LUKÁŠ VONDRÁČEK FEB 10 & 11 / 4PM 2017 / 2018 SEASON NWFILM.ORG

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2 | Portland Piano International THE SOLO PIANO SERIES 2017 / 2018 SEASON

YEKWON SUNWOO OCT 14 & 15, 2017 Dear Friends, We are pleased to present Czech artist Lukáš Vondráček, 2016 winner of the demanding Queen Elisabeth International Piano Competition. While only 31, Lukáš already has a long history of playing across CHRISTINA & MICHELLE the globe, having given his first U.S. tour in 2003 WHILE ONLY 31, at the age of 15. NAUGHTON LUKÁŠ ALREADY HAS On Saturday Lukáš opens his perfomance with DEC 2 & 3, 2017 A LONG HISTORY OF three works by Czech composers – Vítězslav PLAYING ACROSS Novák, , and Bedřich Smetana – each THE GLOBE, HAVING never before heard on the SOLO Series. These GIVEN HIS FIRST U.S. rarely heard pieces are balanced in the second TOUR IN 2003 AT half by Liszt's 'Ricordanza' along with Carnaval, SUNWOOK THE AGE OF 15... one of Schumann's most popular pieces. KIM Lukáš has programmed Schubert's Sonata D. 960 JAN 13 & 14, 2018 to start Sunday’s program, followed by Brahms' Sonata Op. 1, No. 1 (while this was Brahms' firstpublished piece it was not the first piece that he wrote).Lukáš will finish his program with Scriabin's Fantasie, Op. 28, which has also never before been performed on this Series. Many thanks to all of you for joining us this afternoon and we especially thank LUKÁŠ The Standard for their sponsorship of Lukáš's performances. Enjoy! VONDRÁČEK FEB 10 & 11, 2018

Ellen Bergstone Wasil, Executive Director

DÉNES VÁRJON MAR 24 & 25, 2018

ABOUT PORTLAND PIANO INTERNATIONAL Since 1978 Portland Piano International has presented more than 230 world-class A COLLABORATION pianists in solo recitals. Visionary Harold Gray founded the series and guided its WITH THE OREGON success for 35 years. In October 2012, international concert pianist Arnaldo Cohen SYMPHONY succeeded him. While focused on artistic excellence, Arnaldo also grew Portland MAY 3, 2018 Piano International’s educational programs. The 2017 / 2018 SOLO Series is the final season for Arnaldo’s term as Artistic Director. Harold Gray is curating the 2018 / 2019 season and a guest curator will be selected for the 2019 / 2020 season. Stay tuned! Portland Piano International remains committed to its artistic and educational Our 2018 / 2019 Season will be mission creating opportunities for young up-and-coming performers, commissioning announced publicly at our performances new compositions for solo piano and reaching new audiences across the state. by Dénes Várjon. Current subscribers should have received renewal Food, beverages, cameras and recording devices are not permitted in Lincoln information by mail earlier this week. Performance Hall. Smoking is not permitted in the Performance Hall or in the building. Please silence all cell phones. portlandpiano.org | 1 Recent highlights include concerts with The Philadelphia Orchestra, St Petersburg Philharmonic, the Philharmonia and New Jersey Symphony orchestras as well as recitals at the Mariinsky Theatre, in Mumbai, Singapore, Leipzig’s Gewandhaus, at Brussel’s Flagey and the Menuhin Festival Gstaad.

International awards include first prizes at the Hilton Head and San Marino International Piano Competitions and Unisa International Piano Competition in Pretoria, South Africa, as well as the Raymond E. Buck Jury Discretionary Award at the 2009 International Van MEET THE ARTIST Cliburn Piano Competition. Following studies at the Academy of Music in Katowice LUKÁŠ VONDRÁČEK and the Vienna Conservatoire, Lukáš Vondráček obtained an Artist Diploma from Boston's New England Conservatory under the tutelage of Hung-Kuan Chen, graduating with Honours in 2012. The indisputable winner of the International Queen Elisabeth Piano Competition 2016, Lukáš Vondráček, His first commercial recording, a solo album for Octavia has an exciting 2017/18 season ahead of him. It sees Records, was released in 2004 followed by another him make debuts with the Tokyo Metropolitan Orchestra recital disc in 2012. His most recent CD, a recording at Tokyo’s Suntory Hall, Moscow State Symphony of works by Haydn, Rachmaninov and Prokofiev was Orchestra at the Grand Hall of Moscow Conservatory, released in 2013 on the TwoPianists label. Netherlands Philharmonic Orchestra at Amsterdam’s Concertgebouw and the Antwerp Symphony Orchestra.

He will return to the Baltimore Symphony Orchestra with Marin Alsop, Oslo Philharmonic Orchestra with Vasily Petrenko, the Orchestre National de Belgique, Prague, Bournemouth and Sydney symphony orchestras amongst others. Recitals will take him to Wiener Konzerthaus, Hamburg’s Elbphilharmonie, the Louvre, a return to the Concertgebouw, Philharmonie BEYOND THE SCORE: Luxembourg, Portland, Chicago and to festivals such as A MASTERCLASS WITH PianoEspoo in Finland and the Rheingau Musik Festival. Lukáš started off the season with a tour of Brazil with LUKÁŠ recitals and orchestra concerts in Belo Horizonte, São VONDRÁČEK Paulo and Florianópolis.

Lukáš Vondráček made his first public appearance at MON FEB 12 / 10AM the age of four. His debut as a fifteen-year-old in 2002 PORTLAND PIANO with the Czech Philharmonic Orchestra and Vladimir COMPANY Ashkenazy was followed by a major US tour in 2003. 8700 NE COLUMBIA His natural and assured musicality and remarkable technique have long marked him out as a gifted and mature musician. He has worked with conductors PORTLANDPIANO.ORG including Paavo Järvi, Gianandrea Noseda, Yannick 503.228.1388 Nézet-Séguin, Marin Alsop, Christoph Eschenbach, Pietari Inkinen, Vasily Petrenko, Jakub Hrůša, Anu Tali, Xian Zhang, Krzysztof Urbański, Stéphane Denève and Elim Chan. LUKÁŠ VONDRÁČEK RECORDINGS ARE FOR SALE IN

COVER PHOTO CREDIT: IRENE KIM; PAGE 2 PHOTO CREDIT: PETR DYRC THE LOBBY. THE ARTIST WILL BE AVAILABLE AFTER THE PERFORMANCE TO SIGN AUTOGRAPHS. 2 | Portland Piano International ARTIST SPONSOR THE STANDARD

LINCOLN HALL LUKÁŠ PORTLAND STATE UNIVERSITY VONDRÁČEK

THE FOCUS, THE POWER, THE PASSION, THE SKILL TO BRING YOU TWO DAYS WITH TWO IMPRESSIVE PROGRAMS

FEB 10, 2018 / 4PM FEB 11, 2018 / 4PM

VÍTĚZSLAV NOVÁK VZPOMÍNKY, OP. 6 (REMINISCENCES) SONATA IN B-FLAT MAJOR, NO. 21, D. 960 Triste Molto moderato Inquieto Andante sostenuto Amoroso Scherzo Allegro vivace con delicatezza Allegro ma non troppo JOSEF SUK “PÍSEŇ LÁSKY” FROM KLAVÍRNÍ SKLADBY, OP. 7 - INTERMISSION - (“LOVE SONG” FROM PIANO PIECES) BEDŘICH SMETANA SONATA IN C MAJOR, OP. 1, NO. 1 FOUR CZECH DANCES, JB 1:114 FROM BOOK II Allegro Furiant Andante Cibuličká (Little Onion) Scherzo. Allegro molto e con fuoco - Più mosso Hulán (Lancer) Finale. Allegro con fuoco Skočná (Leaping Dance) - INTERMISSION - FANTASIE, OP. 28 TRANSCENDENTAL ÉTUDE NO. 9 IN A-FLAT MAJOR, S. 139 "RICORDANZA"

ROBERT SCHUMANN CARNAVAL, OP. 9 Préambule Chopin Pierrot Estrella Arlequin Reconnaissance Valse noble Pantalon et Colombine Eusebius Valse allemande Florestan Paganini Coquette Aveu Réplique Promenade Papillons Pause Lettres dansantes Marche des Davidsbündler Chiarina contre les Philistins

LUKÁŠ VONDRÁČEK APPEARS COURTESY OF HARRISON PARROTT, MUNICH The use of photographic or recording devices during performances is strictly prohibited.

portlandpiano.org | 3 PROGRAM NOTES: SAT / FEB 10 early works, including "Píseň lásky" of melodic fragments that unfurl from his Op. 7 piano pieces, reflect one after another, with little direct Dvořák’s influence. Pianist and piano VÍTĚZSLAV connection among them. Short literature historian David Yeomans interludes of calm punctuate these writes, “Possibly the one signature NOVÁK passionate outbursts; throughout, piece of Suk’s entire output for piano VZPOMÍNKY, OP. 6 the soloist’s technical and musical is Píseň lásky, its popularity evident (REMINISCENCES) artistry are on full display. The in its numerous transcriptions for closing Amoroso (Loving) begins in various media [including solo violin tranquility. The most clearly romantic and wind versions].” In fact, for COMPOSER: born December 5, 1870, of the three movements in its musical American audiences, Píseň lásky is Kamenice nad Lipou; died July 18, 1949, Suk’s best-known work, thanks to its Skuteč vocabulary, Amoroso recalls the late piano music of Franz Liszt. strongly Romantic atmosphere and WORK COMPOSED: 1894 lush harmonies. ESTIMATED DURATION: 15.5 minutes Vítězslav Novák’s musical style JOSEF SUK combines modernism, impressionism, BEDŘICH Czech/Slovak folk music, and a "PÍSEŇ LÁSKY” FROM strong commitment to orchestral and KLAVÍRNÍ SKLADBY, OP. SMETANA compositional mastery. He studied 7 (“LOVE SONG” FROM FOUR CZECH DANCES, JB composition with Antonín Dvořák PIANO PIECES) 1:114 FROM BOOK 2 at the Prague Conservatory in the 1890s; in 1909, Novák assumed COMPOSER: born January 4, 1874, COMPOSER: born March 2, 1824, Dvořák’s position as Professor of Křečovice; died May 29, 1935, Benešov Leitomischl (now Litomyšl), Bohemia; died Composition at the conservatory. For May 12, 1884, Prague WORK COMPOSED: 1891-93 the next 30 years, as both composer WORK COMPOSED: 1879 and teacher, Novák influenced the ESTIMATED DURATION: 7.25 minutes next generation of Czech and Slovak Alongside his colleague Vítězslav ESTIMATED DURATION: 19 minutes composers. Novák, Josef Suk also studied “I suggest publishing composition with Antonín Dvořák folkdances under the title Novák’s earliest published works, in the early 1890s. Suk came from Czech Dances. Every dance including the Op. 6 piano pieces a musical family, and, with his under its own name, e.g. on this afternoon’s program, date parents’ help and encouragement, ‘Furiant’, ‘Skočná’, ‘Rejdovák from the years 1891-96. During began studying violin – his primary and Rejdovačka’, … etc. .… that time, Novák took lessons from instrument, although he was also Whereas Dvořák gives his the acclaimed Czech pianist and a competent and musical pianist – pieces just a general name teacher Josef Jiránek at the Prague chamber music, and music theory Slawische Tänze (Slavonic Conservatory. Op. 6 is a young at the Prague Conservatory at age Dances) with people not man’s music: passionate, impetuous, 11. After three years, Suk added knowing which they are, and and boldly expressive. Triste (Sad) composition to his studies. whether they exist at all, we features a plaintive, simple melody would show which dances with offset with understated Impressionist- Suk’s connection to Dvořák went real names we have.” style chords. The central movement beyond the classroom; in 1898, Suk fully embodies its title Inquieto married Dvořák’s oldest daughter – Bedřich Smetana, writing to his (Restless). The primary theme Otilka, herself a composer. Suk’s publisher, 1879 plunges into a headlong cascade

1797 1810 1811

Franz Schubert is born January Robert Schumann is born Franz Liszt is born October 31; Jan Theobald Held earns June 8; Czech romantic poet, 22; classes start at the Prague his medical degree and later Karel Hynek Mácha is born on Conservatory after being delayed becomes the dean of Charles November 16 for three years due to the University in Prague Napoleonic Wars 4 | Portland Piano International Bedřich Smetana’s life parallels that of Ludwig van Beethoven in significant ways. Both men were virtuoso pianists who wrote a number of major, even groundbreaking, works for their primary instrument. Both composed music that reflected the political and social events of their time. And each man gradually lost his hearing, ending his life in the silence of total deafness. In 1878, Dvořák published his first set ofSlavonic Dances, Op. 46. These colorful folk-inspired pieces were an immediate success, both in their original four-hand piano version and even more so as orchestral works. Before 1878, few people knew Dvořák’s music outside his Czech homeland. Op. 46 established Dvořák as a young composer of great promise. For his part, Smetana lamented the generic name given to Dvořák’s ® LAIKA, LLC portlandartmuseum.org Slavonic Dances (the title may have been chosen by Dvořák’s publisher, Fritz Simrock, in an effort rhythms and a galloping gait. to capitalize on the relative exoticism Cibuličká combines a melody FRANZ LISZT of Slavic music for German listeners). from Erben’s collection with one TRANSCENDENTAL ÉTUDE In response, Smetana composed of Smetana’s original folk-inspired NO. 9 IN A-FLAT MAJOR, S. two books of Czech dances. The first tunes. The gentle, intimate Hulán 139 “RICORDANZA” book contained polkas; Smetana is based on a song about a woman COMPOSER: born October 22, 1811, hoped to elevate that dance in missing her lover, a soldier (lancer) Raiding, (Doborján); died July 31, 1886, the way Chopin had done for the in the army. Smetana was especially Bayreuth mazurka. For the second book, fond of skočnás (hopping dance), WORK COMPOSED: 1826, revised 1837, Smetana borrowed folk melodies and used one as the ‘Dance of the and revised again in 1851 collected and published by Czech Comedians’ in Act III of his opera folklorist Karel Jaromír Erben, and The Bartered Bride. This version ESTIMATED DURATION: 9.5 minutes insisted that each dance carry its own showcases Smetana’s pianistic “A bundle of faded love letters title, to emphasize its essential Czech virtuosity and its ebullience captures from a somewhat old fashioned nature. its composer’s boundless love of world of sentiment.” The opening Furiant, an energetic Czech culture. – Ferruccio Busoni, on Franz Liszt’s dance, features distinctive cross- Transcendental Étude No. 9

1824 1828 1834

J. W. Goodrich introduces rubber Franz Schubert finishes his Piano Robert Schumann starts composing galoshes to public on February 4; Sonata in B-flat Major, D. 960 Carnaval; Czech writer Jan Neruda Bedřich Smetana is born March 2 on Sept. 26; Schubert dies on is born on July 10 and later is the November 19 inspiration for the pen name of Chilean poet Pablo Neruda portlandpiano.org | 5 The 12 Transcendental Études has both poetic and metaphysical LOVELY SCENES ON FOUR stand out among Franz Liszt’s meanings in English. NOTES) other virtuoso piano works, and Busoni’s assessment of No. 9 is their long gestation reflects Liszt’s both harsh and, to some extent, COMPOSER: born June 8, 1810, Zwickau, Saxony; died July 29, 1856, Endenich, near evolving musicality. When 15-year- accurate. However sentimental, Bonn old Liszt began writing the Études, nostalgia is also a potent, compelling he originally planned 48, using every emotional state, which is one WORK COMPOSED: 1834-35; dedicated to major and minor tonality available. reason "Ricordanza" (Memory or Polish violinist and composer Karol Lipiński The 1826 version contains only 12, Recollection) is one of the best ESTIMATED DURATION: 29 minutes however. The 1837 Grandes Études, known of Liszt’s Transcendental Which comes first, the program as they were then titled, reveal Études. "Ricordanza" has also or the music? This seemingly extensive changes – some of the assumed a life of its own – for straightforward question becomes études were completely rewritten American audiences, at least – ever surprisingly difficult to answer when – and include unique articulations since it was used as the theme for applied to Robert Schumann’s Liszt invented to specify exactly the song, “A Dream Is A Wish Your compositions. Schumann’s affinity how rubato passages should be Heart Makes,” from Disney’s 1950 for literature permeates his music played. By 1851, when Liszt returned animated classic Cinderella. to the Études, his tastes and style to such an extent that disentangling had simplified. He removed all the two is likely impossible, but more the idiosyncratic articulations and importantly, irrelevant. Literature and gave the set a new title: Études ROBERT music fused together in Schumann’s d’exécution transcendante, usually fecund creative imagination, translated as Transcendental Études. SCHUMANN producing both music and writing Publisher G. Henle-Verlag suggests CARNAVAL: SCÈNES that have no predecessors in either art. Studies for Superlative Execution, MIGNONNES SUR QUATRE implying a more technical purpose NOTES, OP. 8 (CARNIVAL: Carnaval is one of the first – and best than “transcendental,” a word that – examples of Schumann’s hybridized

THE PORTLAND STATE UNIVERSITY SCHOOL OF MUSIC & THEATER PRESENTS

“a must-see The PSU performer” Steinway – THE OREGONIAN Piano Series with

RECITAL:Melvin FRIDAY, MAY 4TH | 7:30PM | LINCOLN RECITALChen HALL | $10-$25 FREE MASTER CLASSES WITH MELVIN CHEN AND SUSAN CHAN: MAY 5 + 6

INFO AND TICKETS: PDX.EDU/BOXOFFICE OR 503.725.3307

6 | Portland Piano International musico-lit. In its 20 sections we meet a variety of characters, actual THE LATEST CD FROM and fictional, including Schumann’s LUKAS VONDRACEK... alter egos Florestan and Eusebius. Schumann adopted these personas to express his musical opinions in the Neue Zeitschrift für Musik (New Journal for Music), the music journal he co-founded with his future father-in-law Friedrich Wieck, in 1835. Florestan, the hero of Beethoven’s opera Fidelio, exudes confidence and daring. Schumann described Florestan as “one of those rare musical minds that anticipate what is new and extraordinary; he grasps the unfamiliar in an instant.” In contrast, the more introverted BUY YOURS IN THE LOBBY WHILE SUPPLIES Eusebius, named for a martyred and LAST! later sainted fourth-century Pope, in proceeds benefit the Schumann’s words, “studies more SOLO Piano Series seriously than Florestan, and his piano playing is more intellectual – gentler and mechanically more Ernestine von Fricken (“Estrella”). Schumann’s embodiment of real and perfect.” Each of their brief portrayals In tribute, Schumann transformed invented to a new level. Schumann perfectly captures these distinct Fricken’s hometown of Asch into the and several friends formed the facets of Schumann’s Romantic “four notes” referenced in Carnaval’s Davidsbündler to champion new, psyche. title. (In German, Asch corresponds progressive ideals and to rebel to the notes A, E-flat, C and B; these against the hidebound traditions Other characters step out of the letters are also part of SCHumAnn’s of Germany’s bourgeois merchant Renaissance Commedia dell’Arte, name). Schumann ingeniously class. In this triumphal march, including the hapless Pierrot, the uses this short sequence of notes we hear Schumann’s Romantic witty, opportunistic trickster Arlequin, as the basis for each movement idealists battling the Philistine’s the flirtatious Coquette and the lovers in Carnaval, includes them in the best-known representative, Goliath, Pantalon and Columbine. Schumann score in old-style square notation, for the aesthetic soul of Art, Music also includes two vignettes of and calls explicit attention to them and Literature. Schumann enlists composers Frédéric Chopin and in the movement Lettres dansantes Beethoven to help the Davidsbündler Niccolò Paganini – lyrical for the first, (dancing letters). The other woman, by quoting a theme from Beethoven’s powerfully virtuosic for the second – of course, is 15-year-old Clara, “Emperor” Piano Concerto; and two portraits of special women immortalized here as the ideal female the Davidsbündler, fortified by in Schumann’s life. “A wonderfully (Chiarina). Beethoven, eventually triumphs over pure, childlike character, delicate the narrow-minded, conventional and thoughtful … she is remarkably The final movement,Marche des Philistines. musical – everything, in a word, that Davidsbündler contre les Philistins I might wish my wife to be,” wrote (March of the League of David © 2018 Elizabeth Schwartz Schumann of his youthful sweetheart, against the Philistines), takes

1851 1856 1870

Franz Liszt composes Robert Schumann dies July 29; Vítězslav Novák is born “Ricordanza”; Czech painter Eduard Mörike first publishes December 5; Czech artist Emil Quido Mánes finishes his studies his novella Mozart’s Journey to Orlik is born on July 21 and later at the Academy of Fine Arts, Prague in German in 1856 paints portraits including those of Prague Trotsky, Mahler, and Einstein

portlandpiano.org | 7 What a city! Here are just some of the classical music performances you can find around town in the next month or so.

FEB 21 MOZART WITH MONICA Mozart and Michael Haydn string quartets performed by Monica Huggett and other PDX favorites 45THPARALLELPDX.ORG

MAR 3 | 4 THE TUDOR CHOIR John Taverner’s Western Wind Mass + World Premiere by Nico Muhly

CAPPELLAROMANA.ORG MAR 9 THE AKÁTHISTOS HYMN by Ivan Moody | 503-236-8202 A thrilling paean to the Virgin Mary in English with Greek refrains, directed by the composer

FEB 21 MIRÓ QUARTET WITH JEFFREY KAHANE Co-presented with Portland’5 Centers for the Arts

APR 18 | 19 IMANI WINDS: UNDER THE STARS CMNW.ORG | 503-294-6400 Celestial music at OMSI Planetarium

MAR 5 | 6 QUATOUR EBÉNE “One of the most exciting and distinctive of the new generation” New York Times

FOCM.ORG | 503-224-9842 MAR 5 | 6 JANOSKA ENSEMBLE An eclectic program covering classical, gypsy, tango, pop, & more!

APR 29 PANTS PARTY! Ladies take on the great Lieder cycles! Arwen Myers, soprano & Laura Beckel Thoreson, mezzo NORTHWESTARTSONG.ORG

APR 21 | 22 ISRAEL IN EGYPT With orchestra and soloists

ORSINGERS.ORG | 503-230-0652

FEB 16 - 18 IL FAVORITO Violinist Ricardo Minasi directs a program of Italy’s finest composers

MAR 9 - 11 FLIGHTS OF FANTASY PBO.ORG | 503-222-6000 Monica Huggett leads Italian works

APR 12 | 13 A FOND FAREWELL: AN INTERPRETATION Six composers reimagine Elliott Smith In partnership with Hand2Mouth Theatre THIRDANGLE.ORG |

8 | Portland503-331-0301 Piano International PROGRAM NOTES: SUN / FEB 11 and leave-taking from the affairs of the world. pensive quality that exemplifies In the context of the two preceding much of his work. Biographer Brian movements, the Scherzo seems jarring, Newbould writes, “The B-flat [sonata] full of a forced jollity at odds with the FRANZ quietly asserts an elevated, measured, previous movements. Schubert leavens transcendental presence from the start, SCHUBERT the Scherzo’s gaiety with a darker- reflects – from its lofty plane – much of tinged countermelody. PIANO SONATA IN B-FLAT the composer’s accumulated musical MAJOR, D. 960 experience, and assimilates sharp The Allegro is written in rondo form, contrasts between movements, yet a recurring theme alternating with COMPOSER: born January 31, 1797, never sheds the aura of sublimity with different variations. It begins with a Vienna; died November 19, 1828, Vienna which its opening was bathed.” single G, played in octaves. This G WORK COMPOSED: Schubert finished The depth of the Sonata in B-flat returns, growing more insistent each writing his last piano sonata on Sept. 26, reveals itself in the opening bars time, and is followed by a nervous, 1828; he performed it, along with his two of the Molto moderato, with a twitchy melody. The first variation is a other late sonatas, at a party given by stunningly simple, beautiful melody stormy, tempestuous outcry, while the Dr. Ignaz Menz in Vienna the following that concludes with rumbling in the second is even more darkly dramatic. day; Schubert intended to dedicate his bass (pianist Lars Vogt calls it “the trill The octave G strikes more harshly with last three sonatas to his friend Johann of death”) and a series of pauses, or each repetition, like the inexorable Nepomuk Hummel, but they were not tolling of a clock warning that time is published until after both Schubert and hesitations. This foreboding opening, running out. Hummel had died; Anton Diabelli, who described by pianist Claudio Arrau possessed Schubert’s sonata manuscripts, as “written in the proximity of death,” published them with a dedication to gives way to lighter fare, although Robert Schumann the pauses remain throughout, a JOHANNES ESTIMATED DURATION: 43 minutes reminder of inevitability. “Schubert’s piano melodies are not involved BRAHMS Franz Schubert wrote three piano with struggles, metamorphoses and PIANO SONATA IN C sonatas in the last six months of his chasms,” said pianist Jörg Demus; MAJOR, OP. 1 NO. 1 life. These three works are more “they wander along with gentle often performed than Schubert’s corpulence – likenesses of their COMPOSER: born May 7, 1833, Hamburg; earlier sonatas, and of the three, creator – through the musical keys died April 3, 1897, Vienna the Sonata in B-flat major, D. 960, is as through countrysides, changing considered the finest example of the WORK COMPOSED: 1852-53, in Hamburg; by means of an apparently abrupt dedicated to violinist/composer Joseph genre in Schubert’s output. With its harmonic inflection, appearing Joachim emotional breadth and gravity, it poses suddenly in another light and assuming ESTIMATED DURATION: 25 minutes substantial musical challenges for any a new countenance from one measure interpreter. to another.” In the autumn of 1853, a 21-year-old composer from Hamburg appeared By 1828, Schubert likely felt his own The Andante has been aptly described at the home of Robert and Clara mortality most keenly; he had been as “the saddest music ever written.” Schumann in Düsseldorf, carrying a infected with syphilis six years earlier, Although Schubert was undeniably a sheaf of unpublished music under his and when he composed his final Romantic composer, this movement arm. The young Johannes Brahms piano sonata, but the music he wrote is remarkable for its restraint. Free of arrived unannounced, bringing with suggests a foreknowledge of mortality. histrionics and self-pity, the music is an him a letter of introduction from Even in its most extroverted moments, exquisitely painful expression of beauty Schubert’s music retains the inward, acclaimed violinist and mutual friend

1874 1879 1884

Josef Suk born January 4; on Bedřich Smetana composes Czech Bedřich Smetana dies on May 12; APR 12 | 13 A FOND FAREWELL: AN INTERPRETATION January 13, US troops land in Dances II, JB 1:114; on November 4, in August, Café Slavia, a meeting Six composers reimagine Elliott Smith Honolulu to protect the king James Ritty patents the first cash place of famous writers and In partnership with Hand2Mouth Theatre register to combat stealing by his thinkers, is opened in Prague bartenders in Dayton, Ohio portlandpiano.org | 9 APRIL 13-14 2018 TOWER THEATRE BEND FROM BACH TO BOOGIE JAZZ! PIANO SHOWCASE introduced him to music publishers SUNRIVER MUSIC FESTIVAL PRESENTS Breitkopf & Härtel, Brahms decided his APRIL 13-14 SUNRIVER C major piano Sonata should be known 2018as his Op. 1, No. 1. (Opus numbers for MUSIC PIANO SHOWCASE TOWER THEATRE FESTIVAL FROM BACH TO BOOGIE TO JAZZ! Brahms’ earliest published works are BENDsomewhat misleading; the C Major Sonata was actually written after APRIL 13-14, 2018 Brahms’ F-sharp minor Sonata, which was published as Op. 2). Why the fuss TOWER THEATRE, BEND over opus numbers? As an unknown TWO DAYS OF PERFORMANCES & WORKSHOPS composer establishing his musical bona fides, Brahms understood that his first published work must represent MUSIC featuring THREE EXCEPTIONAL PIANISTS: his best and most fully realized music. FESTIVAL TanyaSUNRIVER Gabrielian • powerful & imaginative classical pianist Brahms believed the C Major sonata Arthur Migliazza • boogie-woogie blues extraordinaire to be a stronger, more fully integrated Randy Porter • sophisticated & inventive jazz pianist work than the F-sharp minor. CONCERT I Friday evening featuring all three performers Brahms loved Classical structure and form, and the framework of a piano WORKSHOPS, ARTISTS RECITALS, MASTERCLASSES sonata seemed tailor-made for his Saturday throughout the day natural musical inclinations. However, CONCERT II and CLOSING RECEPTION Saturday evening after he published three piano sonatas (C Major, F-sharp minor, and F minor), See website for full schedule and price options Brahms never wrote another, a fact that Details and tickets has puzzled Brahms lovers ever since. 541-593-1084 • [email protected] • www.sunrivermusic.org Perhaps Schumann’s characterization of Brahms’ sonatas as “veiled symphonies” provides a clue: Brahms, Joseph Joachim. The Schumanns quartets, every work so different who was ruthlessly self-critical, may received Brahms warmly, and asked form the others that it seemed to have felt that he had exhausted the the young man to play some of his stream from a separate source.” piano sonata format. The genre may music for them. Robert Schumann have felt too confining for a composer published his famous reaction to Schumann’s description of Brahms’ piano sonatas as “veiled symphonies” whose musical ideas required a larger hearing Brahms’ music for the first time canvas. in the Neue Zeitschrift für Musik (New was both prescient and apt. The three Journal of Music), under the title “Neue sonatas Brahms eventually published The C Major Sonata’s four movements Bahnen” (New Paths): (he wrote several others, which he reflect Brahms’ deep admiration of destroyed) have an orchestral quality, Ludwig van Beethoven, whose early “Sitting at the piano, he began to both in their dense texture and in sonatas also had four movements. disclose wonderful regions to us. the expansive nature of their musical Musicologist R. Larry Todd writes, “The We were drawn into ever more themes. All of Brahms’ piano sonatas full-bodied opening [of the Allegro] enchanting spheres … There were are youthful works, completed before is often compared to that of another sonatas, veiled symphonies rather; the composer was 20 years old. After ‘symphonic’ piano sonata, Beethoven’s songs, the poetry of which would careful deliberation and consultations great 'Hammerklavier', though on be understood even without words with the Schumanns, who acted closer inspection Brahms’ opening … again sonatas for piano, string as Brahms’ artistic mentors and

1891 1894 1900

Josef Suk begins his Klavírní Vítězslav Novák composes Alexander Scriabin composes skladby; Antonín Dvořák joins Vzpomínky, Op. 6 (Reminiscences); Fantasie in B minor; on April 4 the faculty of the Prague the first public showing of Thomas Antonín Dvořák conducts he Conservatory as the head of the Edison's kinetoscope (moving Czech Philharmonic for the last composition department pictures) takes place on April 14 time 10 | Portland Piano International clearly derives from the beginning of an earlier Beethoven sonata, the 'Waldstein', with which it shares is key, C Major.”

Brahms composed the Andante in Grace Goudy 1852, borrowing the melody from Distinguished Artists what he thought was a German Series 2017-2018 minnelied, “Verstohlen geht der Mond auf” (Stealthily rises the moon). Brahms found the tune for this medieval German love song JEFFREY KAHANE in an 1830 collection, Deutsches plays Johann Sebastian Bach’s Volkslieder (German Folk Songs) Since Brahms’ time, research has established that the editors of this collection altered some of the The Goldberg Variations melodies they included. While the tune may not be entirely authentic, FEB. 23, 2018, 8 PM Brahms liked it well enough to use Smith Auditorium, Willamette University, Salem it as the basis for a pensive theme Special time and location; reserved seating and variations. In each of the three variations that follow the chordal theme, we can hear the moon of the poem’s title rising steadily in the willamette.edu/go/goudy night sky. 503-370-6255 • [email protected]

The Scherzo again recalls Beethoven, with its brashness, its rhythmic motifs, and its bold forays FANTASIE IN B MINOR, OP. special individual revelation,” informed into a variety of unexpected keys. In 28 his creative output to a marked degree. the Finale, Brahms gives us a rondo Like Frédéric Chopin, Scriabin was also with two contrasting episodes. The COMPOSER: born January 6, 1872, a virtuoso pianist who concentrated primary rondo theme uses a variation Moscow; died April 27, 1915, Moscow on composing new works for the of the main melody from the first instrument he knew best. WORK COMPOSED: 1900 movement; it echoes the rhythmic Scriabin’s music is also informed ESTIMATED DURATION: 9 minutes vitality and wide-eyed energy of the by the fact that he probably had Allegro, while the two interludes brim Alexander Scriabin’s mystical, synesthesia, defined by Wikipedia over with rhapsodic musings. enigmatic style eludes easy as “a perceptual phenomenon in categorization, and his interests in which stimulation of one sensory or philosophy and theosophy, defined cognitive pathway leads to automatic, by the Concise Oxford Dictionary as involuntary experiences in a second ALEXANDER “any of various philosophies professing sensory or cognitive pathway.” In to achieve a knowledge of God by Scriabin’s case, colors were associated SCRIABIN spiritual ecstasy, direct intuition or with particular notes or tonalities. As

1915 1935 1949

Alexander Scriabin dies April Josef Suk dies May 29; on March 6 Vítězslav Novák dies July 18; 27; on October 29 Tomáš Czech cyclist Frank Bartell breaks Ivana Marie Zelníčková is born in Masaryk claims independence the speed record at 80.584 mph in on February 20 for Czechoslovakia and later Los Angeles and later marries an American become its first president in 1918 named Donald portlandpiano.org | 11 his style developed, Scriabin’s affinity for certain tones likely corresponded with his preference for the colors they generated in his mind’s eye. In 1915, Scriabin invented the clavier à lumières (keyboard of lights), a special keyboard instrument in which specific notes correspond to particular colors. The Fantasie in B minor is a pivotal DÉNES work, marking a stylistic departure VÁRJON from Scriabin’s early compositions. Before Op. 28, Scriabin’s piano music had an intimate salon quality, MAR 24 & 25 / 4PM not unlike that of Chopin, although LINCOLN HALL their harmonic languages were very “...elegant, passionate and different. In Op. 28, Scriabin expanded always technically impressive, his range in every sense of the word. his compelling artistry The free-form fantastical quality of the superior to some of the music suggests a fever dream, full of starrier pianists who perform unusual sensations and vivid images. regularly on the main stage of Harmonically, Scriabin moves away Carnegie Hall.” from the Russian/Slavic influences – NEW YORK TIMES that informed his earlier works, and embraces the lush chromaticism of Richard Wagner and Franz Liszt. PORTLANDPIANO.ORG 503.228.1388 © 2018 Elizabeth Schwartz

SATURDAY, MARCH 3, 2018 I 7:30 PM TCHAIKOVSKY’S 4TH ARLENE SCHNITZER CONCERT HALL Pyotr Ilyich Tchaikovsky: Symphony No. 4 Paul Creston: Concertino for Marimba and Orchestra Nathan Coffman, percussion, 2017-18 PYP Concerto Competition Winner Tickets: $5-$55 at www.portlandyouthphil.org

12 | Portland Piano International RECENT GIFTS: Portland Piano International thanks our generous donors who help make these wonderful recitals possible. Gifts received between January 1, 2017 and January 31, 2018 PEDAL SOCIETY Harold Gray & Mary Kogen SUPPORTERS Melvyn Ball $10,000 & Above Tom Griffin $250-499 Linda Barkus Susan Alterman Dean & Susan Alterman Missy Vaux Hall Matthew Barnes Mary C. Becker Dr. Richard & Nancy Chapman Intel Foundation Matching Gifts H.C. & N.L. Barney Program Susan Symonds Bodin Dorothea M. Lensch Fund Karla Bateman of the Oregon Community Jackson Foundation Mitchell Bower, Jr. & Marlia Willene & Mark Bautista Foundation Jenkins Robert L. Ladehoff Christine Bedenis Carol Edelman Ellen Bucek Lawrence Levy & Pamela Laurinda Bedingfield Maryellen & Michael McCulloch Lindholm-Levy Dr. Richard Dobrow Donald Beebe James F. & Marion L. Miller Jack & Lynn Loacker Arthur W. & Margianne Foundation Erickson Sara Beg Thomas & Dee Moore Nellie Tholen Fund of the Edmund H. Frank & Eustacia Su Gavin Bjork Oregon Community Foundation Jeffrey Morgan Fred & Sara Harwin Jennifer & Bowen Blair Oregon Arts Commission Nike Inc. Sonja Haugen Naomi Blatt Marianne Perrin Ron & Minnie Quiring Nick Klein Charles & Nina Bloomfield Regional Arts & Culture Council Stephanie & Douglas Sears Dr. Colin Ma Louise Bloomfield Larry & Dorie Vollum Ken & Nancy Stephens Jeanne Magmer Marc Bocci Work for Art, including Debra Vinikour Patricia Navin Patricia Bollin contributions from more than Cameron J. Wiley & Carey W. 60 companies and 1,600 Wiley Ralph & Ruth Nottingham Judy Bone employees in the region Martin & Carolyn Winch Barry D. Olson Michael Brady through the Mackenzie River Charles E. Peterson Rule Brand GUARANTORS Gathering Foundation Jim Quackenbush & Amy Liz Braund $5,000-9,999 Lawrence & Karen Zivin Johnson Robert Brenner Betty & Bruce Bell Daniel Rasay Sandra Brody Judy & Hank Hummelt PATRONS Carol & Walter Ratzlaf Chris Brokaw Shell Oil Company Foundation $500-999 George Rowbottom & Marilyn Laetitia Brundage Ray & Amy Torgerson John H. Barker Crilley Peter & Noydena Brix Scott Teitsworth & Deborah Kell Alterman Runstein Buchanan David Brokaw BENEFACTORS Steve & Violet Schad Jean Burbach $2,000-4,999 William J. & Kathryn A. Coffel Randy Sell Diana Burman Debbie & Steve Carlton Cliff & Karen Deveney Carl & Julie Seneker Susan Burton Daniel Deutsch Pauline Eidemiller Jaymi & Francis Sladen Karen Caffrey Barbara Friesen Paul Fellner Mary Jean Thompson Andrew Cahill Lanier & Paulette Hanchett Carol Ferris James Vannice Deborah Cameron Marianne King Marybeth Fossati Barbara Camp Seongtae Jeong & Kyongha Claire & Zanley Galton FRIENDS (Kay) Lee Angela Carlson Maris Graube up to $249 George & Mary Lou Peters Peter Acker Lauren Carr Carl Halvorson Anne Savaria Agoston & Maria Agoston Brenda Carter King Charitable Foundation Tonkon Torp, LLC (in kind) Mary Alred Nancy Carlin Casey David Kingsbury Amazon Smile Jorge Castillo Susan Koe 88 KEY SOCIETY Scott Amon Jean Cauthorn Andrew Lance (also includes all names above) Scott Anderson Colin Cave $1,000-1,999 Julia Lee Ellen Anderson Susan Chan Gerald & Lori Bader Bob & Nancy Leon Angela Andrews Vivian Chen George & Nancy Barker Maynard Orme Anonymous (3) Min Chen Ellen Bergstone Wasil & Dan Portland Piano Company (in Wasil kind) Philip Austin Lu Chen Jeff & Lauren Canfield Vince & Robin Power Barbara Backstrand Christine T. Chitsaz Maggie Doolen & John Slocom Harriet Bakken Ilze Choi Ann B. Clarke

portlandpiano.org | 13 WHY PARTICIPATE IN PIANO DAY? Play a fabulous piano. This is a chance to play on MARCH 29, 2018 some great pianos in the Portland metro area. Be a part of making history. We are joining pianists LOCATIONS: around the world celebrating the piano! CITY HALL ATRIUM Play on a world stage. Performances are streamed live TRIMET WASHINGTON and are watched around the globe. PARK MAX STATION Get swag. Each participant receives a special OHSU SOUTH WATERFRONT commemorative pin and their choice of two free tickets to an upcoming SOLO Series performance (pending PEACEHEALTH SOUTHWEST availability)! MEDICAL CENTER Raise funds for a good cause. Donations help us LEGACY EMANUEL ATRIUM underwrite student tickets and educational programs.

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14 | Portland Piano International FRIENDS CONTINUED... Frances Geer Judy Hutchinson Xiangying Ma Richard Colman Chris Gerber Geri & Steve Jacobs Mary MacDonald William Cooper Simona Gherghisan David James Yaqin Maffly Scott Corbett William Gilliland Sharon James Linda Malloy Timothy Corcoran Alison Gillmouth Jane Jarrett Philip Mandel Alexander Corcoran Joshua Gillmouth Guoqian Jiang Mauricio Esteves Marcal Linda Craig Lydia Gladstone Matt Jochim Paige Marmer Richard Crimi Randy Gragg Brian Johnson Brett Marston Nancy Crumpacker Donald Graham Katharine & Charlie Johnson Caroll Marston Melissa Crumpler Aaron Graneng Marie Johnson John W. Martin Donald Cushing Katherine Graville Jacqueline Joseph Joan Mason Eloise Damrosch Sylvia Gray & Viktors Berstis Frederick & Gail Jubitz Marc Mastriano Judy Dauble Susan Grayson Deepali Kalia Mimi & Noel Mateo Judith Davis Margery Green Rebekah Kaplan Cori Mathers Karen Davis Tony Greiner Nancy Kelley Wendy Mazaud Bailey Dean David Gusseck David Kiesel-Nield Jeffrey Mazer Jing DePiero Winthrop Hall Lois & James King Holly McBean Robin DesCamp Sean Hallahan Anita King Geoff McCarthy Nicholas T. Devlin Janet Hamby John & Sharon Kirby Patrick McCarty Grinder Dhingra Carol Hamilton Kyle Kirk Linsey McGrath Lonny Doi Don Hamilton Darby Knox Heather McGuirk Greg Dolinajec Ina Hammon Nina Koltnow Ruth Menashe Sabrina Dorgan Rosalie Peggy Hammond Kroger Community Sharing Chena Mesling Campaign Edith Dorsen Jim Hansen Victoria Milne Michael Krol Kay L. Doyle Fred & Amelia Hard Stacy Moe Judith Krones Ben Drew Ulrich H. Hardt Susan Moen Alexander Krotov David Drewrey Richard Harris John P. Moore Tom Kuffner & Ervin Czimskey Jean Dugan Mary Hart Anne Morin Sharon Lance Sraddha Durand Andrew & Cynthia Haruyama Thomas D. Morris & Sally Gary Larson Scholz Darcy DuRuz Isabelle Haulin Tesair Lauve Janice Moss Dell Ann Dyer & Gary Miller Anne Marie Havekost Linda Laviolette Jon Mulford Jerry Eccles Kim Heer Elizabeth Leach Wendy Munyon Dustin Engel Gayle & Hartwig Hennicke Ann Lederer Eri Muroi Kebra Engel Denise Herrenbruck Aaron Levine Gayathri Narayanan Dorothy Fahlman Margaret Herrington Sioban Liang Helene & Graham Nash Steven & Penelope Fain Linda Hickok Howard & Wendy Liebreich Pamela Neferkara Kathleen Fielder Kathryn Hickok Jonathan Lietz Shauna Newbore Amy Fields Becky Hill Paula Lifschey Saki Newman Paul & Sherry Fishman Dongmei tian Hill Nadja S. Lilly Jean Nieman Jennifer Fitzpatrick Kyle Hils Ting Lin Jesse Nieman Joan Fondell Kirk Hirschfeld Amber Lindsey Alan Niven Elysa & Eric Foxman Angela Ho Letha Loboa & Cheryl Richard Nobleman Ezra Hockman Marcia Freed Burgermeister Kathleen O’Donnell Linda & Ron Hockman Scott Friedstrom Mary Loney Daniel O’Donnell David Holt Sam Galbreath Richard & Diane Lowehsohn James Oberholtzer Mike Hsu Meera Ganesh Irene Lutts Eileen Olson Zupeng Huang Carol Gans John Lutts Cindy Olson Kathryn Hubbell Tabitha Gates Paul Lutts Sarah Osgood Karen Huffman Ronda Gates Libby Lyshaug Marcela Parra Ray & Joyce Gee Desiree Hunter

portlandpiano.org | 15 Lanetta Paul Debra Rubin Kathy Stahl Kingsbury Carol Peairs John & Joanne Rudoff Carleen Stanley Wayne Wakeland Amy Perdue Darine Sadakah Louise & Jay Stamphill Susan Walling Lynn Perkins Nancy Salt Black Carolyn J. Starbird & Gary Wei Wang Peterson Chris Perkins Steven & Carol Sandor John Wied Pamalynn Steinfeld William Perrin Pablo Sanz Dr. Richard & Carolyn Ashton Steinfeld Weleber Barbara Platt Colin Sapp Jeanne Stevenson Sabine Welling Portland Repertory Group Winston Saunders William R. Stone Jacqueline Wetzel Susan & John Poss Roger Saydack & Elaine Bernat Marlise Stroebe & David Lisa Whitlock Caris Power Zine Nancy Scharbach Brad & Karen Whitman Mark Powers Andreas Sunardi Cindy Scheel Lynn Whitney Jon Quackenbush Kristin Swanson Barry & Hazel Schlesinger Amy Williams Ron & Lee Ragen Dr. & Mrs. Aron Swerdlin Stacy A. T. Schuck Chuck Williams Christine Rains Matthew Swetnam Maxine Selling Paul Willis Willa Ralphs Auxin Tang April Severson Elizabeth E. Willis Kim Ralphs Gulchin Tarabus Leonard Shapiro David & Slate Wilson Seems Randive Siobhan Taylor Bhupendra Sheoran Christopher Wilson Caterina Randolph Harmony Teitsworth Pamela Sherwood Jeffrey Winslow Judith Rees Karl R. Thieme Bella Sheykman Michael & Vivian Wrinn Kathleen Reimann Earl Thomas Mary Slowik Siciliano Ping Wu Charles Rice Dave Thompson Elysa Simone Feng Xu Margaret Rice-Nizza Diane Tiedeman Douglas C. Smith Chaoling Yang James Richardson Corey Tolliver Nancy Smith Judith Yap Eike & Kathleen Richter Nancy Tongue Cameron Smith Nancy Yielding Susan Riggs Susan Auerbach Triplett Ronald Smith Florence Zeller Lurelle Robbins Marcia Truman Richard Solomon Helen Zhang Don & Barbara Roberts William Udy Eunsean Son Gy Zhang Tiffany Robertson Devin Uehling Linda Mosman Hao Zhang Jack & Caroleigh Robinson Michael Underhill Sue Specht Junjie Zhou Gustavo Rodriguez Douglas Upchurch Sue Spooner-Caldwell Bill & Francine Zieverink JoAnn Rouza Lisa Volle & Graham John Stagnaro Andrea & Paul Zulak

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We are extremely grateful to Anonymous these individuals who have Louis & Judy McCraw chosen to make a lasting impact Maynard Orme through their legacy gifts. Vince & Robin Power Walter Stinger* Mary Jean Thompson Harry Turtledove* Patricia Turtledove* To learn more, contact Ellen Bergstone Wasil at 503.228.1388 or * Members whose legacy gifts have [email protected] been fulfilled

16 | Portland Piano International TRIBUTE GIFTS: THANK YOU TO OUR BOARD OF DIRECTORS GENEROUS SPONSORS In honor of Steven Cantor In memory of Meri Lang Maryellen McCulloch, Chair Anonymous Elizabeth E. Willis Debra Vinikour, Vice Chair

In memory of Craig Casey Lauren Canfield,Treasurer In memory of Phyllis Swett Ron & Minnie Quiring Brendan O’Scannlain, Secretary Bob & Nancy Leon Ken & Nancy Stephens Dean Alterman, Immediate Past Chair In memory of Florence Goodman In memory of Bill Vanderheide Jean Cauthorn Ina Hammon Carol Edelman Dr. Joseph Emmerich Judy Hummelt In honor of Harold Gray Kyongha (Kay) Lee & In memory of Ben Vinikour Jeffrey Morgan Seongtae Jeong Debra Vinikour Marianne Perrin Maryellen & Michael McCulloch Larry Vollum

SPONSOR A STUDENT: Donors who underwrite the cost of a student subscription for a season. Harold Gray Artistic Director Emeritus Linda L. Barkus Mary Slowik Siciliano

Nick Klein Kristin Swanson STAFF Ellen Bergstone Wasil SOSTENUTO SOCIETY: Donors who make monthly contributions Executive Director to SOLO / Portland Piano International. [email protected] Gerald & Lori Bader Vince & Robin Power Robin Power Ellen Bergstone Wasil & Dan Wasil Anne Savaria Associate Director Amy Johnson & Jim Quackenbush Debra Vinikour [email protected] George & Mary Lou Peters PART-TIME STAFF Our apologies in advance for any omissions. Every gift is important to us! Hannah Hillebrand This activity is supported in part by a grant Education Outreach Coordinator from the Oregon Arts Commission and the [email protected] National Endowment for the Arts.

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