Sunday, January 20, 2019, 3pm Hertz Hall , , piano

Ludwig van BEETHOVEN (1770–1827) Sonata No. 3 in A Major for Cello and Piano, Op. 69 (1807–08) Allegro ma non tanto Scherzo: Allegro molto Adagio cantabile – Allegro vivace

Johannes BRAHMS (1833–1897) Sonata No. 1 in E minor for Cello and Piano, Op. 38 (1862–65) Allegro non troppo Allegretto quasi Menuetto Allegro

INTERMISSION

Felix MENDELSSOHN (1809–1847) Sonata No. 2 in D Major for Cello and Piano, Op. 58 (1843) Allegro assai vivace Allegretto scherzando Adagio Molto allegro e vivace

David Finckel and Wu Han recordings are available exclusively through ArtistLed (www.artistled.com). Artist website: www.davidfinckelandwuhan.com Wu Han performs on the Steinway Piano.

Cal Performances’ 2018 –19 season is sponsored by Wells Fargo.

Opposite: Photo by Lisa-Marie Mazzucco.  PROGRAM NOTES

German Mastery fered the composer a guaranteed annual Together, Ludwig van Beethoven, Johannes stipend to remain in Vienna. It is thought that Brahms, and represent the the dedication of the sonata was a gesture of peak of mastery in the German Classical and thanks to Gleichenstein. Aer the agreement Romantic traditions, and each composer wrote was signed, Beethoven asked Gleichenstein to significant works for cello and piano duo in help him find a wife. their respective pinnacle years. e sonatas A year aer the work was completed, Bee - featured in this program, as selected by David thoven complained that the sonata “had not yet Finckel and Wu Han, represent some of the been well performed in public.” e first record most important, celebrated, and masterfully of a performance is from 1812, when the work craed pieces in the duo repertoire. From Bee - was played by Beethoven’s pupil Carl Czerny thoven’s incredibly lyrical Op. 69 sonata, com - and Joseph Linke, the cellist who would later posed at the height of the Classical period, give the first performance of the Op. 102 so na - to Brahms’ soulfully vocal Sonata in E minor, tas. Linke was the cellist of the Razumov sky whose beloved fugue pays homage to J. S. Bach, Quartet, which premiered many of Be etho ven’s the master of counterpoint, the program string quartets. traverses the German tradition of consummate Aer presenting the first movement’s noble crasmanship in artistry. Concluding with theme alone, the cello rests on a low note while Mendelssohn’s exhilarating Op. 58 sonata, the piano continues to a cadenza. e music is which oozes an affectingly ebullient character then repeated with the roles reversed, the cello that epitomizes the era of German Romanti - playing an ascending cadenza marked dolce. cism, this thrilling program is a tour de force e mood is rudely broken by a ferocious ver - survey of some of the most revered treasures of sion of the theme in minor that quickly dissi - the cello and piano duo literature. pates to allow for the entrance of the second subject, a beautiful combination of a rising scale Ludwig van Beethoven (cello) against a falling arpeggio (piano). e Sonata No. 3 in A Major for Cello and Piano, cello and piano continue trading motifs, each Op. 69 repeating what the other has just played. A One of the greatest works in the cello literature, heroic closing theme is the culmination of the Beethoven composed the Sonata in A Major in section and a brief, contemplative recollection the midst of one of his most phenomenally of the opening motif leads to the repeat of the prolific periods, a period that also birthed the exposition. Fih and Sixth Symphonies, the Fourth Piano e development explores even more in - Con certo, the Choral Fantasy, and the Op. 70 credible worlds, turning through mysterious, piano trios. e new prominence of the cello, rhapsodic, stormy, soaring, and mystical sound the sweeping use of the instrument’s range, and worlds before reaching the recapitulation, the long, singing lines in the A-Major Sonata where the cello plays the theme in its original all herald the full flowering of the cello’s role form against triplet decorations in the piano. in Beethoven’s compositions. e earliest e coda is thoughtful, and an extended chro - sketches of the work appeared in 1807, among matic buildup leads to a heroic statement of those for the Fih Symphony; Beethoven com - the theme. Aer some dreamy, languishing pleted the sonata in Vienna in the spring of music almost dies away, Beethoven finishes this 1808 at the age of 38. great movement with a surprise forte. Beethoven dedicated the sonata to Baron e extraordinary scherzo movement is the Ignaz von Gleichenstein, an amateur cellist and only appearance of a scherzo (meaning “joke”) one of Beethoven’s closest friends and advisers in all five cello sonatas. e music begins on the between 1807 and 1810. Gleichenstein helped upbeat, and the 3-1 rhythm never ceases, even to organize a consortium of sponsors who of - in the happier trio section. Although there are

 PLAYBILL PROGRAM NOTES many clever exchanges, the incessant, manic Rhine Music Festival in Cologne, and spent energy leaves the distinct impression that this the following weeks on holiday with the con - scherzo is no joke. ductor and composer Albert Dietrich and Clara A short Adagio cantabile , a beautiful song for Schu mann, ’s widow. e va - both instruments, relieves the nervousness of cation was a happy one: Brahms and Dietrich the scherzo. A moment of hesitation leads to the spent the days hiking and composing; in the quiet, almost surreptitious appearance of the evenings, Clara—one of her generation’s great - final Allegro vivace. e theme, though happy est pianists and a gied composer in her own like its predecessors in the earlier sonatas, is right—would play. more lyrical and has greater emotional depth. Brahms revered Bach above all composers (it It introduces a movement in which the com - can be safely surmised that he was aware of the poser employs virtuosity not as an end in itself, Baroque composer’s cello suites while compos - but as a means of creating internal excitement. ing his own cello sonatas) and paid homage to e second subject presents a difference of him with the E-minor Sonata. e principal opinion between cello and piano, the cello theme of the first movement resembles in shape singing a short phrase, the piano responding and mood the fugal subject of Bach’s Die Kunst with percussive eighth notes. e development der Fuge (e Art of Fugue), and the fugal section is mostly wild, with flying scales and subject of the third movement directly quotes pounding octaves. Approaching the recapitula - from the same work’s Contrapunctus XIII. tion, Beethoven employs the basic materials Neverthe less, in his late twenties and early of the movement: the rhythmic eighth-note thirties, Brahms—the young Romantic—had accompaniment is combined with chromati - already established his voice with such confi - cism, grasping for the main theme. e coda is dence that despite the explicit nod to a past full of thoughtfulness and pathos. ere is a master, the language of this sonata is unmis - sense of reflection amidst excitement, of Bee - takably his own. thoven yearning to be understood, yet with sat - An insistent, syncopated piano accompani - isfaction denied. Aer a series of repeatedly ment underscores the cello’s brooding opening unsuccessful attempts to reach the home key, melody, creating a feeling of inner agitation. A Major is finally attained, as the eighth-note is tension culminates as the cello ascends to melody accelerates to frenzied sixteenth notes. its upper register, and as the piano assumes the e ending is triumphant, as Beethoven ham - theme, the first of a series of heated arguments mers his point home, the cello repeating the between the two instruments begins. A yet first bar of the theme over and over again with more impassioned dialogue follows, ushering the piano pounding out the eighth-note ac - in the second subject. Commentary on the companiment (“I will not give up!”). two cello sonatas of Brahms oen makes note — © David Finckel of the inherent problems of sonic balance in pairing cello with piano (as dense keyboard Johannes Brahms textures easily drown out the cello’s middle reg - Sonata No. 1 in E minor for Cello and Piano, ister). roughout this opening Allegro non Op. 38 troppo, Brahms makes a virtue of the challenge, Brahms composed the first two movements oen pitting the two instruments as combatants of the Cello Sonata No. 1 (his first work for a in contentious dialogue. e development solo instrument with piano) while in his late section avoids danger as well, exploiting the twenties. By this time, Brahms had already extremes of the cello’s range to symphonic re - composed a great deal of chamber music and sults. e conflict dissipates with the appear - become sufficiently well versed in the nuances ance of cascading triplets in the piano, and of writing for individual instruments. In the aer a full recapitulation, the movement ends summer of 1862, Brahms visited the Lower serenely in E Major.

 PROGRAM NOTES

Although composed before Brahms’ move to to Leipzig, where they had previously spent the Vienna, the second movement minuet parleys years 1835–1840, during which time, Mendels - a distinct Viennese flavor: exuberant, but with sohn scholar R. Larry Todd notes, the com - a tinge of darkness more evocative of Mahler poser, still in his 20s, “stood at the forefront of than of the waltzes of Johann Strauss. e heart German music.” Hence in 1840, as part of a of the movement is the divine trio section, sweeping attempt to install Berlin among which departs from the key of A minor to the ’s major cultural capitals, the recently even more mysterious, remote tonality of ascendant Friedrich Wilhelm IV had lured F-sharp minor. e cello offers a lyrical melody, Mendelssohn from Leipzig. ough compen - doubled by a shimmering accompaniment in sated handsomely in both payment and pres - the right hand of the piano: rippling sixteenth tige, however, Mendelssohn would not find notes give the effect of a voice-like vibrato. personal satisfaction in Berlin over the coming e finale, in turns gentle and unrelenting, three years. His professional responsibilities begins with a three-voiced fugue. e move - remained frustratingly undefined—besides ment is indebted not only to Bach, but also to which, he regarded that city as “one of the most the fugal finale of Beethoven’s Cello Sonata, sour apples into which a man can bite”—and, Op. 102, No. 2. Brahms departs from that in 1843, Mendelssohn resumed his conducting model, however, by traversing more extreme duties at the Leipzig Gewandhaus. Moreover, emotive territories. Following the intensity with his beloved mother’s death in December, of the opening episode, the music takes a tran - of 1842, Felix shared the realization with his quil, pastoral turn; the next instance of this younger brother, Paul, that “we are children romantic dance-like music is interrupted by a no longer.” is sentiment may have partly reappearance of the fugal opening. Aer build - impelled the 34-year-old composer to act upon ing to an even greater climax, the storm dissi - his longtime ambition of founding a conserva - pates, teasing the listener with the expectation tory (now the Felix Mendelssohn Bartholdy of a somber ending. But the surprise appear - University of Music and eater), whose char - ance of a pìu presto coda drives the work to a ter faculty would include himself, Robert and restless finish, the cello and piano continuing Clara Schumann, and others of ’s their battle for supremacy to the end. musical elite. — © Patrick Castillo Despite the turbulence surrounding this time, 1843 nevertheless represented a solidly Felix Mendelssohn productive year. In addition to the Op. 58 Sonata No. 2 in D Major for Cello and Piano, Sonata, Mendelssohn completed his incidental Op. 58 music to A Midsummer Night’s Dream, the e turn of the 19th century emancipated the Capriccio for String Quartet (later published cello from its traditional supporting role, as as Op. 81, No. 3), five Lieder ohne worte for Beethoven, followed by his heirs in the Roman - piano, and numerous choral pieces, among tic period, increasingly contributed sonatas, other works. concertos, and other solo works to the cello Befitting Mendelssohn’s mature composi - literature. Felix Mendelssohn’s Cello Sonata in tional language, the Sonata in D Major is firmly D Major, Op. 58 may rightly be counted among rooted in the tenets of Classicism inherited the most significant of these, and equally as a from Bach, Mozart, and Beethoven, but mean - quintessential statement of the aesthetic that while demonstrates the pathos of the Romantic defined its era. period. Each of the sonata’s four movements Mendelssohn penned the Op. 58 Sonata in portrays a vital dimension of Mendelssohn’s 1843, a year of considerable personal upheaval. musical identity. e opening Allegro assai Having at last concluded an unhappy residency vivace is all soaring lyricism and propulsive in Berlin, Mendelssohn and his family returned rhythmic energy, even at its tender second

 PLAYBILL PROGRAM NOTES theme. e movement’s ecstatic tone dispels the Baroque organ chorale. e cello answers with misguided aphorism that music’s emotional a dramatic recitative, marked appassionato ed content must correlate to biography—there is animato. e spirited dialogue between cello nothing in this movement, aer all, to betray and piano continues in the finale, now return- Mendelssohn’s grief over his mother’s passing— ing to the effervescence of the opening move- but, rather, its great emotive breadth reflects the ment. An increased restlessness in the piano zeitgeist of the Romantic period at large. e accompaniment matches the virtuosic cello second movement offers further Romantic writing measure for measure until the stirring cantabile, but couched in a signature Mendels - final cadence. sohnian scherzo. e cello complements the ough the Op. 58 Sonata bears a dedica- piano’s sly staccato figures with piquant pizzi - tion to the Russian cellist and arts patron cati before indulging in breathless melody. e Count Mateusz Wielhorski, Felix truly in- homophonic, hymn-like piano introduction tended the work for the aforementioned Paul, to the slow movement furtively recalls Bach— the cellist of the Mendelssohn family. It is the one of Mendelssohn’s formative influences— second of two cello sonatas Mendelssohn com- but with an unmistakably 19th-century touch: posed: the first, the Sonata in B-flat Major, Mendelssohn’s instruction sempre arpeggiando Op. 45 (1838), as well as the earlier Variations col pedale (“arpeggiated and with pedal”) im - concertantes for Cello and Piano (1829), were bues each chord with a distinctly more lush and likewise composed for Paul. immersive sound than would characterize a — © Patrick Castillo

ABOUT THE ARTISTS

David Finckel and Wu Han are among the trio performances in Canada and the United most esteemed and influential classical musi - States with violinist Philip Setzer. As the winter cians in the world today. ey are recipients of unfolds, they join CMS artists on tour to the Far Musical America’s Musicians of the Year award, East with appearances in and Hsinchu, one of the highest honors granted by the music , and in Shanghai, China. e duo will industry. e energy, imagination, and integrity also be the subject of two television features to they bring to their multifaceted endeavors as be broadcast on PBS stations across the country. concert performers, artistic directors, record - Now in their third term as artistic directors ing artists, educators, and cultural entrepre - of the Chamber Music Society of Lincoln Cen - neurs go unmatched. ter, David Finckel and Wu Han hold the longest In high demand among audiences world - tenure as directors since CMS founder Charles wide, David Finckel and Wu Han appear annu - Wadsworth. ey are the founders and artistic ally at the most prestigious concert venues directors of Music@Menlo, the popular Bay across the , Mexico, Canada, the Area summer chamber music festival and in - Far East, and Europe, their performances gar - stitute, approaching its 17th season in 2019. nering superlatives from the press, public, and Additionally, they are founding artistic direc - presenters alike. Highlights of their 2018–19 tors of Chamber Music Today, an annual festi - season include international and domestic tours val held in , , which marks its as a duo and collaborations with a stellar lineup eighth season this year. Wu Han currently serves of artists and ensembles. ey will continue to as artistic advisor of Wolf Trap’s Chamber Music perform with the Chamber Music Society of at the Barns, and in the spring, the duo inaugu - (CMS) in New York and on rates an immersive, week-long festival in Palm tour; reunite with violinist Daniel Hope and Beach that explores German and Austrian violist for a US tour reaching chamber music through an array of perform - seven cities; and embark on a series of piano ances and interactive events.

 ABOUT THE ARTISTS

In addition to their distinction as world-class ties. At Music@Menlo, their Chamber Music performers, David Finckel and Wu Han have Institute has provided hundreds of students established a reputation for their dynamic and with incomparable, immersive musical experi - innovative approach to the recording studio. ences over 16 summers. Since 2009, David ey opened up a whole new world in the Finckel and Wu Han have directed the LG classical recording industry when they created Chamber Music School in South Korea, which ArtistLed, the first musician-directed and serves dozens of young musicians annually. internet-based classical recording company. From 2013 to 2018, the duo led an intensive BBC Music Magazine recently saluted the label’s chamber music studio at the Aspen Music 20th anniversary, featuring the duo on its Festi val and School. In the current season, cover. David Finckel and Wu Han have also David Finckel and Wu Han’s website opens a overseen the establishment of the CMS Studio new initiative that addresses the challenges and Recordings label, the Society’s partnership with opportunities facing today’s per - Deutsche Grammophon; CMS’ livestream pro - formers and presenters. gramming; and Music@Menlo LIVE , which has David Finckel and Wu Han reside in New been praised as “the most ambitious recording York. project of any classical music festival in the For more information, please visit the artists’ world” ( San Jose Mercury News ). website at www.davidfinckelandwuhan.com. David Finckel and Wu Han have received universal praise for their commitment to nur - turing the artistic growth of countless young David Finckel and Wu Han appear by artists through a wide array of educational arrangement with David Rowe Artists: initiatives. Under their leadership at CMS, the www.davidroweartists.com Bowers Program (formerly CMS Two) identi - fies and inducts the finest young chamber Public Relations and Press Representative: artists into the entire spectrum of CMS activi - Milina Barry PR, www.milinabarrypr.com

 PLAYBILL