th SEASON PROGRAM NOTES 46 Week 4 August 5 – 11, 2018 Sunday, August 5, 6 pm K. 496, a lovely tempo di minuetto, and the its rhythm—heard almost continuously in Monday, August 6, 6 pm third is an extraordinary opening allegro the piano—unifies the entire movement; the in D Major from 1788 or 1789. K. 564 gentle second subject, announced by the Please note: Program on Monday, August 6 is expands the role of the cello a good deal, viola and marked espressivo, gracefully sets the same as Sunday, August 5. The program looking toward the unfinished D-Major trio off the energy of the opening episode. In the order is Walton, Mozart, and Fauré. movement. K. 564 is a sunny and affable development Fauré brings back the opening piece, perfect for after-dinner music- theme, now slowed down and played WOLFGANG AMADEUS MOZART making.” gently, and the wonder is that a theme (1756 – 1791) The opening movement of this last which moments before had moved forward Piano Trio No. 6 in G Major, K. 564 (1788) completed trio is virtually monothematic— martially can be so transformed and made to until the development, when an entirely sing lyrically. In the coda this opening theme We are easily spoiled by genius; no new theme provides the basis for the central recurs quietly in the viola as the movement sooner are we awed by some unexpected section. Mozart indulges in a technique that draws to its calm conclusion. magnificence than we find ourselves Beethoven would eventually use to powerful Fauré reverses the expected order of the rejecting the next offering. Beethoven gave effect, that of a “false” recapitulation: what interior movements and places the scherzo, the world his Symphony No. 7—and the feels like the start of the recap instead marked Allegro vivo, second. The piano’s critics carped that No. 8 was no worthy launches into further development. opening idea rocks along cheerfully above successor. Tchaikovsky is celebrated for The Andante is a theme with six variations, pizzicato accompaniment in the strings; his Piano Concerto No. 1, but how few the fifth of which is a haunting excursion alert listeners will recognize it as a variant champion No. 2. Puccini unveils Madama into a minor key. The finale is a perky rondo, of the espressivo second theme of the first Butterfly, and we want…well, not The Girl of with a first episode featuring a theme in movement. The scherzo reaches a cadence, the Golden West. G Minor (retaining the siciliano rhythm of and then, in another pleasing surprise, Fauré Thus we find, after the sublime K. 542 the main melody). After the return of the replaces the expected trio section with a and “Jupiter-esque” K. 548, that the last of rondo theme, a C-Major episode offers a graceful chorale for muted strings. Mozart’s piano trios, K. 564, is frequently different take on a dance-like propulsion in Because of their many similarities, the dismissed as “rather childlike,” with “less a quasi-folk style. The conclusion is all but a final two movements should be considered than inspirational themes,” and “conceived free-for-all, with all three players indulging together. The Adagio is built on the brief as a piano sonata,” with the strings playing in overlapping entrances of thematic motifs. dotted phrase first heard in the cello: a decidedly subservient role. But annotator —Greg Hettmansberger this rising figure will unify the final two Robert Philip argues for a different movements. The lyric second episode, perspective: “Mozart gives the impression of GABRIEL FAURÉ (1845 – 1924) introduced by the violin, contains the having put every note in precisely the right Piano Quartet in C Minor, Op. 15 (1879) same rhythm, and the opening theme of place…And if one imagines eavesdropping the finale—Allegro molto—rushes along on friends playing at home, rather than Fauré wrote the Piano Quartet in C Minor, on this same rising, dotted theme-shape. the formality of concert presentation, one of the masterpieces of his early period, The energetic finale seems to be in motion this elegant and charming piece seems between 1876 and 1879 when he was in throughout. Even when the viola sings the completely in its element.” his early 30s. Despite the work’s success, second theme, marked dolce ed espressivo, Robert Levin, with his usual fine-toothed- the composer was dissatisfied with the this graceful melody assumes the rising comb scholarship, not only points out that final movement and rewrote it in 1883, shape that characterizes the final two the cello is given more prominence in making it—as he said—“new from top to movements. It is a measure of Fauré’s K. 564, but there is evidence that Mozart toe.” In its completed form, the Quartet achievement in this music that so simple a had at least one more piano trio up his is an extraordinary achievement, both for figure can be made to yield such a range of sleeve. “In addition to the canonical trios, the range of its expression and for Fauré’s expression. Buoyed along by its inexhaustible there are significant drafts for three more imaginative craftsmanship. energy, the Quartet rushes to its close. movements, all fragments that Maximilian The Allegro molto moderato opens Given this music’s popularity today, it Stadler grouped into the so-called Piano with a sturdy theme in the strings with comes as a surprise to learn that Fauré had Trio in D Minor, K. 442. Its first movement is off-the-beat accompaniment from the a great deal of trouble getting it published. a D-Minor opening allegro from 1785, the piano. The vigor and drive of this opening No publisher wanted to take a chance on second movement is the original finale to continue throughout the movement, and a little-known composer. The Quartet was

Program notes for Music at Noon Concerts are sponsored by Barbara & Ronald Balser with thanks to the gifted Festival musicians who inspire us all. rejected by two of France’s major publishing in a program note for a 1954 recording: “… time races into something very much akin firms and was accepted by a third only on they are abstract poems—that is, they are to a Gilbert and Sullivan “patter song.” In the condition that the composer surrender patterns in sound; they are, too, in many many numbers, Walton takes an obvious clue all his rights to it. Desperate to have his work cases, virtuoso exercises in poetry (of an from the verses for his musical backdrop, published, Fauré could do nothing but extreme difficulty)—in the same sense such as in Tango-Pasodoblé and Jodelling accept those terms. He never made a penny as certain studies of Liszt are studies in Song. There are spots where one can glean on this music. transcendental technique in music.” an influence of Stravinsky, but also clear —Eric Bromberger Her brothers quickly encouraged her references to English music hall, not to to collaborate with Walton, believing the mention the generally chaotic energy of the WILLIAM WALTON (1902 – 1983) poems perfect for a kind of whimsical soirée. Roaring Twenties as a whole. Façade: An Entertainment (1923;1942) Walton took a little convincing, but when Learning about premieres such as Façade, he began his pen flew: for most of his life one sometimes longs for that elusive time Few works have announced a young talent he had the reputation of an agonizingly machine to see what it felt like at that with as much lightning-bolt suddenness slow composer, but Façade was completed moment. But we should be thankful that as the first public performance ofFaçade — essentially within three weeks. we have at our disposal so many wonderful or proved as unreliable in foretelling the The first performance was a private one recordings where we can both savor and direction and reputation of the composer in for about 20 suitably bewildered guests. sift through every delicious syllable and later years. For that matter, Façade is one of The public premiere was June 12, 1923, instrumental gesture—and when we hear it the truest collaborations between poet and and flabbergasted audiences and critics live, the Sengerphone is dispensed with, and composer from any period of art; without to the hilt. In retrospect, one does wonder we can follow the kaleidoscopic texts as discounting Edith Sitwell’s overall reputation, how much was lost in the translation, so we listen! it is safe to say that the majority of the to speak. In an attempt to de-personalize —Greg Hettmansberger poems incorporated by Walton wouldn’t the verse, Edith Sitwell declaimed the amount to much on their own, and his music texts from behind a curtain and through a is often part and parcel of Sitwell’s visual megaphone—and not just any megaphone and rhythmic verse. (which would distort the subtleties of the Walton was only 19 years old when the words in any case), but a Sengerphone, brief but combustible collaboration began a device developed by a singer who had with Edith Sitwell, and there was scarcely portrayed the role of the dragon Fafner of a clue in his background as to what he Wagner’s Der Ring des Nibelungen fame was about to achieve. The son of a singing at Bayreuth. teacher/organist father and a mother who Walton conducted the six players and had been a singer, his early talent for voice Sitwell. Her verse was carefully notated led him to a position as probationer chorister rhythmically but without definite (a chorister-in-training) at Christ Church pitch. Certainly there are influences of Cathedral at Oxford around the age of 10; six Schoenberg’s Pierrot Lunaire with its years later he was one of the youngest ever Sprechgesang and shades of Erik Satie’s admitted to Christ Church as a student. This ballet Parade. On that fateful night, was due, in part, to some early signs that he catalogued at once as a succès de scandale, might have a real talent for composition; 28 songs and the Fanfare were heard. In all, indeed, he had no problems passing the Walton eventually set 40 of Sitwell’s poems, musical exams, but his failure in algebra led but it was not until 1942 that what has to his leaving the school without a diploma. become the “standard” performing version But he had found something more was performed and published. Opening with valuable there: his relationship with the brief Fanfare, 21 songs are now grouped Sacheverell Sitwell resulted in an invitation in seven groups of three (a clear nod to to join him and his brother and sister Osbert Pierrot, at the suggestion of the composer and Edith in London. As Walton recalled, “I Constant Lambert). Yet long before, there went for a few weeks, and stayed 15 years.” had been a successful performance in 1926, While there he had lessons with Ernest two orchestral suites, and a ballet. Ansermet and Feruccio Busoni and met Walton eventually settled on one player Stravinsky and Gershwin. for flute and piccolo, one for clarinet and Edith Sitwell (1887 – 1964), more than bass clarinet, alto saxophone, trumpet, a decade Walton’s senior, had already percussion, and cello (although given the published a few of the poems that would difficulty of the part, he also arranged it eventually be set by Walton. She took a for two cellos). One reciter is listed, but focused interest in producing works that many performances and recordings employ decidedly had nothing to do with poetry in two, one male and one female (as in this the traditional sense. She described them performance). The opening Hornpipe in no

2 2018 Program Notes Week Four Tuesday, August 7, noon joy, simplicity as necessity, contrasts as form. movement around the contrast of two The eruptive side of the music is not sharply distinctly different themes. His marking for HANS ABRAHAMSEN (b. 1952) segregated from the simple, harmoniously the movement, Assai sostenuto—Allegro, String Quartet No. 1, “10 Preludes for String melodious side. Each of the ‘short stories’ makes plain the contrast between themes at Quartet” (1973; rev. 1976) points forward to the next and at the same different tempos. Beethoven switches back time back to its predecessor and thus makes and forth between his two principal themes: Part of what ultimately shaped the Danish for a composed overall structure. That the a slow cantus firmus opening and a composer Hans Abrahamsen’s sensitivity last of the preludes is a straight Baroque steady march-like melody announced by to musical color in particular and artistic pastiche could be interpreted as an almost the first violin. expression in general was the result of an Holbergian moral where things are sorted The second movement, in ABA form, attack of cerebral palsy. The disease left him out and loose ends tied. Like in fairy tales conforms outwardly to the Classical with a less-than-fully-functioning right one could say, ‘…there, this was a true story.’” minuet and trio. Many have been struck hand, precluding advanced studies in piano. The work was dedicated to the Kontra- by the similarity between the opening of He switched his focus to French horn, and Quartet, which was founded the same year this movement and the opening of the his overall ability led him to the Royal Danish the piece was composed. second movement of Mozart’s Quartet in Academy of Music. As a composer, he came —Greg Hettmansberger A Major, K. 464: both make use of a rising under the influence of a movement known unison answered by a dancing figure in the as the “New Simplicity,” a reaction to the LUDWIG VAN BEETHOVEN (1770 – 1827) first violin. Beethoven treats this theme density and complexity of central European String Quartet in A Minor, Op. 132 (1825) canonically, drawing a great deal from these avant-garde techniques. His earliest works limited means. The trio section brings a (and he was already published at the age of Russian Prince Nikolas Galitzin drone: the first violinist not only plays the 16) reveal his aesthetic response to the new commissioned three string quartets from theme high on the E string but accompanies movement, but he soon added a depth of Beethoven in the fall of 1822 and in the the melody with the open A. expression and structure in his works. process set in motion the final phase of the The third movement (Molto adagio) has a By 1990 Abrahamsen appeared to be composer’s creative life. Beethoven had to remarkable heading: in the score Beethoven on the verge of a steadily growing career, complete the Missa Solemnis and Ninth titles it “Sacred Song of Thanksgiving to the but for nearly a decade he was silent as a Symphony before he could begin Deity from a Convalescent, in the Lydian composer, producing just one short song the quartets in 1824; he completed the Mode,” a clear reflection of the illness he prior to 1998. But with the creation of his first (Opus 127) and began a second had just come through. This is a variation Piano Concerto (written for his wife) in the (Opus 132) early the next year. But in movement, and Beethoven lays out the slow last two years of the century, Abrahamsen April 1825—while composing the Quartet opening section full of heartfelt music. But launched an unbroken stretch of ever- in A Minor—Beethoven became so ill with an suddenly the music switches to D Major greater success. He attracted worldwide intestinal disorder that his doctor put him and leaps ahead brightly; Beethoven notice with Schnee (Snow) for nine on a strict diet and suggested a move to the marks this section “Feeling New Strength.” instruments, and topped that with his song country. Only gradually did the composer These two sections alternate through cycle “let me tell you.” Premiered in 2013, it resume his strength, moving to the resort this movement (the form is ABABA), and eventually garnered the Grawemeyer Award town of Baden, where he completed the the opening section is so varied at each of $100,000. Quartet that July; it was first performed in reappearance that it seems to take on an The two most important early mentors September. entirely different character each time. Each in Abrahamsen’s development were Each of the late quartets has a unique section is distinct, and each is moving in its Pelle Gudmundsen-Holmgreen and Per structure, and the structure of the Quartet own way (Beethoven marks the third “With Nørgård, and the String Quartet No. 1 is a in A Minor is one of the most striking. Its the greatest feeling”). This movement has clear reflection of their “New Simplicity” five movements form an arch. At the center seemed to many listeners the greatest music leanings. The work bears little resemblance is a stunning slow movement that lasts Beethoven ever wrote and has provoked a to traditional quartet structure, of course, nearly half the length of the entire Quartet. range of reactions. In Aldous Huxley’s novel but in the rapid course of its 10 sections The powerful outer movements evolve out Point Counterpoint the assassin Spandrell (totaling about 20 minutes) we are always of Classical forms (sonata form and rondo), commits suicide after hearing it. Perhaps the keenly aware of efficient use of spare while the even-numbered movements, problem of all who try to write about this building blocks. There are no titles, just lighter in mood, also show some relation to music is precisely that it cannot be described tempo markings, and from the very first earlier forms (minuet and march). This is a in words and should be experienced simply prelude we experience rapid and unprepared massive Quartet—it lasts three-quarters of as music. jumps from fff to pp and back again. Most of an hour—but the effect is of a powerful and After such a movement some relief is the time the musicians play together, not in expressive unity. necessary, and Beethoven provides an opposition to each other. In the composer’s The opening movement is in a kind of energetic little march, much in the manner own comment on the work he says, “In sonata form, but this is the sonata form of Haydn. But this suddenly breaks off, all their briefness these 10 ‘short stories’ that Beethoven had evolved late in his and the first violin soars into a recitative contain almost all that can be desired of career. Long gone is the clear structural that leads directly into the last movement. musical expression within the relatively short progression of the Haydn-Mozart opening Many have felt a similarity between this period of 20 minutes. Violence expressed as movement; instead, Beethoven builds this recitative and the one that launches the

3 2018 Program Notes Week Four final movement of the Ninth Symphony Wednesday, August 8, noon non-sequitur title and the dancing, composed the year before. This connection staccato figures and lilting tune would is strengthened when one learns that CLAUDE DEBUSSY (1862 – 1918) delight as much. Beethoven had originally intended to Suite bergamasque for Piano —Greg Hettmansberger use the finale of this Quartet as the last (ca. 1890; rev. 1905) movement of the Ninth Symphony when GYÖRGY LIGETI (1923 – 2006) that Symphony was still planned as an all- The pair of dates above can certainly cause Etudes for Piano, Book 1 (1985) instrumental composition. The finale of the a little head-scratching, especially for those No. 1, Désordre Quartet, a buoyant rondo, seems full of the who know that the ubiquitous Clair de No. 5, Arc-en-ciel same mood of transcendence and triumph lune has its origins as the third movement No. 4, Fanfares that marks the Ninth Symphony, and of this justly popular Suite by Debussy. We Beethoven rounds off this most remarkable know that the four-movement Suite was György Ligeti studied the piano as a young Quartet with a presto coda that drives this composed in 1890 and then laid aside, man but never became a virtuoso performer music to the ringing, final A-Major chords. unpublished. We also know that when he or even a particularly accomplished pianist. —Eric Bromberger had the opportunity to publish the Suite But he always longed to be a good pianist, 15 years later, he made some revisions—but and he made a point of playing the piano exactly what was revised and how much every day: staying in physical contact with remains mostly a mystery. the keyboard brought a particular kind of The whole of the Suite was generally reality and a special inspiration. In a liner conceived as a tribute to the harpsichordists note to a recording of his Etudes for Piano of an earlier era (clavecinistes in France) Ligeti spoke of the physical impact of the and Debussy’s broader take on his country’s piano on him as a composer: society of the 17th and 18th centuries. “I lay 10 fingers on the keyboard and Musically, there is a seductive mixture of imagine music. My fingers copy this mental irony and gently sincere reverence. There image as I press the keys, but this copy is is also a clear connection to the poet Paul very inexact: a feedback emerges between Verlaine, whose poem “Clair de lune” had ideas and tactile/motor execution. This already been set by Debussy in 1891; the text feedback loop repeats itself many times, also uses the word “bergamasque.” (It refers enriched by provisional sketches … The result to a type of dance rhythm peculiar to the sounds completely different from my initial city and province of Bergamo in Lombardy, conceptions: the anatomical reality of my Italy.) hands and the configuration of the piano The Prélude opens with a flourish that keyboard have transformed my imaginary rises from the lower range of the piano constructs … A well-formed piano work almost like a formal bow. Containing two produces physical pleasure.” contrasting sections in F Major and A Minor Shortly after his 60th birthday, Ligeti with a return to the opening material, there began composing a series of etudes for is an unhurried dignity about the piece. piano. He collected these as Book 1 (six Aside from textural clarity and a feeling of etudes, published in 1985), Book 2 (eight restraint (and the title), there is no minuet— etudes, 1994), and Book 3 (four etudes, or the usual “trio” section—in the second 2001). This recital offers three etudes from movement Menuet. But there is plenty of Book 1, which was awarded the 1986 moonlight in the justly celebrated Clair de Grawemeyer Award as the outstanding Lune. By any other name the piece would classical composition of the year. shimmer with all of its allure, and originally Though No. 1 is titled Désordre, it is quite it did have another name, Promenade organized music. Ligeti’s marking is Molto sentimentale. It is clearly the movement vivace, vigoroso, molto ritmico, and he that resonates most strongly for us as the weaves the melodic line between the hands most representative of Debussy’s mature even in the midst of the percussive drive of “Impressionist” style, and the two sets of this music, which does not for one instant Images that followed in 1905 and 1907 are relax its tempo. This Etude is dedicated to further evidence of that. Pierre Boulez. Ligeti titles No. 5 Arc-en-ciel, The finale also had a different title, and at moments this music is reminiscent Pavane, before Passepied was attached to of another composer who sometimes it. For Debussy, the reference to an ancient wrote ecstatically about rainbows, Olivier dance was clearly one of the spirit, rather Messiaen. Ligeti marks this music Andante than the letter, of the law: the passepied con eleganza, with swing and stresses was in 3/4 time, while this movement is in that “The metronome mark represents 4/4 meter (perfectly suitable for a pavane). an average, the semiquaver movement But in the end, one could attach almost any fluctuating freely around this average 4 2018 Program Notes Week Four tempo, as in jazz.” No. 4, Fanfares, is marked expressed himself fully when he turned harmonies and subtle variations to a climax Vivacissimo molto ritmico and built on an his back on the Classical structures over that seems unlikely to be contained by the ostinato of eight notes stressed 3+2+3. which Mozart and Beethoven had cast such banks of a canal. This ostinato continues throughout, leaping daunting shadows. —Greg Hettmansberger between the pianist’s hands. Against this In the case of nocturnes, Chopin had constant, irregular pulse Ligeti sets a series a direct and not just recent, but living of consonant melodies that dance lightly, model from the pen of John Field, the Irish almost playfully. Ligeti disagreed with those composer who is credited with establishing who described some of his etudes as jazz, the form. Their lives overlapped (Field was though he has spoken of his admiration for born in 1782 and died in 1837), but Field Theolonius Monk and Bill Evans, and some spent much of his adult life in Russia. may hear their influence here. In fact, Ligeti’s Still, Chopin knew many of Field’s works, original title for this Etude was Bartoque, and the two finally met in 1832, the year and the irregular meter of the ostinato Chopin published his first three nocturnes recalls the folk music of Eastern Europe that as Opus 9. Before he was finished with the Bartók loved so much. 21st and last of them (the last three were —Eric Bromberger published posthumously) he had elevated this new form of “night music” to heights of FRÉDÉRIC CHOPIN (1810 – 1849) expression rarely equaled. Nocturne No. 8 in D-flat Major, Beginning with Opus 27, Chopin began to Op. 27, No. 2 (1835) publish his nocturnes in pairs, rather than Barcarolle in F-sharp Major, Op. 60 (1845) sets of three, as in Opus 9 and Opus 15. The contrasts and subtle connection between No word association games necessary: say the two works of Op. 27 are striking: first “Chopin,” and the immediate response is we have the darkly brooding example in “piano.” And for practically any music lover C-sharp Minor; flip the pitch to D-flat, that has caught Chopin fever (all it takes is and, most importantly, adopt the major a nocturne or two, a polonaise, sprinkle in scale, and we get a tender restorative. But a couple of mazurkas, and you’re hooked Eleanor Bailie cautions those too easily for life), it is not a simple association of seduced by its sweetness: “This much- composer and keyboard but a recognition played piece embodies all our ideas of how that this composer changed his beloved a nocturne should be: a quietly flowing left instrument forever. hand supporting a languorous, gracefully There is some evidence that Chopin knew decorated right-hand melody. It is a piece from young adulthood what his destiny that grows cloying if it is pulled around too was — or at least, what his ambitions were. much and allowed to grow too effusive. This In 1831 he wrote concerning his “perhaps is a good moment to remember Chopin’s too audacious but noble wish and intention devotion to Mozart—though the pianism and to create for myself a new world.” Critic the temper of their respective periods are far and musicologist Harold Schonberg in The apart, the purity and refinement of line and Lives of the Great Composers takes it from texture in many ways recall the style of a there: “As a pianist he created a style that Mozart slow movement.” dominated the entire second half of the Chopin also had the gift of taking what is 19th century and was not substantially essentially a musical cliché—the barcarolle changed until Debussy and Prokofiev came of Venetian gondoliers—and elevating it to along. It was a style that broke sharply from the level of masterpiece. This music would everything that went before it. For the first cast its unique spell over us no matter when time the piano became a total instrument: Chopin had penned it, but as it turns out, a singing instrument, an instrument of the Barcarolle, Op. 60 held a special place infinite color, poetry, and nuance, a heroic for the composer as well. He included it on instrument, an intimate instrument.” the program for his last public appearance Chopin achieved this in less than 20 in Paris on February 16, 1848. Well into years and across a wide range of short the final stages of the illness which would pieces, which sometimes indicated mood or claim his life, contemporary accounts relate function but less often dictated structure that his playing rarely rose above the level beyond basic A-B-A scaffolds. While he did of pianissimo. The 12/8 meter immediately write two piano concertos and three piano establishes the gentle rocking we expect in sonatas, there is always a sense of self- this kind of musical picture, but only Chopin consciousness about them. Chopin only could lead us through a magical journey of

5 2018 Program Notes Week Four Wednesday, August 8, 6 pm Larghetto belongs very much to the clarinet, The Concerto proved to be a turning Thursday, August 9, 7:30 pm which weaves a long cantilena above point in some respects, certainly resulting the accompanying strings. Contrasting in a new level of self-confidence for the WOLFGANG AMADEUS MOZART material arrives in the first violin, and the composer. Chausson had worked closely (1756 – 1791) development section is Mozart at his finest: with César Franck, who certainly evinced Clarinet Quintet in A Major, K. 581 (1789) particularly impressive here is the careful some Wagnerian influences. But by the attention to sonority, with the silky sound of mid-1880s there was a general movement While Mozart did not particularly care muted strings set against the warm murmur among French composers to turn to chamber for the sound of the flute, he had special of the clarinet. music and symphony while refreshing their fondness for the clarinet. He first heard the The Menuetto is unusual in that it has two approach to structure as an antidote to the newly invented instrument at the age of Trio sections: the minor-key first is entirely smothering influence of Wagner. During that seven while on a visit to Mannheim, and for strings, while in the second the clarinet same period, Chausson took a closer look at his fascination with the clarinet’s mellow evokes the atmosphere of the Austrian the French Baroque masters Rameau and sonority and great range stayed with him countryside with a ländler-like dance. In Couperin; all of these impetuses played a throughout his life. Mozart was one of place of the expected rondo-finale Mozart part in the creation of this unique work we the first composers to use the clarinet in offers a variation movement based on the hear today. a symphony, and the instrument figures violins’ opening duet. The five variations In the first place, of course, it is not a prominently in such important late works as are sharply differentiated: several feature concerto with the 19th-century emphasis his Symphony No. 39 (1788) and the operas athletic parts for the clarinet, the fourth of opposition of soloist to ensemble. Even Così fan tutte (1790) and La Clemenza de is a soaring episode for viola over rich though there is a pair of soloists with a Tito (1791). accompaniment from the other voices, and string quartet, the word “concerto,” certainly Part of Mozart’s fascination with the the fifth is an expressive Adagio. The in the context of Rameau, et al., suggests a clarinet late in life resulted from his Clarinet Quintet concludes with a jaunty more general play of sounds with each other, friendship with the Austrian clarinet virtuoso coda derived from the first half of the not against. Anton Stadler (1753–1812), one of the original theme. Chausson’s sketches show that all of his composer’s fellow Freemasons in Vienna. It —Eric Bromberger primary materials were sketched at the same was for Stadler that Mozart wrote his three time, in May 1889; this makes sense when great works featuring the clarinet: the Trio, ERNEST CHAUSSON (1855 – 1899) we hear how unified the work sounds from K. 498; the present Quintet, K. 581; and the Concerto in D Major for Violin, Piano & start to finish. The opening movement holds Clarinet Concerto, K. 622. Stadler played the String Quartet, Op. 21 (1889-91) us in some suspense until the solo violin basset horn, a clarinet-like instrument of his races ahead with the actual first theme. own invention, which could play four pitches Chausson was born into a family that The climax comes with the second theme; lower than the standard clarinet of Mozart’s did much of the work of rebuilding Paris the work ends far afield from D Major and day. Unfortunately, this resulted in a number in the mid-19th century, and financial brings back the introductory material that is of corrupt editions of Mozart’s works for circumstances would not be an issue. anything but conclusive. Stadler as editors re-wrote them to suit Despite his varied talents (he wrote short The second movement, Sicilienne, the range of the standard clarinet. stories, outlined a novel, made sketches that certainly evokes the spirit of the old Baroque Subsequent modifications have given the revealed genuine artistic gifts), he followed masters, if not a direct imitation. It is cast as A clarinet those four low pitches, and today the family’s wishes to pursue a degree and something of a rondo but without strongly we hear these works in the key in which subsequent career in law. Ah, but the siren contrasting episodes. It’s A-Major conclusion Mozart originally wrote them. call of Wagner and the house he built in is followed by the stark contrast of F Minor Mozart wrote the Clarinet Quintet during Bayreuth brought that plan crashing down. for the Grave. The movement is dark and the summer of 1789 and finished the score In 1879 Chausson traveled to that shrine to foreboding, and we feel we cannot yet on September 29. It had its first performance Teutonic art, and having fallen under the fully trust the hint of D Major at the close in Vienna the following December 22, with spell of The Flying Dutchman and the Ring of the exposition; indeed, the close of the Stadler as soloist and Mozart a member of Cycle, he returned home and enrolled in the movement provides scant solace. The finale the quartet. Paris Conservatoire. gives us themes in D Minor and B-flat Major, Simple verbal description cannot begin It is not just due to his tragically early but before long we enter again into themes to suggest the Quintet’s glories. This is death (due to a bicycling accident at the from the previous movements. This kind of truly sovereign music, full of the complete family estate) that Chausson’s output cyclic form was made famous by Franck, technical mastery of Mozart’s final years is relatively meager—he was a real particularly in his Symphony in D Minor; and rich with the emotional depth that perfectionist, agonizing over details even fortunately, Chausson employs the technique marks the music from that period. The in seemingly unimportant inner parts. with legitimacy, not as a mere nod to his strings have the first theme of the Allegro, It took him nine years to finish his only mentor. Eventually we return to the sunnier and the clarinet soon enters to embellish opera; in terms of other major works, he D Major, and any last references to the Grave this noble opening statement. The second completed just one symphony, a small group and the work’s opening motif are engulfed theme, presented by the first violin, flows of chamber works, and the great Poème for by the closing chords. with a long-breathed lyricism, and the violin & orchestra. He was, however, a prolific —Greg Hettmansberger movement develops in sonata form. The songwriter.

6 2018 Program Notes Week Four Thursday, August 9, noon the focus on the glass armonica’s unusual examples of Franck’s cyclic treatment of sonority, often setting it in dialogue with the themes, an idea he took from Liszt—virtually WOLFGANG AMADEUS MOZART other four instruments. The flute, though, is the entire Quintet grows out of theme- (1756 – 1791) given unusual prominence, perhaps because shapes presented in the first movement. Adagio & Rondo in C Minor for Celesta, its silvery sonority complements so nicely The opening of the first movement is Flute, Oboe, Viola & Cello, K. 617 (1791) the somewhat slender sound of the glass impressive, as Franck alternates intense armonica. The first performance of the Adagio passages for strings with quiet, lyrical Mozart originally wrote this music for an & Rondo took place on August 19, 1791; interludes for piano. Gradually these voices ensemble of glass armonica, flute, oboe, Mozart himself played viola on merge and rush ahead at the violent Allegro, viola, and cello, though at this performance that occasion. which listeners will recognize as a variant of the glass armonica part is undertaken by —Eric Bromberger the violin’s figure at the very beginning. This a celesta. The glass armonica bears no and other theme-shapes will be stretched, resemblance to the little hand-held mouth CÉSAR FRANCK (1822 – 1890) varied, and made to yield a variety of moods. organ favored by children but is actually an Piano Quintet in F Minor, M. 7 (1879) At the end of the movement the music dies instrument invented in 1761 by Benjamin away on Franck’s marking of estinto. Franklin. Franklin’s glass armonica was Few works in the chamber music literature The slow movement begins with steady based on the fact that different-sized have produced so violent a reaction at their piano chords, and over these the first violin glasses will ring at different pitches when premieres as did the Piano Quintet of César plays what seem, at first, to be melodic their moistened rims are rubbed. Franklin Franck. Then age 57 and a professor of organ fragments. But these, too, have evolved from invented an instrument that mechanically at the Paris Conservatory, Franck had written the opening of the first movement, and soon rotated a series of glasses of different sizes, no chamber music for more than 25 years they combine to form the movement’s main simultaneously moistening their rims; the when this Quintet burst to life before theme. Again, the music rises to a massive player ran his fingers over these rotating an unsuspecting audience in Paris on climax, then subsides to end quietly. Out of rims to produce different pitches. This January 17, 1880. Few in that audience that quiet, the concluding movement springs instrument had a vogue in the late 18th expected music so explosive from a man to life. Franck specifies con fuoco (with fire), century but fell into disuse and is now known as a gentle composer of church and the very beginning feels unsettled and considered “obsolete.” music. Franck’s students were wildly nervous, the violins pulsing ahead. The main Mozart wrote two brief works for glass enthusiastic, and a later performance is theme, when it finally arrives, has grown armonica during the intense final year of reported to have left the audience stunned out of material presented in the second his life and made sketches for a third. All of into silence, some of them weeping openly. movement; now Franck gives it to the four this music was written for the blind glass The acclaim was not universal. Franck had strings, and their repetitions grow in power armonicist Marianne Kirchgässner, then intended to dedicate this music to Camille until the theme is hammered out violently. 21 years old (and also a distant cousin of Saint-Saëns, the pianist at the premiere, but An extremely dramatic coda drives to the the composer), who achieved fame giving when he approached Saint-Saëns after the brutally abrupt cadence. concerts throughout Europe. In May 1791, performance to offer him the personally Hearing this music in live performance just a few months before he began work on inscribed manuscript, Saint-Saëns is one can understand the enthusiasm of The Magic Flute, Mozart wrote the Adagio & reported to have made a face, thrown the Franck’s supporters. But one can also Rondo for the unlikely ensemble of glass manuscript on the piano, and walked away. understand the dismay of those in that armonica, flute, oboe, viola, and cello. This Franck’s own wife hated the Quintet, feeling first audience who felt that chamber music music, almost unknown, is stunning. Though it too emotional, and refused to attend should remain a restrained and intimate brief (12-minutes long) and small-scaled performances. Even Liszt, one of Franck’s form. There are few works in the chamber (the glass armonica was not a very robust greatest admirers, wondered whether the literature as dramatic and seething as the instrument), the Adagio & Rondo is full of Quintet was truly chamber music and Piano Quintet of the (externally) very mild- the powerful combination of intensity and suggested that it might be better heard in a mannered César Franck. restraint that infuses Mozart’s late music. version for orchestra. —Eric Bromberger The opening Adagio—in C Minor, a Despite such opposition, Franck’s key Mozart reserved for very serious Quintet has come to be regarded as one statements—proceeds gravely and beautifully of the great piano quintets, along with along its way. Trying to take some measure those of Schumann, Brahms, Dvorák,˘ and of this moving music, Mozart scholars Shostakovich. Everyone instantly recognizes have made some remarkable claims. Alfred its power—this is big music, full of bold Einstein speaks of a “heavenly” quality, an gestures, color, and sweep. Franck’s first “unearthly beauty” in the Adagio, while instruction, dramatico, sets the tone for H.C. Robbins Landon speaks of its “hushed the entire work. He asks for massed unison beauty” from a composer who “no longer passages, fortississimo dynamic levels, really cared about earthly acclaim.” The tremolos, and a volume of sound previously beautifully poised Rondo, marked Allegretto unknown in chamber music. Beyond the and set in C Major, lightens the mood purely emotional and sonic impact, however, somewhat, flowing along easily on its this music is notable for its concentration: opening idea. Throughout, Mozart keeps the Piano Quintet is one of the finest 7 2018 Program Notes Week Four Saturday, August 11, 5 pm in the concluding Allegro, where the solo composers. There was nothing wrong with episodes typically find their origins in the this (such “borrowing” was a common and JOHANN SEBASTIAN BACH (1685 – 1750) orchestral themes. Overall, this finale evokes accepted practice of that era), and Handel Concerto in C Minor for Oboe, Violin, the character and metrical structure of the transformed his borrowed themes so subtly Strings & Continuo, BWV 1060 (ca. 1736) Bourrée, with at least one writer comparing that their actual origin was in some cases it to the Bourrée movement of the B-Minor not discovered until centuries later. How fortunate we are that Bach was not Partita for Harpsichord, BWV 831. Handel wrote the Concerto Grosso in only one of music’s champion recyclers but —Greg Hettmansberger D Major across the span of only three days: that he was thorough enough that in recent he began on October 8, 1739, and had it years scholars have been able to reconstruct GEORGE FRIDERIC HANDEL (1685 – 1759) done on October 10. The opening slow plausible original versions of great works Concerto Grosso in D Major, Op. 6, No. 5 movement and the quick fugue that follows from later ones. Such is the case with (1739) were derived from Handel’s own overture BWV 1060, which, until relatively recently, to his Ode to St. Cecelia’s Day. The opening was heard only as a harpsichord concerto. The late 1730s found Handel at a difficult Larghetto e staccato, built on the dotted Most of Bach’s concertos for non-keyboard intersection in his career. His 20-year effort rhythms of the French overture, contrasts instruments were transcribed as vehicles to establish Italian opera in England had solo and tutti sonorities; the spirited fugue for harpsichord and orchestra after Bach’s met with a final failure that had cost the that follows, marked Allegro, is based on move to Leipzig in 1723. In some cases, of composer his fortune and his health, and a poised, bright subject. The Presto, in course, we therefore have two complete over the next few years he would turn to the a quick 3/8, makes use of a theme from versions for different solo instruments. While oratorio as his principal mode of expression one of Domenico Scarlatti’s Essercizi per this can keep a passel of scholars happily (he would compose Messiah in 1741). But gravicembalo, which had been published in busy for years, most music lovers are simply now Handel spent some time recovering his London the previous year. The stately and grateful that the later versions can be health, and in the fall of 1739, he turned to somber Largo moves to B Minor, while the “deconstructed” into some semblance of instrumental music. It poured out of him: Allegro (once again based on material from the originals. working at white heat, he composed the Scarlatti) contrasts its opening theme, full of The sleuthing involved in restoring the set of 12 concerti grossi that make up his trills, with a second subject built on driving presumably original solo parts heard now Opus 6 in the space of one month. There repeated notes. Handel makes an interesting in BWV 1060 was a matter of one scholar’s were probably two reasons behind the choice for the final movement: he concludes first instinct being more fully developed by composition of these works. First, Handel with a minuet, and its main theme is once a colleague. While the keyboard specialist needed instrumental music that he could again derived from his own Ode to William Rust was collaborating in the first perform during the intermissions of his St. Cecelia’s Day. This minuet begins quietly release of the complete edition of Bach’s operas and oratorios, and several of these and gently but gradually grows in strength, works, he surmised that the work he knew as concertos were introduced in this way. and finally it brings the Concerto Grosso in a vehicle for two harpsichords was probably But perhaps more to the point, he needed D Major to grand conclusion. derived from an original concerto for two money, and the first edition of this music —Eric Bromberger violins. Rust was strongly influenced in was underwritten by a subscription list that this conclusion by the figurations heard in included not just many of London’s finest ANTONIO VIVALDI (1678 – 1741) the finale—passages which anyone could musicians but also members of the Concerto in F Major for Three Violins, easily imagine hearing on a violin—and royal family. Strings & Continuo, RV 551 (1711) the work’s occasional resemblance to the Handel’s treatment of the concerto grosso Concerto for Two Violins in D Minor. But form in his Opus 6 is both traditional and Vivaldi composed 230 concertos for solo Woldemar Voigt subsequently highlighted wildly original. Throughout these concertos violin and 28 for two violins but only one the fact that the two solo parts in BWV 1060 he preserves the expected set of soloists— for three violins: the Concerto in F Major. rarely exchange parts in musically parallel two violins and a cello—yet he rejects It was probably written for the young sequences. Usually such “dialogue” or “echo” the traditional Italian structure of three performers at the Pio Ospedale della Pietà, effects are common in concertos of two like movements in a fast-slow-fast sequence the music school for homeless girls where solo instruments. Voigt believed the most in favor of his own individual sequence of Vivaldi taught off and on between 1703 and likely pairing to have been violin and oboe; movements, which varies from concerto 1738. The three soloists are supported by a careful analysis of the compass of pitch to concerto. This music is full of grandeur, Vivaldi’s standard orchestra of strings and range in the two solo parts has led most sweep, excitement, good tunes, and some harpsichord continuo. scholars to agree with him. terrific writing for strings: Handel was The problem with any multiple-instrument In addition to the sheer beauty of the himself an accomplished violinist, and the concerto is giving all the soloists something central Adagio, with its soloists almost writing here is graceful and idiomatic at to do, and Vivaldi solves that ingeniously passionately entwining their lines over a every instant. here. He often gives the melodic line to pizzicato 12/8 accompaniment, the first Part of the reason Handel was able to two violins while having the extra violin movement reveals Bach’s ability to cultivate write these 12 concertos so quickly was (frequently the third violin) accompany richness from economy: the various motifs that he borrowed many of his themes from them. Vivaldi continually shuffles these roles, heard in the accompanying strings are nearly music that had already been composed. however, ensuring that all three soloists have always derived from the main material of Often he borrowed from himself, but he a chance to shine. The opening Allegro has a the soloists. Something of the reverse is true also appropriated themes from other brilliant part for the first and second violins— 8 2018 Program Notes Week Four much of the writing here is unusually high— The present Concerto in B Minor for Four as the third violin accompanies in a lower Violins became Bach’s Concerto in A Minor ERIC BROMBERGER earned his doctorate in register. Near the close of the movement, the for Four Claviers, BWV 1065. American Literature at UCLA and taught for first violin emerges from the instrumental Four of the concertos in L’estro armonico 10 years before quitting to devote himself to texture with a long melodic passage as the are for four violins, and of these the his first love, music. A violinist, Bromberger other two violins accompany. Concerto in B Minor has become the writes program notes for the Minnesota The Andante is essentially chamber best-known. A concerto for four soloists, Orchestra, Washington Performing Arts music—the orchestra is reduced to bare particularly for four soloists playing the at The Kennedy Center, San Francisco chordal accompaniment—and the writing for same instrument, is a difficult matter: the Performances, University of Chicago the three soloists is particularly interesting: composer must find enough for all four to Presents, La Jolla Music Society, San Diego Vivaldi gives each of them distinctly do without burying anyone or allowing the Symphony, and many other organizations. different music. The first violin has a bold same sonority to become tedious. Vivaldi He has been a pre-concert lecturer for the melodic line full of accidentals, while the brings this off with the rapid exchange Los Angeles Philharmonic since 1999. other two violins accompany in quite of passages among soloists, an ingenious individual ways: the second has continuous contrapuntal texture, and a great deal of GREG HETTMANSBERGER has contributed runs of 32nd-note pizzicatos, while the third rhythmic variety. In the opening Allegro criticism and features to the Los Angeles has nonstop sextuplet arpeggios. the main theme is being varied and Times, L.A. Weekly, Los Angeles Daily News, The finale, Allegro, opens with a vigorous ornamented almost before it has been Performing Arts, and the Santa Barbara orchestral introduction. Once again, the completely stated, and Vivaldi quickly has News-Press and was a staff writer for Los writing for the first and second violins is that vigorous main idea leaping among Angeles Opera, for which he has written unusually high, and once again Vivaldi soloists. The slow movement opens with an two yearbooks. This is his 23rd season divides the solo duties among his even slower introduction; the main section of writing program notes for the Santa three violinists. has the four soloists playing over quiet Fe Chamber Music Festival. He currently —Eric Bromberger continuo accompaniment—Vivaldi assigns contributes articles to Madison Magazine an important part of the continuo to a solo and writes the blog WhatGregSays at ANTONIO VIVALDI (1678 – 1741) cello throughout the concerto. The powerful www.whatgregsays.wordpress.com, co-hosts Concerto in B Minor for Four Violins, Cello, ritornello that opens the last movement will the radio program “Sacred Choral Classics,” Strings & Continuo, RV 580 (1711) return throughout. In this movement the and provides annotations for the New soloists play in various combinations with Mexico Symphonic Chorus. In the early years of the 18th century, the solo cello as the Concerto drives to its Vivaldi held the rather modest position of close on an energetic tutti. HANNELORE N. ROGERS has been the director of a conservatory for homeless —Eric Bromberger editor of the Santa Fe Chamber Music girls in Venice, but his compositions were Festival’s program book for 11 years. A carrying his name throughout Europe. In writer/editor based in Omaha, Nebraska, 1711 he published a collection of 12 violin her current and past clients also include concertos under the title L’estro armonico, the New York Philharmonic, the Hong Kong translated variously as The Spirit of Harmony Philharmonic Orchestra, the National Arts or Harmonious Inspiration. Significantly, Centre Orchestra (Canada), the National Arts Vivaldi chose to have this set published Centre English Theatre (Canada), Handel in Amsterdam and for two good reasons: and Haydn Society, Choral Arts Philadelphia, printing techniques there were superior and Omaha Chamber Music Society, among to any available in Italy, and perhaps more others. Prior to her work as a freelance important, his music was extremely popular writer she was the marketing director of and influential in northern Europe. the Pittsburgh, Milwaukee, and New Mexico Each of the concertos of L’estro armonico symphony orchestras. is a concerto grosso, in which one or more violin soloists is set against a main body of strings and harpsichord continuo. The intent in these concertos is not so much virtuosic display (though they are difficult enough) as in making contrasts between the sound of the solo instruments and the main body of strings. Bach knew this music very well and— if imitation is the sincerest form of flattery— paid Vivaldi the immense compliment of transcribing six of these concertos for different instruments and using them as his own (a practice that would be highly questionable today but which was viewed more generously three centuries ago). 9 2018 Program Notes Week Four 10 2018 Program Notes Week Four 11 2018 Program Notes Week Four 12 2018 Program Notes Week Four