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NOCTURNES Art Triumphs Over Adversity in the Dark Night of the Soul

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NOCTURNES Art Triumphs Over Adversity in the Dark Night of the Soul CMNZ presents NOCTURNES Art triumphs over adversity in the dark night of the soul. Clarinettist Jonathan Cohen joins the celebrated NZTrio for a meditative journey through one of Messiaen’s earliest masterworks. Composed and premiered whilst Messiaen was interned at a prisoner of war camp during WWII, this evocative work transcends time and space, and is filled with the jubilant song of birds flying free from captivity. chambermusic.co.nz CMNZ presents QUARTET FOR THE END OF TIME 18 – 30 June CMNZ presents NOCTURNES with Jian Liu Gillian Whitehead | Lullaby for Matthew John Field | Nocturne No 6, “Cradle Song” Page 6 Frédéric Chopin | Nocturne in F-Sharp Major, Op 15, No 2 Leonie Holmes | Nocturne for Piano Page 6 Edvard Grieg | Notturno, Op 54, No 4 Alexandre Tansman | Four Nocturnes Page 8 Ottorino Respighi | Nocturne from Six Piano Pieces, R44 Lowell Liebermann | Nocturne No 4 Page 8 – interval – Francis Poulenc | Nocturne No 1 Benjamin Britten | Notturno Page 9 Clara Wieck-Schumann | Nocturne, Op 6, No 2 Robert Schumann | In Der Nacht, from Fantasiestücke, Op 12 Page 9 Béla Bartók | “The Night’s Music”, from Out Of Doors Norman Dello Joio | Nocturne in E Major Page 10 Samuel Barber | Nocturne, Op 33 Franz Liszt | Nocturne No 3 from Liebesträume Page 10 Programme notes by Hamish Robb Senior Lecturer in Musicology at Te Herenga Waka—Victoria University of Wellington The Wellington concert is being recorded for later broadcast by RNZ Concert. 1 Chamber Music New Zealand Tēnā tatou We continue our 2021 Season The use of the Public Trust with Nocturnes. Fabulous pianist, Hall is made possible educator and friend of CMNZ, through the generosity of Jian Liu sets off on a journey Maurice and Kaye Clark. of exploration of well-known As we remain alert to the ever- and lesser-known nocturnes. changing pandemic landscape This beautifully crafted programme around the world, please be truly spans the life of the musical reassured that Chamber Music New form. From Irish composer, John Zealand will follow Government Field, known as the composer of the guidelines to provide a safe and first ever nocturne and who led the enjoyable environment for all way for Chopin, through Poulenc, of our concerts. Your health and Britten and Joio to works by New well-being, and that of all our Zealand composers Dame Gillian artists is our primary concern. Whitehead and Leonie Holmes. Thank you for coming to this We are grateful, as always, to our concert. Sit back, and allow supporters for enabling CMNZ Jian Liu’s evocative Nocturnes to bring live musical experiences to wash over you. to centres around Aotearoa. – The CMNZ team 3 Chamber Music New Zealand Jian Liu (Piano) Internationally celebrated concert Christchurch Symphony Orchestra, pianist, chamber musician, and and Yale Philharmonia. Jian has educator, Dr. Jian Liu, has performed also been a prize-winner at and taught throughout Europe, Horowitz and Missouri Southern Asia, and North America. His artistry international competitions and has taken him to some of the most has performed at Auckland, prestigious concert halls, including Idyllwild, Beijing, Lausanne, Carnegie Hall, Lincoln Center, and and Krakow music festivals. the Steinway Hall in New York; A passionate performer, Jian is Sprague Hall and Woolsey Hall of equally committed to education. Yale University; and Paul Hall of The Having served for four years on the Juilliard School; and as a featured faculty of the Yale Department of soloist with orchestras including Music, he is currently Programme Symphony Orchestra of National Director of Classical Performance Philharmonic Society of Ukraine, and Head of Piano Studies at Te China National Symphony Orchestra, Kōkī New Zealand School of Music, Phoenix Symphony Orchestra, Victoria University of Wellington. Auckland Philharmonia Orchestra, Orchestra Wellington, Nocturnes 4 Nocturnes In the darkness and stillness of the was a romantic invention. It was night, our senses are opened up considered a type of “character to mystery and beauty otherwise piece” or “piano miniature” (short unnoticed; through silence and open pieces intended to evoke particular space, more is heard and felt. This moods, other examples including was certainly thought to be true in preludes, waltzes, impromptus, the nineteenth century, a time of and songs without words). Unlike romantic longing for the “unheard”, many nineteenth-century genres “unseen”, and “in between”. In music, defined by form, the nocturne these qualities were sought through was defined by character, evoking the unique nature and sound of moods and feelings of night time. the piano. The “singing” piano Nocturnes were intimate, dreamy, came to life as much through the wistful, mysterious, melancholic, mind as it did through real sound. nostalgic, and sensual. As a non-sustaining instrument The reputed inventor of the nocturne offering little sonic reaction to a was John Field, an Irish-born performer’s continued agency composer. But it is Frédéric Chopin between attack points, the piano who is held up as the undisputed relies largely on the pianist’s and master of the genre. The musical listener’s inner, imagined sounds. characteristics of the nocturne The mystery and wonder of the suited Chopin’s shy and sensitive “singing” melodic line—enriched by nature. There are several nineteenth- images of the night—thus became century accounts of the exquisite the essence of the piano nocturne. sounds Chopin produced with his While the term “nocturne” had been intimate performing style, and of used earlier, the specific genre of the imaginative (inner) sounds he the dreamy nocturne for piano solo induced in the minds of his listeners. 5 Chamber Music New Zealand The nature of the nocturne also Other defining features typically perfectly suited performances in the include a feeling of improvisation; salon—Chopin’s venue of choice. an attention to silence and space; a contrasting middle section of often Another defining quality of the faster music; a clear separation nocturne—the seamless blurring of hands and their functions (the of vocally-inspired melody with right hand playing a clear, vocally- idiomatic pianistic figuration—stems inspired melody, and the left largely from Chopin’s compositional hand playing an arpeggiated, style. He was inspired by the long undulating accompaniment more and sustained lyrical phrasing of instrumental in nature); and a the bel canto singing he heard in fine attention to resonance and European opera halls, and aspects of colour, often achieved through his melodies often assume a Bellini- widely spaced registers. like quality. But his melodies also suggest a rich variety of different All of the pieces on tonight’s vocal registers and nuances within programme feature some or all of a single phrase—often achieved these qualities. While some of the by quickly exiting ranges through Nocturnes revel in nocturnal bliss, rapid, light notes. Such sonic filigree others explore the more mysterious perfumes the melodic air, especially or even sinister sides of night time. in melodic repetitions, often allowing the composer to maintain one overall mood within a section. Nocturnes 6 GILLIAN WHITEHEAD FRÉDÉRIC CHOPIN Lullaby for Matthew Nocturne in F-sharp Major, Op 15, No 2 JOHN FIELD LEONIE HOLMES Nocturne No 6 “Cradle Song” Nocturne for Piano The first two items on the Chopin and Holmes’ nocturnes programme are lullabies. feature fine attention to colour, Whitehead’s poignant piece bears register, and luminosity. many similarities to the romantic Chopin’s Op 15, No 2 is written in Nocturne. It features elegantly the otherworldly key of F-sharp simple phrase structure, careful use major, evoking a blissful scene of resonance and registral space when opening like an arabesque. to evoke the night, and thematic The middle section—with its quicker variation and decoration. From a pace, insistently repeating dotted gentle sleep, we are overtaken by rhythm, and two-note pleading restless, fitful dreams, before the figures—builds in anxiety. When the peace of dawn approaches. opening melody returns decorated John Field was the first composer for the final section, the middle to ascribe the title “Nocturne” to a section seems like a bad dream. short piano piece. A piano student The nocturne ends with one of of Muzio Clementi, his pianism and Chopin’s favourite techniques—the compositions caught the attention music bathes in its own luminous of the major composers in Europe, resonance of F-sharp major through including Chopin. Field’s style the repetitive spinning out of fuses classical and romantic styles melodic figures. One can hear with ease; one can simultaneously Chopin’s dual Polish-French heritage hear Mozart and Chopin. This in this piece in the rich romanticism nocturne opens in a delightfully of Polish music and the perfumed simple manner, like a child’s music reveries of French music. box. After opening that box, we gently sort through the trinkets and Tonight’s programme note for treasures within, recalling the events Holmes’s piece is a poem written and emotions associated with each, by her friend, Marnie Barrell: before final reflections and the gentle closing of the lid. (over) 7 Chamber Music New Zealand Midnight empress, feather-soft moth spreads her stately robe. Twin-plumed crown towers over alien eyes, her blank stare haunting as an ancient ikon. She shivers into life, rising on delicate feet, flings open dusty velvet sleeves, grey as a sigh, shot with gold and nightshade purple. She falls into the lifting whisper of night air, sweeps unchallenged through her hushed domain. – Marnie Barrell Nocturnes 8 EDVARD GRIEG OTTORINO RESPIGHI Notturno, Op 54, No 4 Nocturne from Six Piano Pieces, R44 ALEXANDRE TANSMAN LOWELL LIEBERMANN Four Nocturnes Nocturne No 4 Both the Grieg and Tansman The Respighi and Liebermann nocturnes feature sudden, nocturnes feature melodic or evocative shifts of harmonies, accompanimental ostinatos suggesting finely nuanced shades (repeating figures).
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