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Romantic Voices Danbi Um, Violin; Orion Weiss, Piano; with Paul Huang, Violin

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Romantic Voices Danbi Um, Violin; Orion Weiss, Piano; with Paul Huang, Violin CARTE BLANCHE CONCERT IV: Romantic Voices Danbi Um, violin; Orion Weiss, piano; with Paul Huang, violin July 30 PROGRAM OVERVIEW Violinist Danbi Um embodies the tradition of the great Romantic style, her Sunday, July 30 natural vocal expression coupled with virtuosic technique. Partnered by pia- 6:00 p.m., Stent Family Hall, Menlo School nist Orion Weiss, making his Music@Menlo debut, she offers a program of music she holds closest to her heart, a stunning variety of both favorites and SPECIAL THANKS delightful discoveries. Music@Menlo dedicates this performance to Hazel Cheilek with gratitude for her generous support. ERNEST BLOCH (1880–1959) JENŐ HUBAY (1858–1937) Violin Sonata no. 2, Poème mystique (1924) Scènes de la csárda no. 3 for Violin and Piano, op. 18, Maros vize (The River GEORGE ENESCU (1881–1955) Maros) (ca. 1882–1883) Violin Sonata no. 3 in a minor, op. 25, Dans le caractère populaire roumain (In FRITZ KREISLER (1875–1962) Romanian Folk Character) (1926) Midnight Bells (after Richard Heuberger’s Midnight Bells from Moderato malinconico The Opera Ball) (1923) Andante sostenuto e misterioso Allegro con brio, ma non troppo mosso ERNEST BLOCH Avodah (1928) INTERMISSION JOSEPH ACHRON (1886–1943) ERICH WOLFGANG KORNGOLD (1897–1957) Hebrew Dance, op. 35, no. 1 (1913) Four Pieces for Violin and Piano from the Incidental Music to Shakespeare’s CONCERTS BLANCHE CARTE Danbi Um, violin; Orion Weiss, piano Much Ado about Nothing, op. 11 (1918–1919) Maiden in the Bridal Chamber March of the Watch PABLO DE SARASATE (1844–1908) Intermezzo: Garden Scene Navarra (Spanish Dance) for Two Violins and Piano, op. 33 (1889) Hornpipe Danbi Um, Paul Huang, violins; Orion Weiss, piano www.musicatmenlo.org 51 Program Notes: Romantic Voices Notes on the program by Dr. Richard E. Rodda ERNEST BLOCH GEORGE ENESCU (Born July 24, 1880, Geneva, Switzerland; died July 15, 1959, Portland, Oregon) (Born August 19, 1881, Liveni-Virnav, Romania; died May 4, 1955, Paris) Violin Sonata no. 2, Poème mystique Violin Sonata no. 3 in a minor, op. 25, Dans le caractère populaire Composed: 1924 roumain (In Romanian Folk Character) Dedication: André de Ribaupierre and Beryl Rubinstein Composed: 1926 First performance: January 24, 1925, New York City, by the dedicatees, Published: 1933 violinist André de Ribaupierre and pianist Beryl Rubinstein Dedication: In memory of Franz Kneisel Other works from this period: Detailed in the notes below Other works from this period: Pièce sur le nom de Fauré for Solo Piano Approximate duration: 19 minutes (1922); Isis (symphonic poem) (unfinished, 1923); Piano Sonata no. 1 in f-sharp minor, op. 24 (1924) Ernest Bloch was born in 1880 in Geneva and took his initial music study in that Approximate duration: 25 minutes city, later attending courses in Brussels (studying violin with Ysaÿe), Frankfurt, and Munich. He returned to Geneva in 1903 to teach composition and esthetics For biographical information on George Enescu, please see the program notes for at the city’s conservatory, but he was forced from his position by the difficul- Carte Blanche Concert III. ties imposed by World War I. With a wife and three small children to support, Enescu’s Violin Sonata no. 3, perhaps his most widely performed work after financial matters pressed heavily upon him, and when he learned through his his ever-popular Romanian Rhapsodies, was composed in 1926 in memory old friend Alfred Pochon of the Flonzaley Quartet that the dancer Maud Allan of Franz Kneisel (1865–1926), the Bucharest-born violinist and pedagogue was looking for a Music Director for her upcoming American tour, he eagerly who enjoyed a splendid international career as Concertmaster of the Bilse accepted the position. He arrived in New York with the Allan troupe in July Orchestra of Berlin (predecessor of the Berlin Philharmonic) and the Boston 1916, but the venture soon went broke and Bloch found himself stranded in a Symphony, teacher at New York’s Institute of Musical Art (the predecessor foreign land. His music began to receive notice, however, and performances by of Juilliard), and founder of the Kneisel Quartet, one of the most important the Flonzaley Quartet and the Boston Symphony Orchestra brought him to the catalysts in the establishment of the art of chamber music in America. The public’s attention. Schelomo was premiered at an all-Bloch concert presented sonata (subtitled In Romanian Folk Character, though it quotes no actual by Artur Bodanzky in Carnegie Hall in New York on May 3, 1917, and the work’s folk songs) makes striking use of a technique of Eastern European folk song success gained him international recognition. Bloch was awarded the Elizabeth known as parlando rubato (speaking, in free tempo), a florid style of tradi- Sprague Coolidge Prize the following year and named Director of the newly tional singing which is highly ornamented with groups of grace notes that founded Cleveland Institute of Music in 1920. Though his administrative and wind around the beats of the measure to give a fluid plasticity to the rhythm teaching duties limited his time for creative work, he continued to compose and a rhapsodic richness to the melodic phrases. Much as in the music of and completed a number of important works before resigning his Cleveland Bartók, concert-hall transformations of folk techniques permeate this work: post in 1925 to take over as Director of the San Francisco Conservatory: two microtonal intervals (often called quarter-tones, i.e., pitches between the violin sonatas, the Baal Shem Suite, Nocturnes for Piano Trio, Piano Quintet keys of the piano), slides between notes (portamento), tone clusters, shifting no. 1, Concerto Grosso no. 1 (for the student orchestra), and several brief pieces dynamics that range from a whisper to a shout, strange gapped and modal for string quartet. scales and the exotic harmonies that they imply, and a seemingly improvised The Violin Sonata no. 1, composed soon after Bloch settled in Cleveland in manner of delivery are all idealized here. Recreating this musical folk world in 1920, is one of the most powerful and dramatic works in the instrument’s cham- the medium of the violin and piano sonata makes for one of the most techni- ber repertory, a small-scale counterpart to his great Schelomo of 1917, whose cally challenging works in the chamber duo repertory. most vehement moments the composer said were inspired by the lamentation The sonata’s opening movement (Moderato malinconico) abandons of King Solomon: “Nothing is worth the pain it causes; Vanity of Vanities—all is conventional classical forms in favor of a structure grown directly from folk Vanity.” In her indispensable study of her father’s music, Suzanne Bloch noted practice: the alternation of two contrasting kinds of music. The first is a mel- that the Violin Sonata no. 2 was written as something of an expressive and sty- ancholy strain, a richly decorated duo-dialogue that moves with a supple listic response to its predecessor: freedom of rhythm. The other is dance-like, vigorous, and strongly rhythmic, CARTE BLANCHE CONCERTS BLANCHE CARTE breaking through the melancholy strain several times during the movement. The idea of the Second Sonata came to Bloch while attending a The second movement (Andante sostenuto e misterioso) travels across a wide performance of his First Sonata at a concert of the Cleveland Insti- formal arch that begins and ends quietly and rises to an impassioned climax tute of Music. As he observed an uncomprehending audience, at its center. The outer sections, with their whistling violin harmonics and he wondered what these people could grasp of this violent and their open-interval piano writing evoking a cimbalom, are ghostly and mock- tormented music, thinking that he should now compose a totally primitive; the middle passage, with its stern violin octaves and its sweeping different work of greater serenity. Triggering the actual writing of it piano figurations, is forceful and defiant. The finale (Allegro con brio) begins was an unusual dream he had following a period of intense crisis and with the promise of a high-spirited folk dance, but the music is never allowed illness. It was an emotional thing, unreal and ecstatic. [He subtitled to relax into anything joyous and festive, maintaining instead a frenzy border- the work Poème mystique.] From that dream, he found the music. ing on belligerence until its dissonant closing gestures. The Sonata no. 2 for Violin and Piano is in one continuous movement, with here and there a Hebraic inflection. In this music of serenity and in an ecumenical mood, he also introduced [in the central episode] a Credo from Gregorian chant and a fragment of ERICH WOLFGANG KORNGOLD the Gloria of the mass Kyrie fons bonitatis. The violin part has long (Born May 29, 1897, Brünn, Austria [now Brno, Czech Republic]; died November lyric lines [many based on the widely spaced theme stated at the 29, 1957, Hollywood, California) beginning]. Four Pieces for Violin and Piano from the Incidental Music to Shakespeare’s Much Ado about Nothing, op. 11 *Bolded terms are defined in the glossary, which begins on page 92. Composed: 1918–1919 52 Music@Menlo 2017 Other works from this period: Die tote Stadt, op. 12 (opera) (1920); Sursum stroke five years before. Vieuxtemps saw him as his artistic heir and named corda, op. 13 (symphonic overture) (1919); String Quartet no. 1 in A Major, him as his executor (Hubay edited and completed several of his works after op. 16 (1920–1923) his mentor’s death, in 1881) and recommended him for his old post at the Approximate duration: 14 minutes Brussels Conservatory, where Hubay taught from 1882 to 1886. In 1886, Hubay returned for good to Hungary, teaching at the Budapest Academy of Music and Budapest Conservatory (where he succeeded his father), establishing Erich Wolfgang Korngold (his middle name honored Mozart), the son of what became one of the day’s most respected string quartets, and compos- Julius Korngold, one of Vienna’s most influential music critics at the turn of ing prolifically.
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