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András Schiff, Piano II

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András Schiff, Piano II CAL PERFORMANCES PRESENTS PROGRAM Wednesday, February 29, 2012, 8pm Ludwig van Beethoven (1770–1827) Thirty-Three Variations on a Waltz by Zellerbach Hall Anton Diabelli, Op. 120 (1819, 1822–1823) Thema — Vivace I. Alla Marcia maestoso András Schiff, piano II. Poco Allegro III. L’istesso tempo IV. Un poco più vivace V. Allegro vivace PROGRAM VI. Allegro ma non troppo e seriouso VII. Un poco più allegro VIII. Poco vivace Johann Sebastian Bach (1685–1750) Three-Part Inventions (Sinfonias), IX. Allegro pesante e risoluto bwv 787–801 (1720) X. Presto XI. Allegretto No. 1 in C major, bwv 787 XII. Un poco più moto No. 2 in C minor, bwv 788 XIII. Vivace No. 3 in D major, bwv 789 XIV. Grave e maestoso No. 4 in D minor, bwv 790 XV. Presto scherzando No. 5 in E-flat major,bwv 791 XVI. Allegro No. 6 in E major, bwv 792 XVII. Allegro No. 7 in E minor, bwv 793 XVIII. Poco moderato No. 8 in F major, bwv 794 XIX. Presto No. 9 in F minor, bwv 795 XX. Andante No. 10 in G major, bwv 796 XXI. Allegro con brio — meno allegro No. 11 in G minor, bwv 797 XXII. Allegro molto (alla “Notte e giorno faticar” No. 12 in A major, bwv 798 from Mozart’s Don Giovanni) No. 13 in A minor, bwv 799 XXIII. Allegro assai No. 14 in B-flat major,bwv 800 XXIV. Fughetta. Andante No. 15 in B minor, bwv 801 X X V. A llegro XXVI. (Piacevole) XXVII. Vivace Béla Bartók (1881–1945) Sonata for Piano, Sz. 80 (1926) XXVIII. Allegro XXIX. Adagio ma non troppo Allegro moderato XXX. Andante, sempre cantabile Sostenuto e pesante XXXI. Largo, molto espressivo Allegro molto XXXII. Fuga. Allegro XXXIII. Tempo di Minuetto moderato INTERMISSION Funded by the Koret Foundation, this performance is part of Cal Performances’ 2011–2012 Koret Recital Series, which brings world-class artists to our community. This performance is made possible, in part, by Patron Sponsors Helene and Charles Linker. Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. 20 CAL PERFORMANCES CAL PERFORMANCES 21 PROGRAM NOTES PROGRAM NOTES Johann Sebastian Bach (1685–1750) a short, instrumental composition, but Invention held together by the logic, and the iron consis- Béla Bartók (1881–1945) Three-Part Inventions (Sinfonias), was unusual. Bach seems to have borrowed it tency, of his musical thoughts.” Sonata for Piano, Sz. 80 bwv 787–801 from a set of Invenzioni for Violin and Keyboard Sinfonia No. 1 (C major), strewn with rib- published in 1712 by the Italian priest and com- bons of scales, provides a sunny and bracing Composed in 1926. Premiered over Hungarian Composed in 1720. poser Francesco Antonio Bonporti (1672–1748), gateway to the collection. Radio on December 3, 1926, by the composer; pub- which Bach had copied out for his own study. Sinfonia No. 2 (C minor) combines a broken- lic premiere on December 8, 1926, in Budapest. During the years of his early adulthood, Bach (Four of them were mistakenly included in the chord motive and a chain of scale notes with devoted much attention to the education of his first collected edition of Bach’s works.) The gen- some subtle background figurations. After the fiendish winds of the First World War growing brood, an entire tribe of Bachian off- eral concept of musical “invention” dates to the Sinfonia No. 3 (D major) weaves an intri- finally blew themselves out in 1918, there came spring (20 of them eventually; half survived to Italian Renaissance, when it indicated the cre- cate contrapuntal web from its three intertwin- into music a new invigoration and an eagerness maturity) who were inevitably trained in the ation of a new piece through the processes of ing voices. by composers to stretch the forms and language musical art that had provided the principal composition. (Vivaldi’s Four Seasons were pub- Sinfonia No. 4 (D minor) extracts great of the ancient art. Stravinsky, Schoenberg, livelihood of the family for at least five genera- lished in 1725 in a collection titled Il Cimento poignancy from the widely arched intervals of Webern, Prokofiev, Shostakovich, Copland tions. Bach made the household curriculum for dell’Armonia e dell’Inventione—“The Contest its theme. and other of the most important 20th-century Wilhelm Friedemann, the eldest son, born in between Harmony and Invention.”) Sinfonia No. 5 (E-flat major) is in the nature masters challenged listeners and colleagues Weimar in 1710, the model for his other chil- Bach indicated the intent of the Inventions of a duet in close harmonies balanced upon a throughout the 1920s with their daring visions dren, rigorously drilling the youngster in theory, and Sinfonias in a preface to the 1723 manu- persistently repeated figure in the bass. and their brilliant iconoclasms. It was the most composition and performance. On January 22, script: “Straightforward instruction, whereby Sinfonia No. 6 (E major) wraps two inter- exciting decade in the entire history of music. 1720, while he was music director at the court lovers of the keyboard, and especially those twining accompanimental lines around a stream Béla Bartók, whose folksong researches were of Anhalt-Cöthen, Bach began a little music eager to learn, are shown a clear method, not of incessantly running triplets. severely limited geographically by the loss of notebook for keyboard instruction—a Clavier- only (1) of learning to play cleanly in two parts, Sinfonia No. 7 (E minor), with its lyricism Hungarian territories through the treaties fol- Büchlein—to collect his lesson materials for but also, after further progress, (2) of managing and sweet, close-interval harmonies, is remi- lowing the war, was not immune to the spirit of the nine-year-old Friedemann, the age at which three obbligato parts correctly and satisfacto- niscent of an operatic duet, perhaps sung at the experimentation, and he shifted his professional Bach himself had begun formal studies. First he rily; and in addition not only of arriving at good parting of lovers. concentration at that time from ethnomusicol- put in a table of the eight clefs used at that time original ideas [Inventiones] but also of develop- The steady rhythm and the theme begun ogy to composition and his career as a pianist. for notating the various voice and instrumental ing them satisfactorily; and most of all of acquir- with two unaccented “upbeat” notes give the He was particularly interested in the music of parts, and then an explanation of the most com- ing a cantabile style of playing while at the same Sinfonia No. 8 (F major) the character of a Stravinsky, notably the mosaic structures and mon ornaments found in keyboard pieces and time receiving a strong foretaste of composi- quick-tempo gavotte. advanced harmonies of the Diaghilev ballets, some finger exercises. There follow several short tion.” The intensive training in the joined disci- The drooping melodic leadings and somber and in the recent Viennese developments in numbers (not all by Bach), some of Friedemann’s plines of keyboard technique, performance style gait of the Sinfonia No. 9 (F minor), the longest atonality and motivic generation posited by attempts at copying scores (four of the Preludes and composition provided by Bach’s teaching movement of the set, lend the music the charac- Arnold Schoenberg and his friend and disciple that Bach was then working on for The Well- methods had its desired effect on Friedemann, ter a lament. Alban Berg. A decided modernism entered Tempered Clavier were left incomplete when the who was appointed organist at the Sophiekirche Sinfonia No. 10 (G major) is airy in texture, Bartók’s music with his searing 1919 ballet, boy’s large, unpracticed hand caused him to run in Dresden in 1733 and 13 years later became flowing in motion and genial in mood. The Miraculous Mandarin, and his works of the out of room on a page) and 15 works in strict music director of the Liebfrauenkirche in Halle. Sinfonia No. 11 (G minor) is a wistful, deli- following years—the two Violin Sonatas, the two-part style titled Praeambula. Following In his authoritative 1966 study of Bach, cately etched minuet. Piano Sonata, the piano suite Out of Doors, the a few little dance numbers by Telemann and the eminent Austrian-American musicologist Sinfonia No. 12 (A major) suggests a luxuri- First Piano Concerto and the String Quartet Stoelzel, Bach created 15 three-part sequels Karl Geiringer wrote of the Inventions, “Using antly textured processional. No. 3—are the most daring that he ever wrote. to the Praeambula that he called Fantasie. In all the devices of the contrapuntal vocabulary, Sinfonia No. 13 (A minor) calls to mind a He was reluctant to program them for any but 1723, shortly before taking up his new duties as he evolved characteristic compositions out of dignified, reflective sarabande. the most sophisticated audiences. Cantor for Leipzig’s churches, Bach extracted a single idea stated at the beginning. No other Sinfonia No. 14 (B-flat major) is measured Bartók’s only Piano Sonata was the first the Praeambula and Fantasie from Friedemann’s composer had hitherto imbued clavier works of in pace, featherstitched in texture and almost product of the burst of creative activity that Clavier-Büchlein, revised them according to the such small dimensions with a content of such playful in mood. he experienced during the middle months of efficacy they had shown as pedagogical items, significance. These are studies in independent Sinfonia No. 15 (B minor) juxtaposes a 1926, after two years of putting aside composing and inscribed them into a new manuscript under part writing using all the devices of fugue, can- muscular imitated motive with flurries of arpeg- in favor of teaching at the Music Academy in the titles Inventio and Sinfonia—they are com- on and double counterpoint, but without strict giated notes.
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