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Arnaldo Cohen, Piano carte blanche concert ii: Arnaldo Cohen, piano JOHANN SEBASTIAN BACH (1685–1750) / FERRUCCIO BUSONI (1866–1924) July 27 Chaconne in d minor, BWV 1004 (1720 / arr. Busoni, ca. 1895) Sunday, July 27, 10:30 a.m., Stent Family Hall, Menlo School JOHANNES BRAHMS (1833–1897) Variations and Fugue on a Theme by Handel, op. 24 (1861) IntermissiON PROGRAM OVERVIEW FRYDERYK CHOPIN (1810–1849) Celebrated pianist Arnaldo Cohen makes his Music@Menlo Scherzo no. 1 in b minor, op. 20 (ca. 1835) debut with a tour de force of impassioned Romantic expression. Scherzo no. 2 in b-flat minor, op. 31 (1837) The first half of the program is given over to the music of two Scherzo no. 3 in c-sharp minor, op. 39 (1839) Baroque masters, reimagined by their nineteenth-century heirs: Scherzo no. 4 in E Major, op. 54 (1842–1843) Bach’s spellbinding d minor Chaconne transcribed by Italian Arnaldo Cohen, piano composer and piano virtuoso Ferruccio Busoni and Brahms’s majestic Variations and Fugue on a Theme by Handel. The Four NCHE CONCERTS A Scherzi for Piano by Fryderyk Chopin conclude the program. A L far cry from the short, spirited bagatelles typically classified as B scherzi, these imposing works are as devilish for the fingers as they are riveting to the ear. RTE RTE SPECIAL THANKS A Music@Menlo dedicates this performance to Dr. Condoleezza C Rice with gratitude for her generous support. 50 Music@Menlo 2014 Program Notes: Arnaldo Cohen, piano Commentary from the Artist Bartók, Schoenberg, and Wagner but maintained a keen interest in Bach Like Dvořák, many other composers in the later Romantic period explored throughout his life. Representing a substantial part of his oeuvre aside a connection with the musical past, drawing inspiration either in the folk from his original compositions, his transcriptions of Bach’s work displayed music of their own native cultures or from music from earlier composers in an original idiom, demonstrating his vast command over the keyboard’s the Western Classical style. Today’s program features some of the piano’s sonority. He also produced transcriptions of masterpieces including greatest champions exploring such ties with their history. the Benedictus from Beethoven’s Missa solemnis, Brahms’s Six Choral Busoni was one such musician, able to connect his pianistic heritage Preludes, Liszt’s Hungarian Rhapsodies, Mendelssohn’s Symphony no. 1, with his veneration of Bach. His arrangement of the Chaconne beautifully and even Wagner’s Die Götterdämmerung, among countless others. translates the emotional and spiritual pathos of Bach’s violin soliloquy into The Chaconne from Bach’s Partita no. 2 in d minor for Violin is the language of the keyboard, expanding its drama into the instrument’s revered as one of Bach’s finest and most staggering works. The work depth of sonority and wealth of color. Busoni spent much of his life in is built around a four-bar melodic phrase, reiterated sixty-four times in Berlin, surrounding himself with both modern influences and the Viennese myriad variations in both D major and d minor. Busoni’s transcription legacy. His contributions to the literature are still held in high regard today. of the Chaconne remains faithful to Bach’s original idea, adding a few Brahms, too, was known for his Classical roots and his reverence for Romantic characteristics to give the work a brilliant Sturm und Drang flair. the music of the past. In his Variations and Fugue on a Theme by Handel, Melodically, Busoni doubles much of the thematic voicing in the bass. He Brahms successfully develops a simple aria into twenty-five of the most adds one additional measure to Bach’s writing—an extended arpeggiated brilliant variations in the repertoire, culminating in a majestic fugue. seventh chord—to heighten the drama of the rhapsodic section leading Combining the structural unity of a Baroque suite with the expansive up to the magnificent recapitulation of the opening theme. Busoni also harmony of the height of German Romanticism, the piece represents the includes specific tempo and dynamic markings not found in Bach’s best of both worlds, finding expressive lyricism and scintillating excitement writing. Coupled with the full voicing of the piano, grand crescendos and while staying true to its inception in the musical past. tempo increases demand imaginative artistry, skillful interpretation, and Chopin’s celebrated Four Scherzi take their title from their Classical virtuosic adeptness from the pianist. predecessor, a lighthearted movement developing from the minuet. But in The transcription was dedicated to pianist Eugen d’Albert, who the hands of Chopin, the scherzo finds a much more dramatic and expressive reprimanded Busoni for tainting Bach’s timeless work. Busoni rebutted, role. These four pieces explore the pinnacle of pianistic virtuosity and poetry, “I start from the impression that Bach’s conception of the work goes putting incredible demands on the performer and rewarding the listener far beyond the limits and means of the violin, so that the instrument he with some of the most charming and electrifying music ever composed specifies for performance is not adequate.” In fact, Busoni was not the for the instrument. Chopin draws on his Polish heritage in much of his first to attempt an arrangement of the Chaconne and was preceded by music, but specifically in the first scherzo, he references a Polish Christmas Schumann, Mendelssohn, and Brahms, who wrote of the work, “On one song (“Lulajże Jezuniu”/“Sleep, Little Jesus”) in the beautiful B Major stave, for a small instrument, the man writes a whole world of the deepest central theme. thoughts and most powerful feelings. If I imagined that I could have In all of these works, the composer finds a connection with his past created, even conceived, the piece, I am quite certain that the excess of and translates it seamlessly into his present. The piano provides the perfect excitement and earth-shattering experience would have driven me out of vehicle for this summit of cultures and traditions, a meeting place for the my mind.” old and the new, the familiar and the exotic. Just as Dvořák married past —Andrew Goldstein NCHE CONCERTS and present in his music, so, too, our program this morning joins influences A and ideas across centuries and cultures. L —Arnaldo Cohen B JOHANNES BRAHMS (Born May 7, 1833, Hamburg; died April 3, 1897, Vienna) Variations and Fugue on a Theme by Handel, op. 24 JOHANN SEBASTIAN BACH Composed: 1861 RTE (Born March 21, 1685, Eisenach; died July 28, 1750, Leipzig) A First performance: November 1861, Hamburg C FERRUCCIO BUSONI Other works from this period: Sextet no. 1 in B Major, op. 18 (1859–1860); (Born April 1, 1866, Empoli; died July 27, 1924, Berlin) Piano Quartet no. 1 in g minor, op. 25 (1861); Piano Quartet no. 2 in A Chaconne in d minor, BWV 1004 (arranged for piano by Ferruccio Major, op. 26 (1861); Cello Sonata no. 1 in e minor, op. 38 (1862–1865) Busoni) Approximate duration: 25 minutes Composed: 1720, arr. ca. 1895 Other works from this period: Bach: Six Suites for Solo Cello, It was upon his skill as a pianist and composer for piano that Brahms’s BWV 1007–1012 (ca. 1720); Fifteen Inventions, BWV 772–786 (ca. 1720); early reputation was founded. As a teenager in Hamburg, he studied Busoni: Violin Concerto in D Major, op. 35a (1896–1897); Violin Sonata no. the classics of the keyboard literature with Eduard Marxsen (the city’s 2 in e minor, op. 36a (1898–1900) most illustrious piano teacher and a musician whose excellent taste and Approximate duration: 15 minutes thorough discipline helped form his student’s elevated view of the art) but was at the same time forced to earn money for the always-pinched The Italian pianist and composer Ferruccio Busoni was lionized household budget by playing in what were euphemistically called “dance as a keyboard virtuoso and acclaimed for his Romanticized piano halls” in the rough dock district, work he began when he was just thirteen. transcriptions. He was born to an Italian clarinetist and an Austrian pianist He gave his first public recital in September 1848, when he was fifteen and spent much of his life in Germany, absorbing the music of Bach, (significantly, the program included a fugue by Bach), and a year later Schumann, Brahms, and Mendelssohn. He later delved into the work of he presented a second concert that featured another selection by Bach as well as Beethoven’s Waldstein Sonata. In 1850, he met the violinist *Bolded terms are defined in the glossary, which begins on page 100. Eduard Reményi, who had been driven to Hamburg by the civil uprisings www.musicatmenlo.org 51 in Hungary in 1848, and three years later they undertook a concert tour his attempts to produce some concerts for himself. His difficulties were through Germany, a venture that allowed Brahms not only to extricate exacerbated by the Polish insurrection against Russian oppression that himself from the waterfront taverns but also to meet Joseph Joachim, erupted only days after he arrived in the Habsburg capital. Conservative who, at twenty-two, only two years his senior, was already regarded as Austria was troubled by the antimonarchial unrest to its north and feared one of the leading violinists of Europe. Joachim introduced him to Robert that the czar might petition the country for help against the uprising. and Clara Schumann, who were overwhelmed by Brahms’s talent when he Polish nationals in Austria were therefore thrown into an uncomfortable played them some of his own compositions, including his first published situation, and Chopin took considerable care against expressing his works—the C major (op.
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