has been dren’s album entitled “…such Stuff suggested to me that it is time for the I " as Dreams…” e children’s CD itself “Companion Disc” to have its own iden- was a sequel to the earlier “Perchance to tity as an all-ages CD. In the three sets Dream,” which had been the beginning of variations, the themes have a master- of the Delos Young People’s Series a few ful simplicity about them. "e Schubert years earlier. "e repertoire for both chil- theme seems to take your hand and guide dren’s programs was chosen very careful- you into a beautiful natural landscape; ly. I wanted each track to contain a mas- the Beethoven theme, in its encompass- terpiece — serene, innocent, simple and ing warmth, enables you to fuse your of course melodious throughout. inner being with the universe, somehow. Both the Schubert and the Mozart melo- For “…such Stuff…” I was tempted to in- dies bring joy and pleasure. Mozart’s el- clude three wonderful themes from some egantly simple theme is perfection itself, of my favorite theme-and-variations mas- and gently finds its way into your heart. terpieces by Mozart, Schubert and Beetho- ven. "ey had all of the desired qualities My Mozart roots go back to early child- mentioned above, but I hesitated about hood, as do those of most pianists, and extracting them from their musical con- include long and happy associations texts. "en Delos founder Amelia Haygood with a number of his incomparable pia- and I hit upon the idea of letting the lovely no works, especially the concerti, in my themes be part of the children’s disc, and touring years. A longtime bond with the during the same sessions, I would also re- Sonata in A Major, K. 331 began when cord the entire works built on these themes I played the third movement at around for a second “Companion Disc.” We hoped age seven. In my sheet music it was called that some of the young people, or adults by its English title, Turkish March. It was encountering this music for the first time, fun then, and it’s fun now as the Alla would want to take the leap and become Turca. A few years a$er my first Turkish acquainted with the complete works. March experience, I became acquainted

3 with the sonata’s other two movements, tas in B-Flat, D. 960, and in A, D. 959). and played the work on an early recital During student years I spent in Vienna, program. !is sonata has stayed with me there were countless opportunities to ever since: the touching simplicity of the immerse myself in Schubert’s wonderful first movement’s theme; the first gentle, Lieder, deepening the connection with and slightly questioning variation, with his unique musical spirit. “No other mu- its affirmative finish to each section; the sic speaks of the Austrian landscape, re- cheery variation with running triplets; flects the Austrian sky to such a degree,” the gliding minor variation; the magical German writer Annette Kolb said of variation with thirds soaring gently in Schubert. Pianist Arthur Schnabel, who the treble; the aria-like variation, almost brought many of Schubert’s piano works a movement on its own; and of course the to the public a%er a century of neglect, bright, cheery last variation. I’ve always called them “a safe supply of happiness.” heard hints of the “Turkish” element also !e great teacher ob- suggested in that wonderfully inventive served that a Schubert melody was a su- first movement, and even extended to the preme example of genius, of that magic Menuetto second movement. In the Men- one cannot define, “so simple that there’s uetto, I have long imagined an 18th cen- nothing to it, just innocence and an ir- tury gilded ballroom filled with dancers resistibly spontaneous movement that in period costumes, whose varied subtle makes it a masterpiece.” personal emotions and communications weave throughout the dance. Schubert’s melody lines are always vocal, and therefore human; his settings o%en !e Schubert Impromptu in B-Flat, Op. suggestive of a benign outdoor environ- 142, No. 3 represents another treasured ment. In our fast-paced era, in which part of my piano-playing life. I have loved peaceful places and quiet moments be- and toured with various combinations of come increasingly rare, such music is his eight Impromptus (the four Op. 90 perhaps even more precious. It invites us and four Op. 142), and with some of his to live a musical phrase that suggests the glorious sonatas (especially the Sona- luminous ideal, but is within the human

4 context. Schubert could take us — or would have chuckled at the commotion go with us — anywhere, and make any the instrument’s rich bass could cause in day a more beautiful one. Music such as the Alla Turca third movement, which is, this Impromptu allows us to draw a long a%er all, humorous. breath while we put daily cares into per- spective. !ere is lovely serenity in the Beethoven, in particular, might have en- theme, and an increasingly joyous lilt in joyed the sound of his masterpieces on the variations that follow; the wistful mi- the Boesendorfer Imperial. He was dis- nor variation brings a cloud or two that satisfied with the pianos of his time, and give the entire experience greater depth; always pushing piano makers towards a variation in G-flat affirms contentment; new developments in the piano’s dynam- the final variation, back to B-flat, is cas- ic range, strength of tone and resonance. cading joy; the rich chordal return of the He surely wished for a fuller and richer theme is quiet reassurance. It is indeed a sound. He brought his innovative genius beautiful example of that “safe supply of to full utilization of each new develop- happiness.” ment in the instrument during his life- time, and yet he wrote, not only for the I like to imagine how the three great piano he knew, but far beyond it. One can composers represented on this album be reasonably certain that what he heard might respond to hearing their music in his immense imagination would have on a Boesendorfer Imperial grand. Per- had as its ideal something unfettered by haps Schubert, the master of the Lied, or limitations of the then-current instru- German art song, would have loved its ment. singing quality in expressing his incom- parable melodies, including the theme of My personal history with Beethoven’s the Impromptu in B-flat Major. Mozart Sonata in E, Op. 109 goes back to an might also have liked that singing qual- almost-10-year period, beginning in my ity, especially appropriate in the lovely, early 20s, when I was prevented by illness inventive theme-and-variations move- from playing the piano at all. During that ment of his A Major Sonata. He probably difficult period I found Op.109, along

5 with its two “brethren,” the Op. 110 and reflective moments, but never broken. Its Op. 111 sonatas, to be endlessly reward- tonal architecture is strong and grand in ing to “live inside.” I studied them in an scope, while remaining intimate, and cre- analytic manner with Nadia Boulanger ates a world of its own just in those very in Paris, and a!er moving to Vienna, im- few minutes. $en the Prestissimo second mersed myself in the fascinating Schen- movement says “Ah, but there’s this side ker analysis of Beethoven’s unsurpassed too!” – its vigor and sudden robustness musical architecture. But mostly, I kept adding exhilaration to the soulful emo- thinking my way through these three tions. wonderful creations, hearing them in my mind’s ear, and feeling comforted, By the time the sublime third movement inspired and buoyed by them. Not only comes along, we are ready to welcome did they reassure me about the world it. $e theme’s simplicity is infused with in general, but they also allowed me to warmth and generosity, along with an entertain the hope of being able to play expansiveness that makes it feel open to them some day. all of our joint human experience and po- tential. Beethoven asks that it be played in When I was able to return to the concert a manner that is “Gesangvoll, mit innig- stage, I sometimes played those last three ster Empfindung” (songful, with deepest Beethoven sonatas as a complete recital. I feeling). As the variations progress, we always found the Opus 109 a welcoming are taken through beautiful experiences way to begin the program. One has the — the first delicate and gently expansive; feeling, in the opening of the first move- the next bursting with excitement; then ment, that the music has already been one that gently encircles and reassures; going on before you can hear it — float- then on to a joyous fugue, and finally to ing in from some gentle, mystical place the last variation. Here, some of the aspi- — and all you have to do is join it. $e rations aroused by the first movement are ongoing musical thread can be followed, gloriously realized, and it is the culmina- stretched at its highly expressive, qua- tion of the third movement theme’s po- si-improvisatory heights and in its quiet tential. What could be more moving than

6 the theme’s gentle reappearance, building American pianist Carol Rosenberger has in its climax to a triumphant constella- attracted an international audience for tion shining gloriously above cumulative bringing her special blend of refined vir- textures and trills, and then ending in tuosity and poetically compelling inter- reassuring simplicity, a quiet final word. pretations to both traditional and contem- porary repertoire. “Eloquent and sensitive For me, “getting into” this sonata is to playing” wrote !e Times of , while experience one of the wonders of the that city’s Daily Telegraph commented: world. One feels the transformations of “Her playing was alive to every fleeting the theme’s “deep song,” and its reappear- sense impression, yet intellectually com- ance, as the summary of life and art and manding. "ese were ideal performances.” heart and soul. It is touching to remem- ber that by the time Beethoven wrote this Beginning with the debut tour that elic- transcendent music he could hear almost ited such comment in New York, , nothing and was locked in a silent world London, Paris, Vienna, and oth- where all of the music was inside of him. er capitals, Carol’s distinguished recital He had distilled to its essence the sum- programs and guest appearances with mary of an intense life experience, with orchestras carried her to most major Eu- music such as this expressing his com- ropean and American cities. More recent plete and radiant vision. "is magnificent concert appearances include New York’s 23 minutes of music offers a profoundly Town Hall, Philharmonic Hall and the moving glimpse of a great soul. Great Hall of the Tchaikovsky Conserva- tory in Moscow, Peter the Great’s Palace in St. Petersburg, Italy’s Rossini Opera — Carol Rosenberger House, and tours of Scandinavia and the U.S., with the Moscow Chamber Orches- tra under Constantine Orbelian.

Over 30 recordings on the Delos label have extended Carol Rosenberger’s in- dividual vision to a wide range of piano Together with co-producer Amelia Hay- repertoire. Her recording of Howard good, Carol led the way into another area Hanson’s Fantasy Variations on a !eme of concept recordings with the 1989 re- of Youth, with and the lease of Perchance to Dream, Lullabys for New York Chamber Symphony, brought Children and Adults. One of the first clas- her a 1991 Grammy Nomination for Best sical CDs designed primarily for young Performance, Soloist with Orchestra. people, Perchance struck a responsive Rosenberger and Schwarz followed this chord with all ages. The American Re- recording with the rarely-heard Hanson cord Guide called it “a splendid disc, to Piano Concerto with the Seattle Sympho- be treasured by young and old, and Fan- ny. Together with Constantine Orbelian fare commented that it is “the perfect gift and the Moscow Chamber Orchestra, among recordings for introducing a child Carol has recorded the premiere of Frank to the intimacies and universality of mu- Bridge’s Chamber Concerto for Piano sic.” Subsequent albums of relaxing pia- and String Orchestra (arr. C. Orbelian), no music were Reverie and Such Stuff as an arrangement of the Quintet (1912). Dreams — the latter a lullaby album in- cluding themes from three major works Carol’s celebrated series of concept-re- of Mozart, Schubert and Beethoven cordings began with Water Music of the heard in their entirety on a companion Impressionists, which was selected by Ste- disc. She has also appeared as soloist on reo Review as one of the 25 Best Classical two orchestral CDs designed to be relax- Compact Discs of all time, by Gramo- ing in nature: with Constantine Orbelian phone as a Recording of the Year, and by and the Moscow Chamber Orchestra in Billboard as an All-time Great Recording. Mozart Adagios, and with James DePreist !e Impressionistic Night Moods was the and the Monte Carlo Philharmonic in A successful sequel; and a second water-mu- French Romance. sic disc, Singing on the Water, included Barcarolles written especially for the al- Carol and Amelia guided and co- bum by Sir and pro-duced the Delos Music for Young the American composer . People Series. As producer of special recording projects combining music and narra- G Major Concerto with the same collab- tion, Carol has worked with such distin- orators brought to light a rarely-heard guished narrators as , work. With the London Symphony, Michael York and . She Rosenberger and Schwarz recorded the also wrote the script for Makarova’s nar- Falla Nights in the Gardens of Spain and rated version of Stravinsky’s !e Firebird, the Beethoven Concerto No. 4; with the a recording that won the American Li- they recorded the brary Association’s “Notable Recording” Strauss Burleske, and with the Los Ange- award. les Chamber Orchestra the Shostakovich First Piano Concerto. Carol’s affinity for the late works of Bee- thoven and Schubert resulted in highly Born in Detroit, Michigan, Carol stud- acclaimed recordings of the Beethoven ied in the U.S. with Webster Aitken and Sonatas Op. 111 and 57, and the Schubert Katja Andy; in Paris with the legendary Sonata in B-flat, together with the Im- Nadia Boulanger; and in Vienna with promptus Op. 90. Her contribution to harpsichordist/ Baroque scholar Eta the performance of 20th Century music Harich-Schneider and Schenker theorist is reflected in her recordings of the Hin- Franz Eibner. In 1976 she was chosen to demith Four Temperaments with James represent America’s women concert art- DePreist and the Royal Philharmonic, ists by the President’s National Commis- and an all-Szymanowski disc, including sion on the Observance of International the Masques, a group of Mazurkas, and Women’s Year. She has been the subject the Etudes op. 4 and op. 33. of articles in many of the nation’s lead- ing newspapers and magazines, and has #e Schwarz/Rosenberger recording of been on the faculties of the University of the Haydn D Major Concerto with the Southern California and California State Scottish Chamber Orchestra was called University Northridge. She has given “the best recording of that work now performance workshops for young musi- available” by American Record Guide, and cians on campuses nationwide. the subsequent recording of the Haydn

9 Carol has given numerous benefit per- own response to the artist/person he formances for physical rehabilitation heard that night: “Her performances have programs, an effort motivated by her an unforced quality that has nothing to own experience. Her official debut was do with lack of energy. Rather her playing delayed ten years by an attack of para- draws on an inner calm. One hears this lytic polio at the outset of her career. She too when she talks about the problems spent those ten years of seclusion and of a woman pianist, or about the need rehabilitation partly in Vienna, studying for a more engaging concert format...she Baroque style and theory at the Academy, has retained her humanity; her name is and absorbing German Lieder, opera, in- worth remembering.” strumental music and literature.

Upon Carol’s return to the concert stage, not even her management knew, at the beginning, about her long ordeal. As her story became known, she proved to be an inspiration to many, and is currently working on a book about her experienc- es. She feels that her successful struggle to overcome the a$er-effects of polio taught her a great deal that she has been able to pass on to others. She has taught workshops, at the University of Southern California and other universities, in the wide-ranging area of physical and psy- chological preparation for performance.

In an enthusiastic review of a Rosenberg- er recital at Carnegie Hall, Mark Kanny, then Music Editor of FM Guide, had his

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