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Artur Rubinstein Recital Royal Liverpool Philharmonie Society Patron Her Majesty the Queen Artur Rubinstein Recital Wednesday 14 May 1969 at 7.30 p.m. Royal Liverpool Philharmonic Society Patron Her Majesty the Queen President The Lord Mayor of Liverpool Honorary Vice-Presidents D. J. Lewis, j.p. Harry Livermore Management Committee Chairman Andrew McKie Reid, M.C., T.D., F.?.C.Ç. Deputy Chairman J. T. Edwards, ' J. Lindsay Alexander Aiderman H. M. Allen Councillor F. Burke F. J. Camenisch Aiderman C. Cowlin J. K. Harrison Harry Livermore L. A. B. Pilkington Councillor B. Shaw Arts Council Assessor John Cruft D. A. Solomon, m.b.e. General Manager and Secretary K. J. Stern Stephen Gray Aiderman H. Macdonald Steward Musical Director S. R. C. Walmsley Charles Groves, c.bj Philharmonie Hall, Liverpool Artur Rubinstein Schubert Two Impromptus, Op. 90 Brahms Sonata No. 3 in F minor, Op. 5 Interval Chopin Ballade in G minor, Op. 23 Chopin Two Etudes Chopin Nocturne in D flat major, Op. 27, No. 2 Liszt Hungarian Rhapsody, No. 12 Tonight’s recital is supported by the Special Activities Fund - see page 14 Programme One Shilling Photograph by Eva Rubinstein, New York Artur Rubinstein 2 Programme Notes © by Mosco Carrier Two Impromptus, op. 90 (D.899) Schubert (1797-1828) In a letter to his father which Schubert wrote from Steyr in Upper Austria on 25 July 1825 we find the following sentence: ‘What pleased me especially were the Variations of my new Sonata (op. 42) which I performed . not without merit, as several people assured me that the keys become singing voices under my hands’. ‘Singing voices’ - this was the soul not only of Schubert’s piano playing but of his style of writing for the instrument. He was a born singer, and just as his songs are the vehicle for his inspired lyricism, his piano music displays his wonderful gift as an instrumental lyricist. In both these media sensuous, warmly expressive and beautifully shaped melodies are the most distinguished feature. Moreover, in composing for the keyboard Schubert frequently thought in terms of song. Witness for instance the first of the Four Impromptus, op. 90 whose opening theme recalls, in it shape and slow walking gait, ‘Der Wegweiser’ from Die Winterreise while the third Impromptu is in all but name a ‘Song without Words’. Schubert was a pianist all his life and to the piano he entrusted his most intimate personal experiences, especially when he wrote small- scale pieces such as Impromptus, Moments musicaux and Waltzes. As for the Impromptus, there is nothing improvisatory or sketchy about them - on the contrary, they are compact, self-sufficient and com­ pletely rounded pieces. Admittedly, Schubert was not the inventor of the Impromptu. His chief predecessors in that romantic genre were the Czech composers, Jan Vaclav Tomasek (1774-1850) and the latter’s pupil, Jan Hugo Vorisek (1791-1825) whose Impromptus, op. 7 appeared in Vienna in 1822. Schubert’s Impromptus undoubtedly owe something of their form and their ‘national’ characteristics - irregular phrase lengths and accentuations as well as the folk song flavour of the melodies and marked contrast of mood - to these Czech musicians. But, if Schubert was not the creator of the Impromptus he stamped them with his inexhaustible invention and rich poetic imagination. The Four Impromptus, op. 90 were written in 1827, a year before Schubert’s premature death. The first two were published in Vienna in that year but the remaining two did not come out until 1857. It was not the composer but his publisher, Tobias Haslinger, who gave the 3 Royal Manchester College of Music presents the R.M.C.M. Orchestra Conductor David Jordan Soloist Carolyn Sparey BraAms/Tragic Overture Wa/ton/Viola Concerto MaA/er/Symphony No. 1 Philharmonic Hall, Liverpool Saturday 24 May at 7.30 Tickets (3/6 to 10/-) from Philharmonic Hall, Rushworth's and Crane's pieces the title ‘Impromptus’. It is, incidentally, noteworthy that all four Impromptus are in flat keys - No. 1 in C minor, No. 2 in E flat major, No. 3 in G flat major, and No. 4 in A flat major. Sonata No. 3 in F minor, op. 5 Brahms (1833-1897) Allegro maestoso Andante Scherzo: Allegro energico Intermezzo: Andante molto Finale: Allegro moderato ma rubato Brahms began his composing career with three big piano works - the Sonatas in C major, op. 1, in F sharp minor, op. 2 and F minor, op. 5. They were written when the composer was in his twentieth year and were in the first place intended for his own use. For Brahms was a formidable pianist endowed with a pair of exceptionally large and powerful hands capable of spanning a tenth with ease. This partly accounts for the tremendous difficulties of the sonatas which contain passages impossible of full realization except by a few players of the front rank. Moreover, the young Brahms took far less account of the distinctive characteristics of the keyboard than he did towards the latter part of his life, not aiming at an intrinsically pianistic style but being far more concerned with his thematic material and its logical working-out. Volume, force and strong contrasts mattered to him more than sensuous tone colours and subtle dynamic gradations. The sonatas are therefore to be regarded, not so much as music born out of the specific nature of the keyboard but as the product of a highly inventive, and height-storming young genius. In their sentiments and moods they are very typical of Brahm’s early romantic vein but in their formal mould and thematic elaboration they adhere to the classical model. The material is clear-cut and terse, and the contrast between themes is very marked, putting us in mind of Beethoven who was indeed Brahms’s chief mentor. The F minor Sonata, op. 5 has five movements. The opening Allegro maestoso is broadly conceived and illustrates, perhaps best, the composer’s remarkable skill in working with strongly contrasted ideas, as witness the exposition with its dramatic juxtaposition of themes of the most diverse character. The Andante is headed by a verse by the poet Sternau describing 5 a moonlit scene with two lovers in an ecstatic embrace. This typically romantic image is captured in the music with extraordinary felicity. The movement is in fact a miniature tone-poem whose lyrical expres­ sion is of the utmost delicacy and tenderness. It is the most rhapsodic part of the sonata: it begins in A flat major and ends in D flat major; the time-signature and tempo markings change four times, and just when the music seems to be drawing to a close, Brahms adds an entirely new section {andante molto). The rounding-off is provided by an adagio coda which brings a last allusion to the opening theme. The Scherzo is a powerful, tempestuous piece, tellingly contrasted by the tranquil mood of the Trio. Between the Scherzo and Finale Brahms inserts an Intermezzo, subtitled Rublick - a retrospect to the first Andante whose lyrical theme is now transformed into a funeral march in B flat minor. With its ominous drum rolls and suggestion of menacing orchestral brass chords the Intermezzo seems to indicate that the lovers’ bliss has turned into tragedy. The Finale is a rondo of a broad melodic sweep and great thythmic variety, and displays extraordinary contrapuntal skill. Brahms here is seen to apply Liszt’s ‘theme transformation’, for a subsidiary idea in D flat major gradually takes charge of the movement, and changes from a solemn chorale to a brilliant mercurial strain which is several times treated in canon. interval of approximately fifteen minutes during which the Box Office will remain open Ballade in G minor, op. 23 Chopin (1810-1849) Chopin’s four Ballades belong to his major and most original composi­ tions. It was he who created this instrumental form for which he borrowed the title from the vocal ballad and filled it with a narrative content of a heroic-dramatic character. What is more, in his Ballades he assimilated elements from the sonata, the rondo and the variation and thus arrived at a new and highly malleable genre eminently suited to his particular imaginative purpose. Much has been made of Schumann’s sweeping remark that Chopin’s Ballades were inspired by poems of the Polish national writer, Adam Mickiewicz, and com­ mentators have not been slow in attaching to each piece a detailed and definite programme. Yet, with the possible exception of the 7 Royal Liverpool Philharmonie Society Summer Subscription Series 1 Saturday 7 June at 7.30 5 Saturday 28 June at 7.30 Mozart Symphony No. 35 (Haffner) Bax Tintagel Haydn St. Nicholas Mass Mozart Piano Concerto in E flat (K.482) First performance in Robbins Landon edition Brahms Symphony No. 1 Vaughan Wiliams The Lark Ascending Conductor Rudolf Schwarz Elgar Enigma Variations Piano Paul Badura-Skoda Conductor Charles Groves Hazel Holt, Meriel Dickinson 6 Thursday 10 July at 7.45 Duncan Robertson, Benjamin Luxon Liverpool Anglican Cathedral BBC Northern Singers Wagner Good Friday Music (Parsifal) Violin Hugh Bean Johansson Requiem Haffner Symphony conducted by Gordon Mackie First performance in Britain Vaughan Williams Job 2 Saturday 14 June at 7.30 Conductor Charles Groves Schumann Overture, Genoveva Baritone Kim Borg Butterworth Banks of Green Willow Liverpool Philharmonic Choir Rachmaninov Piano Concerto No. 3 Beethoven Symphony No. 4 Conductor Charles Groves Piano Tong II Han 3 Tuesday 17 June at 7.30 t Berlioz Overture, Les Francs Juges Tchaikovsky Violin Concerto Britten Four Sea Interludes (Peter Grimes) Booking now open Lutoslawski Symphony No. 2 Conductor Charles Groves Ticket Prices Violin Nathan Milstein Concerts 1, 2 and 5: 12/6 10/- 7/6 5/-.
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