DOCSLIB.ORG

Richard Goode, Piano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Richard Goode, Piano presents The Shenson Piano Series Made possible by Fred M. Levin and Nancy Livingston, The Shenson Foundation Richard Goode, piano Friday, January 22, 2010, 8pm Herbst Theatre PROGRAM Johann Sebastian Bach The Well-Tempered Clavier, Book II Prelude and Fugue in F-sharp minor, BWV 883 Prelude and Fugue in G Major, BWV 884 Franz Joseph Haydn Piano Sonata in C Major, Hob. XVI:21 Allegro Adagio Finale: Presto Piano Sonata in C minor, Hob. XVI:20 Moderato Andante con moto Finale: Allegro Piano Sonata in G Major, Hob. XVI:40 Allegretto e innocente Presto INTERMISSION Robert Schumann Kreisleriana, Opus 16 Ausserst bewegt Sehr innig und nicht zu rasch Sehr aufgeregt Sehr langsam Sehr lebhaft Sehr langsam Sehr rasch Schnell und spielend San Francisco Performances acknowledges the generosity of Concert Partners: Anonymous, in memory of Peter F. Ostwald, M.D., David and Judith Preves Anderson, the Rev. Richard Fabian, Dr. Daniel J. Fourrier Jr., Ellen Friedman, Frederick D. Hammer, Mr. James Hayward, Kim and Judith Maxwell, Robert and Adelle Rosenzweig. Richard Goode is generously donating a portion of his fee for this concert, which San Francisco Performances is matching, as a contribution to Classical Action: Performing Arts Against AIDS. Richard Goode is managed by Frank Salomon Associates, 121 W. 27th Street, Suite 703, New York, NY 10001-6262; franksalomon.com. Richard Goode records for Nonesuch and RCA Records. Hamburg Steinway Model D and piano technical services, Pro Piano San Francisco. 1 ARTIST PROFILE and he was invited to hold master classes at the their collection of some 5,000 volumes live in city’s three leading conservatories—Juilliard, New York City. Richard Goode has a long-standing relationship Manhattan and Mannes—and to give two il- with San Francisco Performances, appearing to- lustrated talks on his “Perspectives” repertoire NOTES ON THE PROGRAM night for the 15th time. Previous concerts were in at the Metropolitan Museum of Art. His or- 1985 (with clarinetist Richard Stoltzman), 1989, chestral appearances included the Boston Sym- The Well-Tempered Clavier, Book II January and October 1992 (with soprano Dawn phony, New York Philharmonic, San Francisco Prelude and Fugue in F-sharp minor, BWV 883 Upshaw), 1993, 1994, April and March 1996 (with Symphony, Concertgebouw Orchestra and Prelude and Fugue in G Major, BWV 884 Upshaw), 1998 (with the Australian Chamber Or- Orchestre Philharmonique de Radio France. chestra), twice in 2002, 2004, and twice in 2007. His recording of the Beethoven Concerti Johann Sebastian Bach with Ivan Fischer and the Budapest Festival Born March 21, 1685, Eisenach Richard Goode Orchestra was released in May 2009 by None- Died July 28, 1750, Leipzig such Records—the same label that released his Photo: Sasha Photo: Gusov historic recordings of the complete Beethoven In 1722 Bach wrote a set of pieces for key- sonatas. Other recent releases, both on None- board that has become one of the most popu- such, include a collection of Mozart sonatas lar and influential works ever composed, even and short pieces, as well as a recital disc with though it was not published until half a cen- Dawn Upshaw. Also among his more than tury after his death. Bach’s own description of two dozen recordings are Mozart Concerti this music suggests his intention: “Preludes and with the Orpheus Chamber Orchestra, the Fugues through all the tones and semitones… complete Beethoven Piano Sonatas, the com- for the use and profit of young musicians an- plete Partitas by J.S. Bach, and most recently xious to learn as well as for the amusement of chamber and solo works of Brahms, Schubert, those already skilled in this art.” But Bach had Schumann, Chopin and George Perle. Goode two larger purposes in writing this music. He is the first American-born pianist to have re- wanted, first, to demonstrate the possibilities corded the complete Beethoven Sonatas, which of an instrument tuned to equal temperament: Richard Goode’s music-making speaks of a were nominated for a 1994 Grammy Award. such a “well-tempered” instrument could play sublime connection with composers, inspiring A native of New York, Richard Goode easily in all 24 keys. And he wanted to explore critics around the world to utter such praise as studied with Elvira Szigeti and Claude Frank, the musical possibilities of two quite different “you’d swear the composer himself was at the with Nadia Reisenberg at the Mannes Col- kinds of music: the free prelude—the extension keyboard, expressing musical thoughts that lege of Music, and with Rudolf Serkin at the of a single idea somewhat in the manner of a had just come into his head.” The American pi- Curtis Institute. He has won many prizes, fantasia—and the disciplined fugue, that most anist’s tremendous emotional power, depth and including the Young Concert Artists Award, complex of contrapuntal forms. Working in part expressiveness can be heard in recitals, cham- First Prize in the Clara Haskil Competition, from preludes he had composed for his son Wil- ber and orchestral collaborations around the the Avery Fisher Prize and a Grammy Award helm Friedemann’s instruction, Bach compiled world, as well as in a series of highly acclaimed with clarinetist Richard Stoltzman. a collection he called The Well-Tempered Clavier, Nonesuch recordings, including the recent re- Goode has appeared with many of the world’s a set of 24 preludes and fugues in the major and lease of the complete Beethoven Concerti. greatest orchestras, including the Boston Sym- minor of each of the 12 tones of the scale. Goode opens the 2009-10 season with Ivan phony Orchestra under Ozawa, the Chicago The Well-Tempered Clavier—full of won- Fischer and the Cleveland Orchestra, followed Symphony under Eschenbach, the Cleveland derful, ingenious and expressive music—has by an extensive tour of the U.S. and Europe, Orchestra under Zinman, the San Francisco moved and haunted composers ever since. with concerts in Palm Beach, Jacksonville, Los Symphony under Blomstedt, the Deutsches One of those haunted was Bach himself; two Angeles, San Francisco, Copenhagen, Cologne Symphonie Orchester under Ashkenazy, and decades later, in 1744, he wrote a second set and Dresden, among other cities. He also vis- the BBC Symphony under Belohlavek at the of 24 preludes and fugues. The “48,” as the its Philadelphia, Boston and New York in col- London Proms. He has also appeared with the two books of The Well-Tempered Clavier are laborative performances with pianist Jonathan Orchestre de Paris and Ivan Fischer, and toured sometimes called, have been a part of ev- Biss of piano duos by Beethoven, Schumann, with Fischer and his Budapest Festival Orches- ery pianist’s repertory since then, from the Schubert, Stravinsky and Debussy. tra, as well as making his Musikverein debut humblest amateur to the greatest virtuoso. Goode was honored for his contributions to with the Vienna Symphony. He has been heard Though this music was not published until music with the first ever Jean Gimbel Lane Prize throughout Germany in sold-out concerts with 1801, it had wide circulation in manuscript in Piano Performance in 2006, which culmi- the Academy of St. Martin-in-the-Fields under copies: the young Beethoven dazzled audi- nated in a residency at Northwestern University Sir Neville Marriner. ences with these preludes and fugues during in Evanston, IL for the past two years. His most Richard Goode serves with Mitsuko Uchi- his earliest years in Vienna, and pianist-com- recent season included performances with the da as co-Artistic Director of the Marlboro posers of very different character have felt the Boston Symphony Orchestra under the baton Music School and Festival in Marlboro, Ver- pull of Bach’s achievement. Their number has of Herbert Blomstedt and the Cleveland Or- mont. He is married to the violinist Marcia included composers so diverse as Chopin, chestra with conductor Ivan Fischer. Carnegie Weinfeld, and, when the Goodes are not on Debussy, Rachmaninoff and (surprisingly) Hall featured Goode in an “engrossing” (New tour (with each new city offering the chance Shostakovich, who in 1951 composed his own York Times) eight-event “Perspectives,” series to visit a new or favorite bookstore), they and set of 24 Preludes and Fugues. 2 This program opens with two preludes and own professional orchestra, opera house and quire his own first piano until the 1780s, but he fugues from the second book of The Well- marionette theater. Those residences, however, doubtless had access to pianos long before that). Tempered Clavier. The Prelude in F-sharp mi- were on the broad plain that ran east from Vi- This is indeed very expressive music. Haydn nor is solemn, serious music, and Bach varies enna toward Hungary, and in an oft-quoted scholar H.C. Robbins Landon has hailed it its rhythmic pulse by constantly switching line Haydn said of this isolation: “I was set as “one of the very finest sonatas by Haydn” between triplets, steady sixteenths and synco- apart from the world, there was nobody in and has noted that it is “the first in a distin- pations. The fugue, in three voices, preserves my vicinity to confuse and annoy me in my guished line of C minor keyboard sonatas by the solemnity and the rhythmic complexity course, and so I had to become original.” each of the principal figures in the Viennese of the prelude, developing a great deal of ten- Haydn spent three decades with the Ester- Classical School, Haydn, Mozart, Beethoven sion as its proceeds. ThePrelude in G Major, hazy family, and in his early years of service and Schubert.” The grave and shaded begin- in binary form, drives steadily forward along his symphonies, operas, quartets and much ning of the opening Moderato may establish its 3/4 meter, while the fugue, in 3/8, is ex- other music was written specifically for use an atmosphere, but it does not prepare one tremely concise (and brief); Bach rounds it at the court.
Load more

Recommended publications
  • Solzh 19-20 Short
    IGNAT SOLZHENITSYN 2019-20 SHORT BIO {206 WORDS} IGNAT SOLZHENITSYN Recognized as one of today's most gifted artists, and enjoying an active career as both conductor and pianist, Ignat Solzhenitsyn's lyrical and poignant interpretations have won him critical acclaim throughout the world. Principal Guest Conductor of the Moscow Symphony Orchestra and Conductor Laureate of the Chamber Orchestra of Philadelphia, Ignat Solzhenitsyn has recently led the symphonies of Baltimore, Cincinnati, Dallas, Indianapolis, Milwaukee, Seattle, and Toronto, the Nordwestdeutsche Philharmonie, the Czech National Symphony, as well as the Mariinsky Orchestra and the St. Petersburg Philharmonic. He has partnered with such world-renowned soloists as Richard Goode, Gary Graffman, Gidon Kremer, Anne-Sophie Mutter, Garrick Ohlsson, Mstislav Rostropovich, and Mitsuko Uchida. His extensive touring schedule in the United States and Europe has included concerto performances with numerous major orchestras, including those of Boston, Chicago, Philadelphia, Los Angeles, Seattle, Baltimore, Montreal, Toronto, London, Paris, Israel, and Sydney, and collaborations with such distinguished conductors as Herbert Blomstedt, James Conlon, Charles Dutoit, Valery Gergiev, André Previn, Gerard Schwarz, Wolfgang Sawallisch, Yuri Temirkanov and David Zinman. A winner of the Avery Fisher Career Grant, Ignat Solzhenitsyn serves on the faculty of the Curtis Institute of Music. He has been featured on many radio and television specials, including CBS Sunday Morning and ABC’s Nightline. CURRENT AS OF: 18 NOVEMBER 2019 PLEASE DESTROY ANY PREVIOUS BIOGRAPHICAL MATERIALS. PLEASE MAKE NO CHANGES, EDITS, OR CUTS OF ANY KIND WITHOUT SPECIFIC PERMISSION..
    [Show full text]
  • Brentano String Quartet
    “Passionate, uninhibited, and spellbinding” —London Independent Brentano String Quartet Saturday, October 17, 2015 Riverside Recital Hall Hancher University of Iowa A collaboration with the University of Iowa String Quartet Residency Program with further support from the Ida Cordelia Beam Distinguished Visiting Professor Program. THE PROGRAM BRENTANO STRING QUARTET Mark Steinberg violin Serena Canin violin Misha Amory viola Nina Lee cello Selections from The Art of the Fugue Johann Sebastian Bach Quartet No. 3, Op. 94 Benjamin Britten Duets: With moderate movement Ostinato: Very fast Solo: Very calm Burlesque: Fast - con fuoco Recitative and Passacaglia (La Serenissima): Slow Intermission Quartet in B-flat Major, Op. 67 Johannes Brahms Vivace Andante Agitato (Allegretto non troppo) Poco Allegretto con variazioni The Brentano String Quartet appears by arrangement with David Rowe Artists www.davidroweartists.com. The Brentano String Quartet record for AEON (distributed by Allegro Media Group). www.brentanoquartet.com 2 THE ARTISTS Since its inception in 1992, the Brentano String Quartet has appeared throughout the world to popular and critical acclaim. “Passionate, uninhibited and spellbinding,” raves the London Independent; the New York Times extols its “luxuriously warm sound [and] yearning lyricism.” In 2014, the Brentano Quartet succeeded the Tokyo Quartet as Artists in Residence at Yale University, departing from their fourteen-year residency at Princeton University. The quartet also currently serves as the collaborative ensemble for the Van Cliburn International Piano Competition. The quartet has performed in the world’s most prestigious venues, including Carnegie Hall and Alice Tully Hall in New York; the Library of Congress in Washington; the Concertgebouw in Amsterdam; the Konzerthaus in Vienna; Suntory Hall in Tokyo; and the Sydney Opera House.
    [Show full text]
  • View PDF Online
    MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951.
    [Show full text]
  • RICHARD GOODE, Piano
    GUEST ARTIST CONCERT RICHARD GOODE, piano Monday) September 14) 198 7 8:00p.m. in Hamman Hall ,. the RICE UNIVERSITY Sfiepherd_ SchOol Of Music PROGRAM LUDWIG VAN BEETHOVEN (1770-1827) Sonata No. 1 in F Minor, Op. 2 No. 1 Allegro Adagio Menuetto: Allegretto; Trio Prestissimo Sonata No. 4 in E-Jlat Major, Op. 7 Allegro molto e con brio Largo, con gran espressione Allegro Rondo: Poco allegretto e grazioso INTERMISSION Sonata No. 8 in C Minor, Op. 13, "Pathetique)) Grave; Allegro di molto e con brio Adagio cantabile Rondo: Allegro Sonata No. 28 in A Major, Op. 101 Allegretto ma non troppo Vivace alla marcia Adagio, ma non troppo, con ajfetto Allegro This concert was funded in part by an endowment established in 1979 by a bequest from Henry Leigh Bartlett, M.D. Richard Goode is represented by Byers, Schwalbe & Assoc., Inc. Photographing and sound recording are prohibited. We further request that audible paging devices not be used during the performance. Paging arrangements may be made with the ushers. BIOGRAPHY An acclaimed recitalist} chamber musician} and frequent guest soloist with major orchestras} pianist RICHARD GOODE is one of this countryJs most sought after musicians and leading interpreters of Beethoven. Not only has Mr. Goode embarked on a vast recording project of all the Beethoven sonatas for Book-of-the-Month Records} but he has performed the complete Beethoven piano concerti with David Zinman and the Baltimore Symphony as part of its 1986 summer festival. In the upcoming 1987-1988 season Mr. Goode will undertake the complete Beethoven sonata cycle - thirty-two sonatas in a seven concert series - at the 92nd Street Y in New York City.
    [Show full text]
  • Americanensemble
    6971.american ensemble 6/14/07 2:02 PM Page 12 AmericanEnsemble Peter Serkin and the Orion String Quartet, Tishman Auditorium, April 2007 Forever Trivia question: Where Julius Levine, Isidore Cohen, Walter Trampler and David Oppenheim performed did the 12-year-old with an array of then-youngsters, including Richard Goode, Richard Stoltzman, Young Peter Serkin make his Ruth Laredo, Lee Luvisi, Murray Perahia, Jaime Laredo and Paula Robison. New York debut? The long-term viability of the New School’s low-budget, high-star-power series (Hint: The Guarneri, is due to several factors: an endowment seeded by music-loving philanthropists Cleveland, Lenox and such as Alice and Jacob Kaplan; the willingness of the participants to accept modest Vermeer string quartets made their first fees; and, of course, the New School’s ongoing generosity in providing a venue, New York appearances in the same venue.) gratis. In addition, Salomon reports, “Sasha never accepted a dime” during his 36 No, not Carnegie Recital Hall. Not the years of labor as music director or as a performer (he played in most of the 92nd Street Y, and certainly not Alice Tully concerts until 1991, two years before his death). In fact, Sasha never stopped Hall (which isn’t old enough). New Yorkers giving—the bulk of his estate went to the Schneider Foundation, which continues first heard the above-named artists in to help support the New School’s chamber music series and Schneider’s other youth- Tishman Auditorium on West 12th Street, at oriented project, the New York String Orchestra Seminar.
    [Show full text]
  • Richard Goode, Piano
    Sunday, April 22, 2018, 3pm Zellerbach Hall Richard Goode, piano PROGRAM William Byrd (c. 1539/40 or 1543 –1623) Two Pavians and Galliardes from My Ladye Nevells Booke (1591) the seconde pavian the galliarde to the same the third pavian the galliarde to the same Johann Sebastian Bach (1685 –1750) English Suite No. 6 in D minor, BWV 811 (1715 –1720) Prelude Allemande Courante Sarabande - Double Gavotte I Gavotte II Gigue Ludwig van Beethoven (1770 –1827) Sonata No. 28 in A Major, Op. 101 (1815 –16) Etwas lebhaft, und mit der innigsten Empfindung. Allegretto, ma non troppo Lebhaft. Marschmäßig. Vivace alla Marcia Langsam und sehnsuchtsvoll. Adagio, ma non troppo, con affetto Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro INTERMISSION Claude Debussy (1862 –1918) Préludes from Book Two (1912 –13) Brouillards—Feuilles mortes—La puerta del Vino—Les fées sont d’exquises danseuses— Bruyères—“Général Lavine” – excentric— La terrasse des audiences du clair de lune— Ondine—Hommage à S. Pickwick Esq. P.P.M.P.C.— Canope—Les tierces alternées—Feux d’artifice Richard Goode records for Nonesuch Cal Performances’ 2017 –18 season is sponsored by Wells Fargo. 7 PROGRAM NOTES William Byrd Among Byrd’s most significant achievements Selections from My Ladye Nevells Booke was the raising of British music for the virginal, William Byrd was not only the greatest com - the small harpsichord favored in England, to poser of Elizabethan England, but also one of a mature art, “kindling it,” according to Joseph its craftiest politicians. At a time
    [Show full text]
  • Musicians from Marlboro
    CAL PERFORMANCES PRESENTS PROGRAM NOTES Sunday, April 22, 2012, 3pm Joseph Haydn (1732–1809) goals to destroy every harpsichord they could Hertz Hall Trio for Piano, Violin and Cello in E-flat find as a symbolic smashing of the old aristoc- major, H. XV:29 racy—the new times in France called for a new musical instrument. Composed in 1796 or 1797. The social reason promoting the acceptance Musicians from Marlboro of the piano, one not unrelated to the upheavals Tien-Hsin Cindy Wu, violin The history of the piano is far more than the in France, was the rise of the middle class, the Hye-Jin Kim, violin mere recounting of the mechanical and techni- new gentry who had both leisure time and the Philip Kramp, viola cal development of an instrument—it is a virtu- money to enjoy it. In those days before record- al microcosm of the progress of modern Western ings and broadcasts, music could only be heard Peter Wiley, cello civilization. The first keyboard instrument at the instant and place it was produced, so the Anna Polonsky, piano capable of responding to the varying touch of demand for a musical instrument as the center the player was the gravicembalo col piano e forte of home entertainment—for the fashionable (“harpsichord with soft and loud”), invented piano—mounted. PROGRAM in Florence in 1709 by Bartolomeo Cristofori. The success of the piano as an item of com- Cristofori’s instrument, whose sound was acti- merce followed, of course, the increased demand. vated by a hammer thrown against a string ac- By the turn of the 19th century, and especially Joseph Haydn (1732–1809) Trio for Piano, Violin and Cello in E-flat major, cording to the force of the pressure applied at with the development of the metal-frame piano H.
    [Show full text]
  • Richard Goode, Piano
    Cal Performances Presents Sunday, October 5, 2008, 3pm Zellerbach Hall Richard Goode, piano PROGRAM Johann Sebastian Bach (1685–1750) Prelude and Fugue in G minor from Book II of The Well-Tempered Clavier, BWV 885 (c.1720) Bach French Suite No. 5 in G major, BWV 816 Allemande Courante Sarabande Gavotte Bourrée Loure Gigue Frédéric Chopin (1810–1849) Four Selected Mazurkas Chopin Nocturne in D-flat major, Op. 27, No. 2 (1835) Chopin Scherzo No. 3 in C-sharp minor, Op. 39 (1839) INTERMISSION Franz Schubert (1797–1828) Sonata in B-flat major, D. 960 (1828) Molto moderato Andante sostenuto Scherzo: Allegro vivace con delicatezza Allegro, ma non troppo This concert is part of the Koret Recital Series. Made possible in part through the generosity of Patron Sponsors Lynn and Donald A. Glaser. Cal Performances’ 2008–2009 season is sponsored by Wells Fargo. CAL PERFORMANCES 11 About the Artist About the Artist the University of Illinois, in Denver, Portland, season included the Budapest Festival Orchestra with clarinetist Richard Stoltzman won a Grammy Oregon, at Cal Performances in Berkeley, in under the baton of Iván Fisher and the DSO Berlin Award. Mr. Goode’s first, long-awaited Chopin Kansas City, New Orleans, Philadelphia, for the with Herbert Blomstedt. recording was also chosen Best of the Month Orange County Philharmonic Society and the A native of New York, Richard Goode stud- by Stereo Review and described as “absolutely Washington Performing Arts Society. Orchestral ied with Elvira Szigeti and Claude Frank, with magical…glorious playing.” engagements include the Boston Symphony with Nadia Reisenberg at the Mannes College of Music, Over the last seasons, Richard Goode has ap- Herbert Blomstedt, St.
    [Show full text]
  • CURTIS INSTITUTE of MUSIC 2018–19 STUDENT RECITAL SERIES the Edith L
    CURTIS INSTITUTE OF MUSIC 2018–19 STUDENT RECITAL SERIES The Edith L. and Robert Prostkoff Memorial Concert Series X TWENTIETH STUDENT RECITAL Residency Recital: Jonathan Biss, Miriam Fried, and Mozart’s Sonatas for Piano and Violin Friday, November 30 at 8 p.m. Field Concert Hall X This program is preceded by a conversation between Miriam Fried, guest artist, and Matthew Barker, director of recitals and master classes, at 7:30 pm. Sonata in B-flat major, K. 454 WOLFGANG AMADEUS MOZART Largo-----Allegro (1756–91) Andante Allegretto Emily Shehi, violin Jonathan Biss, piano Sonata in E-flat major, K. 481 MOZART Molto allegro Adagio Allegretto Emma Carina Meinrenken, violin Junhui Chen, piano INTERMISSION Sonata in E minor, K. 304 MOZART Allegro Tempo di menuetto Danny Yehun Jin, violin Avery Gagliano, piano Sonata in A major, K. 526 MOZART Molto allegro Andante Presto Grace Clifford, violin Janice Carissa, piano X Photographic and recording equipment may not be used in Field Concert Hall. Recitals are professionally recorded for educational use and possible broadcast. This concert will be streamed live through YouTube (www.curtis.edu/YouTube). COACHES This program was prepared by Jonathan Biss, faculty, and Miriam Fried, guest artist. PERFORMERS Janice Carissa, from Surabaya, Indonesia, is a student of Gary Graffman and Robert McDonald, and entered Curtis in 2013. Junhui Chen, from Fuzhou, China, is a student of Robert McDonald and entered Curtis in 2015. Grace Clifford, from Sydney, Australia, is a student of Pamela Frank and entered Curtis in 2014. Avery Gagliano, from Washington, D.C., is a student of Jonathan Biss and Gary Graffman, and entered Curtis in 2016.
    [Show full text]
  • Richard Goode, Piano
    CAL PERFORMANCES PRESENTS Sunday, March 25, 2012, 3pm Zellerbach Hall Richard Goode, piano PROGRAM Wolfgang Amadeus Mozart (1756–1791) Fantasy and Sonata in C minor, K. 475 (1785) Adagio — Allegro — Andantino — Più Allegro — Tempo primo Mozart Sonata in C minor, K. 457 (1784) Allegro Adagio Molto Allegro Ludwig van Beethoven (1770–1827) Sonata in E-flat major, Op. 31, No. 3 (1802) Allegro Scherzo: Allegretto vivace Menuetto: Moderato e grazioso Presto con fuoco INTERMISSION Frédéric Chopin (1810–1849) Nocturne in E-flat major, Op. 55, No. 2 (1843) Scherzo No. 3 in C-sharp minor, Op. 39 (1839) Waltz in A-flat major, Op. 64, No. 3 (1833) Waltz in C-sharp minor, Op. 64, No. 2 (1833) Waltz in F major, Op. 34, No. 3 (1838) Ballade No. 3 in A-flat major, Op. 47 (1840–1841) Funded by the Koret Foundation, this performance is part of Cal Performances’ 2011–2012 Koret Recital Series, which brings world-class artists to our community. Additional funding is also provided by Patron Sponsors Jim and Ruth Reynolds. Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. CAL PERFORMANCES 27 PROGRAM NOTES PROGRAM NOTES Wolfgang Amadeus Mozart (1756–1791) a dedication to Therese von Trattner, the com- Ludwig van Beethoven (1770–1827) presence of mind!), but had been denied permis- Fantasy and Sonata in C minor, K. 475 and poser’s 23-year-old piano student who was the Sonata in E-flat major, Op. 31, No. 3 sion by the girl’s father for the then perfectly K. 457 second wife of the 64-year-old court printer and valid reason that the young composer was with- publisher, Johann Thomas von Trattner.
    [Show full text]
  • Raleigh Piano Teachers Association Raleigh Piano Teachers Association
    Raleigh Piano Teachers Association May our words be Dolce, Our hearts be Giocoso, Affiliate of North Carolina Music Teachers Association Our spirits, Con Fuco, And all our teaching, Con Amore Sunday: From the President April 2013 *I learned that I’m not the only teacher having Number 101 Marie Willett a problem with getting my students to practice consistently, and that I’m going to have to try some new creative tricks to make www.raleighpianoteachers.org What I Learned from the MTNA it happen. National Conference Yahoo group: raleighpianoteachers One idea I liked in particular is to have my The night before: students “blog” about their practice time, either on the computer or leave room Inside this Issue *Don’t “personalize” your luggage underneath each specific assignment. immediately after purchase because then you cannot return it to the store. • *There is a hidden Mickey Mouse in the From the President ceramic tiles of the hotel shower. I proudly painted a keyboard and paw prints 1 on the black suitcase for easy recognition. Monday: *If your suitcase looks too big, it probably is. *The keynote speaker Rick Beyer told us • Clavier Subscription some of the greatest music stories never told, 2 My “masterpiece” was 2 inches exceeding the from his book of the same title. I had to buy Deadline maximum and would cost me $150 round trip. the book, and of course had it autographed! • Musicale… Two very old duffle bags had to suffice • RPTA Meetings *I learned that earthquakes over there are not instead. • as big of a deal as they are over here.
    [Show full text]
  • ARTIST HISTORY for the PEOPLES' SYMPHONY CONCERTS
    ARTIST HISTORY for the PEOPLES’ SYMPHONY CONCERTS 2019-2020 Season Garrick Ohlsson, piano Juilliard String Quartet Shai Wosner, piano and Jennifer Koh, violin Paul Huang, violin & Helen Huang, Piano Musicians from Marlboro Vadym Kholodenko, piano Anthony Marwood, violin Calidore String Quartet Dover String Quartet Chamber Music Society of Lincoln Center Juilliard String Quartet Rosamunde String Quartet Pamela Frank Quintet Augustin Hadelich, violin & Orion Weiss, piano Quatuor Danel Benjamin Grosvenor, piano Yefim Bronfman, piano Camille Thomas, cello & Julien Brocal, piano Alexander Melnikov, piano Kalichstein-Laredo-Robinson Trio Richard Stoltzman, clarinet Cancelled or Postponed due to Pandemic Augustin Hadelich, violin Denes Varjon, piano Kalichstein-Laredo-Robinson Trio Junction Trio Paul Lewis, piano Vladimir Feltsman, piano Calefax Reed Quintet Dover Quartet & Shai Wosner, piano Marc-Andre Hamelin, piano 2015-2016 Season Mark Padmore, tenor & Ethan Iverson, piano Dover String Quartet with Paul Watkins, cello Zoltan Fejervari, piano 2018-2019 Season Joseph Kalichstein, piano Dover Quartet Itamar Zorman, violin Jonathan Biss, piano Juilliard String Quartet Paul Lewis, piano Richard Goode, piano Quatuor Danel Marc-Andre Hamelin, piano Russian Renaissance Behzod Abduraimov, piano Richard Stoltzman, clarinet/David Deveau, piano/Sarah Shafer, soprano Laredo-Robinson Duo Argus String Quartet Signum String Quartet Chamber Music Society of Lincoln Center Artemis String Quartet Itamar Zorman, piano ECCO Juilliard String Quartet Ariel String
    [Show full text]