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David Finckel, Cello Wu Han, Piano

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David Finckel, Cello Wu Han, Piano Sunday, March 8, 2015, 3pm Hertz Hall David Finckel, cello Wu Han, piano PROGRAM Russian Reflections Sergey Prokofiev (1891–1953) Sonata for Cello and Piano in C major, Op. 119 (1949) I. Andante grave II. Moderato III. Allegro ma non troppo Dmitry Shostakovich (1906–1975) Sonata for Cello and Piano in D minor, Op. 40 (1934) I. Allegro non troppo II. Allegro III. Largo IV. Allegro INTERMISSION PLAYBILL PROGRAM Aleksandr Skryabin (1872–1915) Five Préludes for Solo Piano, Op. 16 (1894–1895) No. 1 in B major No. 2 in G-sharp minor No. 3 in G-flat major No. 4 in E-flat minor No. 5 in F-sharp minor Serge Rachmaninoff (1873–1943) Sonata for Piano and Cello in G minor, Op. 19 (1901) I. Lento — Allegro moderato II. Allegro scherzando III. Andante IV. Allegro mosso This performance is made possible, in part, by Patron Sponsors Kathleen G. Henschel and John W. Dewes. Hamburg Steinway piano provided by Steinway & Sons, San Francisco. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES PROGRAM NOTES RUSSIAN REFLECTIONS Prokofiev in Moscow for the remainder of his life. The late 1930s saw very few public débuts We are delighted to present a program of of Prokofiev’s works, save the Cello Concerto, music that is alternately grand, nostalgic, mys - Op. 58 (1938), and Romeo and Juliet (1936), tical, and earthy—a recital in which cello and both met with negative criticism. piano tell the gripping story of Russian music In the years following World War II, seek - of the 20th century. Culminating in ing to recover the Soviet “socialist realism” Rachmaninoff’s ultra-romantic cello sonata, a ideal of art, Andrey Zhdanov, the leading masterpiece of the repertoire, the program Soviet cultural policy maker, passed a series of showcases the styles of four of Russia’s most resolutions affecting literature, art, film, and, beloved composers, with Prokofiev’s stately finally, in 1948, music. This decree stunted and lyrical sonata opening the great gates to artistic growth in the Soviet Union until the vast Russian landscape. The groundbreak - Stalin’s death, lasting out the remaining years ing sonata by Shostakovich, composed on the of Prokofiev’s life. The elderly composer grew eve of some of his most controversial musical ill and deeply insecure. Much of his work had creations, quickly took its place among the been banned from public performance, and pantheon of cello sonatas, championed world - though still composing, he hardly was living wide by the great Rostropovich. This unusual the pampered lifestyle he had anticipated re - recital program also features the voice of the turning to Russia. solo piano in a short work by one of the in - Prokofiev’s Sonata for Cello and Piano, re - strument’s most innovative masters, markably, was permitted by the Committee of Aleksandr Skryabin, whose sublime Op. 16 Artistic Affairs to receive a public première. It Préludes connect the language of Tchaikovsky was débuted in 1950 by cellist Mstislav with the coming age of modernism. Rostropovich and pianist Sviatsoslav Richter, with the first movement bearing the quote, David Finckel and Wu Han “Mankind—that has a proud sound.” Despite the sheer horror that besieged Prokofiev at the time of the work’s composition, Sergey Prokofiev (GNOG–GOKI) the work remains remarkably expressive. The Sonata for Cello and Piano in C major, first movement, marked Andante grave , opens Op. GGO (GOJO) with a resounding call by the cello, followed by a short call-and-response folk melody between In 1936, after nearly 15 years spent living in the cello and piano. A throbbing interlude Paris and traveling worldwide, Sergey brings the main theme, a cheery and flippant Prokofiev, admittedly “patriotic and homesick” duet. The movement slows as the cello rings and longing to “see the real winter again and out a beautiful harmonic cadence, and the sec - hear the Russian language in my ears,” moved ond theme enters much more heavily mechan - back to the Soviet Union with his non-Russian ically than the first. wife and two sons. Relocating during one of The second movement, a playful Scherzo the most savage political and social periods in and Trio, follows suit. A percussive pizzicato Russian history, Prokofiev was set on estab - entrance transmutes to a complacent roman - lishing himself as one of Russia’s greatest com - tic trio section. The final Allegro ma non tanto posers. Rachmaninoff had his hold on remains timid, with melodies and chordal America, Stravinsky claimed Europe, and structure based heavily on Russian folk music. Shostakovich had just been censored by Stalin. The movement lacks neither energy nor drive, Prokofiev kept his passport to tour without yet each climax, rather than developing in tim - having to petition, but upon routine inspection bre and expressive nature, actually becomes it was confiscated without return, grounding more simplistic; sometimes diminishing down PLAYBILL PROGRAM NOTES to a single note piano melody. The coda re - They’d live there, deep below the piano counts the opening resonant notes of the cello keys in Moscow. Nina could stay in in a grand duet statement, marking a turbu - Leningrad…. Therefore, Opus 40 , and lent and virtuosic conclusion. in particular the first movement, com - posed of firelight and kisses, remains © QOPR Andrew Goldstein the most romantic thing that Shostakovich ever wrote. Dmitry Shostakovich (GOFL–GOMK) Shostakovich and Nina separated, and the Sonata for Cello and Piano in D minor, composer, as Vollman alludes, remained in Op. JF (GOIJ) Moscow with no definite plans to follow his wife back to Leningrad. It was during this While interpreting the events of a composer’s time that work on the Cello Sonata began. By life as impetus for his creative work is always 1935, however, Nina was pregnant with the risky business, one important personal devel - Shostakoviches’ first child, and the marriage opment from Shostakovich’s life around the essentially righted itself (which did not pre - time of his Cello Sonata nevertheless remains clude later extramarital affairs by both Dmitry inescapable. In summer 1934, Shostakovich and Nina). Shortly after the affair ended, fell passionately in love with Yelena Konstaninovskaya received an anonymous Konstaninovskaya, a 20-year-old translator. political denunciation and spent roughly a Much to the dismay of his wife Nina (despite year in prison. their mutual agreement to an open marriage), Shostakovich composed the Cello Sonata the composer spent the majority of their sum - for the cellist Viktor Kubatsky, an esteemed mer holiday writing letter to his young mis - cellist and one-time principal at the Bolshoi tress. “There is nothing in you which fails to Theater. Shostakovich, also an able pianist, send a wave of joy and fierce passion inside me subsequently toured with Kubatsky, pre - when I think of you,” he wrote. “Lyalya, I love mièring his Cello Sonata in Leningrad on you so, I love you so, as nobody ever loved be - Christmas Day 1934, alongside the cello fore. My love, my gold, my dearest, I love you sonatas of Grieg and Rachmaninoff. The com - so; I lay down my love before you.” poser reportedly performed the piano parts to William T. Vollman dedicates a chapter of all three works from memory. his epic novel Europe Central to the tempting— albeit improbable—influence of the affair with © QOOU Patrick Castillo Konstaninovskaya on the music of the Cello Sonata. Though rooted in fancy, Vollman’s poetic assessment of the work nevertheless Aleksandr Skryabin (GNMH–GOGK) speaks to its lyrical pathos and sense of ro - Five Préludes for Solo Piano, Op. GL mantic abandon: (GNOJ–GNOK) Each of Shostakovich’s symphonies I A student of the Moscow Conservatory along - consider to be a multiply broken side the likes of Serge Rachmaninoff and bridge, an archipelago of steel trailing Alexander Goldenweiser, the pianist and com - off into the river. Opus 40 , however, is poser Aleksandr Skryabin struggled greatly to a house with four rooms. … [He] built compose, enduring massive anxiety attacks for Opus 40 for her and him to dwell in, much of the 1890s. With the sup port of the and she led him inside. They were conservatory’s director, Vasily Safonov, going to have an apartment with a dark Skryabin was permitted to graduate early (in passageway, then steps and half-steps. the same year as Rachmaninoff), although his CAL PERFORMANCES PROGRAM NOTES mentor, Anton Arensky, who had been work - summer 1901 on the family’s country estate ing closely with Skryabin on counterpoint and Ivanovka in the Tambov region, several days’ fugue, was adamantly against his departure. travel to the south of Moscow. Nevertheless, Skryabin graduated from the To judge by his letters, it was only after he conservatory, and through Safonov’s support returned to Moscow in late September that he was soon contacted by Mitrofan Belyayev, an began to work on the sonata, the performance Imperial Russian music publisher in Moscow. of which was already planned. The Sonata for Through Belyayev’s connections, Skryabin Cello and Piano, Op. 19, was composed in the was given opportunity to tour Russia in 1894, fall and early winter of 1901 for the cellist and was sent to Paris in 1895. Compo - Anatoly Brandukov. Toward the end of the last sitionally, during this period, Skryabin de - movement, Rachmaninoff wrote the date voted himself almost entirely to composing “November 20th.” At the very end he wrote préludes toward an outstanding bet he had “December 12th,” showing that he revised the made with Belyayev that he could compose 48 ending immediately after the first perform - préludes before departing for Paris; it was to ance. The work débuted in Moscow, on fulfill this bet that Skryabin composed his December 2, 1901, by Anatoly Brandukov, Twenty-Four Préludes, Op.
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