© ThePierpontMorgan Library/Art Resource,NY Death andtheMaiden manuscript. Franz Schubert(1797–1828). August 5:LauroseandBurtonRichter August 4:MichaelJacobson andTrineSorensen support: ing individualswithgratitudefor theirgenerous Music@Menlo dedicatestheseperformancestothefollow- SPECIAL THANKS wept theentirenightuponhearingofSchubert’s death. sublime PianoQuartet by RobertSchumann,thecomposerwho Tributes toSchubertby Fritz KreislerandFranz Lisztleadtothe death, seekingtoimprove hisartby takingacounterpointlesson. days tells the poignantstory of the composer, one week fromhis ence. John Harbison’s haunting evocation of Schubert’s last the addition of a singing viola part intensified the vocal experi- and AndréPrevin,wordswerenot even needed,andforBrahms, the most humanelementofmusic. For both Felix Mendelssohn harmonies, drama,and,above all,areverence forthevocal lineas nects toSchubertinpowerful ways—through lyricism,magical tribute toanarray ofdistinguished composerswhosemusiccon- popularize most ofSchubert’s music.ConcertProgramVIpays todiscovercomposers andperformersoflatergenerations and ing hislifetime (RobertSchumannwas oneofthem),butitfellto few prominentmusiciansrecognizedSchubert’s potential dur our journeytocelebratehisunparalleledposthumous career. A As ourfestival nearstheendofSchubert’s lifeonEarth,wepause P Arts atMenlo-Atherton Wednesday, August 5, 8:00p.m., TheCenterforPerforming Tuesday, August 4,8:00p.m., StentFamily Hall,Menlo School August 4and5 Schubert Forever, concert programvi: rogram O verview - 1829–1995 Zwei GesängeforVoice, Viola,andPiano, op. 91(1884) November 19, 1828forPiano, Violin,Viola,andCello(1988) Rosamunde Quartet in E-flat Majorfor Piano,Quartet inE-flat Violin,Viola,andCello, op. 47(1842) FELIX MENDELSSOHN FELIX MENDELSSOHN Gilles Vonsattel, piano;BenjaminBeilman, violin;Paul Neubauer, viola;LaurenceLesser, cello ROBERT SCHUMANN Gilles Vonsattel, piano FRANZ SCHUBERT/FRANZ LISZT Benjamin Beilman,violin;HyeyeonPark, piano FRITZ KREISLER INTERMISSION JOHN HARBISON Sara Couden,contralto; ArnaudSussmann, viola; GilbertKalish, piano JOHANNES BRAHMS Joélle Harvey, soprano; HyeyeonPark, piano;Keith Robinson, cello ANDRé PREVIN Gloria Chien,piano Vocalise forSoprano, Piano, andCello(1995) Die Forelle (D. 550),S. 564(1846) Selected

Gloria Chien,piano;DanbiUm,violin;Paul Neubauer, viola;DmitriAtapine, cello III. IV. II. I.

Finale: Viv Andante cantabile Scherzo: Moltoviv Sostenuto assai –Allegro manontr Suite: SchubertFinds Himself in aHallofMirr Introduction: SchubertCros Geistliches Wiegenlied (LopedeV Gestillte Sehnsucht(Rückert) Book 2,Opus30, no. 1inE Book 4,Opus53, no. 3ingminor: Book 1,Opus19b, no. 1inEMajor: Fugue: SchubertContinues theF Rondo: SchubertRecallsaRondoFragment fr 4. 2. 3. 5. Lieder ohneWorte (SongswithoutWords) 1.

Écossaise Écossaise Theme Moment Musicale Moment Musicale Impromptu Impromptu Valse Ballet Music(arr. ofSchubert’s Rosamunde,F ace (b. 1929) (b. ace (1875–1962) (b. 1938) (b. (1833–1897) (1810–1856) -flat Major:Andanteespressivo (1830) (1809–1847) ses intotheNext World

(1884) ugue SubjectThatSechterAssigned Him ega) (1863–1864) Gondellied Andante conmoto(1830) oppo (1811–1886) (1839) om 1816 ors ors u rstin v on Cypern) (1912)

concert Programs concert Programs *Bolded termsare defined intheglossary, whichbegins onpage94. Lieder ohneWorte (SongswithoutWords) forPiano: (Born February 3,1809, Hamburg; diedNovember 4,1847, Leipzig) F Notes ontheProgramby Patrick Castillo Program Notes: Forever, Schubert unthinkable withouttheliederofSchubert. tal music, as well. Mendelssohn’s expressive immediacy—as attested toby muchoftheera’s instrumen- der provided witha model of lyricismand the Romantic generation medium atthecenterofRomanticrepertoire,Schubert’s lie- Wolf, andmyriad others. Butbeyondspecifically placingtheartsong formed theliedintosuchavitalmediumforSchumann,Brahms, lieder traditioncannot beoverstated: indeed,itisSchubertwhotrans- Major, op. 30, no. 1. cism forfinger-twisting virtuosityandfiery SturmundDrang. demonstrates anentirelydifferentcharacter, exchanging tenderlyri- lished in1841.Thethirdofthisset, in gminorandmarked Gondellied, “Sweet Remembrance.” has earneditthepopularnickname(not bestowed by Mendelssohn) 1, inE major, was composedin1830. Thesong’senchantingmelody cess andbecamesynonymous withMendelssohnism.” lines between thesongandcharacter piece,laterenjoyed greatsuc- withdrew thetexts. Todd whichblurredthe continues:“Thenewgenre, wordsandthen Mendelssohn originallycomposedthem assongswith convey extramusical ideas.” Indeed,RobertSchumannsurmised that Songs withoutWords the aid of poetry. Mendelssohn biographer R. Larry Todd writes that the sung texts, buttheydosorelyingsolelyonmusicalcharacter, without Songs withoutWords succeedincapturing theclarityandexpressivity of reflected inthe lieder ofSchubert,Schumann,andothers: Mendelssohn’s an abstract way, theRomanticgeneration’s preoccupationwithpoetry, as and foremost, apaeantothesovereignty ofmelody. They alsoreference,in are,first career—provide an essentialsnapshot of Romanticism. They which hecomposedeightvolumes comprisingsixsongsapieceover his Felix Mendelssohn’s LiederohneWorte, orSongswithoutWords —of Number 3:3minutes;Opus301:4minutes Approximate duration:Opus19Number1:3minutes;53 e minor, CMajor, andfminor(1839) Major,Sonata inB-flat op. 45, no. 1(1838); Fugues forOrganin Piano, op. Major(1838–1839); 113(1832);Symphony Cello inB-flat op. 25(1831);ConcertPieceindminorforClarinet, Basset Horn, and Psalm CXV ingminor, op. 31(1830);PianoConcertono. 1ingminor, (1829); Symphony no. 5inDMajor, op. 107, “Reformation”(1830); Other works oucaprices,op. fromthisperiod:Trois fantaisies 16 Bonn; Opus30Number1:1835, Bonn Published: Opus19Number1:1833, Bonn;Opus53Number3:1841, 3: March14, 1839; Opus30Number1:June 26, 1830 Composed: Opus19Number1:December11,1830;53 op. 19b, no. 1;ingminor, op. 53, no. Major, 3;inE-flat op. 30, no. 1 elix The influenceofSchubertontheentirenineteenth-century The set concludes with the eloquent The fourthvolume ofSongswithoutWords, Opus53, was pub- The first of Mendelssohn’s Lieder ohne Worte, M endelssohn “broached in a different way the ability of music to inadifferentway theabilityofmusicto “broached

Songs without Words, simply put, are Lied ohne Worte in E-flat Opus 19b Number

in EMajor, 1829–1995 melody tospeakforitself. Schubert; alsolike Mendelssohn,words, Previnforgoes allowing pure Lieder ohneWorte, backtotheliederof thepiececantraceitslineage dition of Romantic lyricism in our own time. As with Mendelssohn’s the workinTanglewood’s Ozawa Hall. 6:00 o’clock thefollowing morning,McNair, Ma,andPrevinrecorded at theTanglewood MusicFestival—for SylviaMcNair andYo-Yo Ma.At Schubertian speed:theworkwas completed inoneday—July 18, 1995, haswonoverlyricism ofhismusicallanguage audiencesworldwide. renowned asacomposerofmusicfor theconcerthall,whererich has alsotouredandrecordedextensively asajazzpianist. He isequally others. Alongsidehisactivitiesintherealmofclassicalmusic,Previn Philharmonic,Pittsburghtra, LosAngeles Symphony Orchestra, and including posts asMusicDirectorof theLondonSymphony Orches- eventually ledtoaprestigiousing engagements internationalcareer, practice, hewas expectedtoconducthimself.Subsequent- career orchestrating Hollywood film scores, which,aswas common to Paris andthensettling in1940. inLosAngeles He beganhismusic Born inBerlin1929, PrevinleftGermany in1938, traveling first Previn ranksamongthemost revered musiciansofhisgeneration. The German-American pianist, composer, andconductorAndré Approximate duration:4minutes Remembers BillytheKid (1994) Toni MorrisonforSoprano, Cello, andPiano(1994);SallieChisum (1993); ViolinSonata,Vineyard (1994);Four SongsafterPoems by for Soprano, Jazz Ensemble,andOrchestra (1992); CelloSonata Other works fromthisperiod:HoneyandRue,aSongCycle Barbara BonneyandtheBoston Symphony Orchestra First performance:March21,1996(orchestral version), by soprano Published: 1995, Chester MusicLtd. Composed: July 18, 1995 Vocalise forSoprano, Piano, andCello (Born April6,1929, Berlin) A years aftertheGeistlichesWiegenlied. Joseph andAmalieJoachim had Brahms composed thefirst ofthesongs, GestillteSehnsucht, twenty (Stilled Desire), andonesacred,Geistliches Wiegenlied (Sacred Lullaby). Amalie Weiss. Theset comprises onesecularsong,GestillteSehnsucht were intendedfortheviolinist Joseph Joachim and hiswife,thesinger Piano, Brahms composedtheZwei Gesänge(Two Songs) forAltoVoice, Viola,and Approximate duration:13minutes Symphony no. 4,op. 98(1884–1885) Four Quartets forSoprano, Alto, Tenor, Bass, andPiano, op. 92; Other works fromthisperiod:Symphony no. 3, op. 90(1883); Published: 1884 1863–1864 (I.Rückert; II.LopedeVega) Composed: I.GestillteSehnsucht:1884;II.GeistlichesWiegenlied: Zwei GesängeforVoice, Viola,andPiano, op. 91 (Born May7, 1833,Hamburg; diedApril3,1897, Vienna) J ohannes ndr Previn’s deeplyaffectingvocalise demonstrates theenduringtra- Previn composedhisVocalise forSoprano, Piano, andCellowith The songswerepublishedinthe reverse orderof composition. op. 91,over aperiodoftwentyyears, between 1864and1884;they é P revin B rahms

fugue subject,important toSchubertinthecomposition ofhismasses. work onavery specific problempertainingtothetonal answer ofthe IV. rondo istheonlyoneinthispiececomposed by Schubertinhisfirst life. perhaps even infuturetimes, theshortfragmentwhich beginsthis III. to Schubert—everything isplayed backimmediatelyupsidedown. II. music indisturbing ways. journey hauntedby soundswhicharenot hismusicbutpertainto I. Thetrumpets ofdeathareheardthreetimes. Schubertbeginshis That SechterAssigned Him IV. Fugue: SchubertContinues theFugue Subject(S-C-H-U-B-E-R-T) III. Rondo:SchubertRecallsaRondoFragment from 1816 5. Valse 4. Impromptu 3. MomentMusicale 2. Écossaise 1. Theme II. Suite:SchubertFinds Himself inaHallofMirrors I. Introduction: SchubertCrosses intotheNext World evance toourpresentratherthanany nostalgia forthepast. Sechter, andthe lessonitself,appear. ThepieceassertsSchubert’s rel- Theory andPractice, inwhichanaccountofSchubert’s lessonwith piece was realized.Theirlibrarycontainedabookby AlfredMann, erosity ofJim andMarinaHarrison,atwhosehomenearGenova the - The “medium”forthistombeauSchubertisgratefulthegen Composer’s Note Approximate duration:16minutes Symphony no. 3(1990) Double BrassChoirandOrchestra (1988); ViolaConcerto(1988); Chamber Orchestra (1986);Symphony no. Concertofor 2(1987); Other works fromthisperiod:TheFlightintoEgyptforChoirand Published: 1989, AssociatedMusicPublishers, Inc. Composed: 1988 November 19, 1828forPiano, Violin,Viola,andCello (Born December20, 1938, Orange, NewJersey) J as amongBrahms’s chambermusicthanaspartofhisliedercatalogue. ment ofeachpart,theOpus91songsmay bemorelegitimatelyregarded functioning asadramaticequaltothesinger. Given theearnest involve- expression. Theviolalinemoreover surpassesamereobbligatorole, timbres yieldadarkblend,exquisitely suitedtoBrahms’s modeof Brahms’s subsequenttreatmentofforces. Theviolaandaltovoice ment throughoutthesetting, evoking atenderlullaby. to thebaby Jesus. rockingtoandfrosustains Agentle theaccompani- Dearest, Joseph Mine”), setting the context of the Virgin Mary singing the viola intoning the hymn tune “Josef, lieber Josef mein” ( “Joseph Joachims in1864astheywereexpectingtheirfirst child.Itbeginswith German Romanticpoet Friedrich Rückert. hopes ofhelpingthecoupletoreconcile.Thesongsets atext by the at thistimerecentlyseparated,andBrahmscomposedthesongin ohn In thehallofmirrors, musicsoundsinamannerpreviouslyunknown Shortlybeforehis death,Schubertwenttothetheorist Sechterto Emblematic ofastorehouse ofideaswhicharestill tobeexplored, The Opus 91 songsareuniqueintheirorchestration andin The earlierGeistlichesWiegenlied was designedasagiftto the H arbison

sensibility anddisarming character of Schubert’s musicallanguage. glorifying the violin, equally pays tribute to the irresistible melodic String Quartet inaminor. Kreisler’s transcription, while,naturally, the play Rosamunde—the same score which Schubert revisited in his violin andpianoofballet musicfrom Schubert’s incidentalscoreto appreciated, thejoke; others angrilydisapproved. a hoaxandthathehadwritten them himself.Somelisteners got,and teenth-century composers. Later, headmitted thatthesepieceswere pieces thatheclaimedhadbeenwritten by variouspopulareigh- tet, an operetta, and other works, his oeuvre includes miscellaneous achieved aseeminglyeffortlessperfection.” notes: practicedlittle) “Kreislerwas he unique.Withoutexertion (he national stardom. TheNewGrove Dictionary ofMusicandMusicians and LondonPhilharmonicOrchestras catapultedKreislertointer the twentieth century, successful appearances withtheVienna,Berlin, among themostAt celebratedvirtuosos ofhisgeneration. theturnof Born inVienna1875, theviolinist andcomposerFritz Kreislerranks Approximate duration:3minutes (1913); AppleBlossoms (operetta) (1919) (1913); Capriceinaminor(transcription ofworkby Wieniawski) in EMajor(arr. J. S. Bach,Partita no. 3forSoloViolin,BWV 1006) Chanson LouisXIIIetPavane intheStyleofCouperin (1910);Gavotte Other works fromthisperiod:Capriceviennois,op. 2(1910); Published: 1913 Composed: 1912 von Cypern) Rosamunde Ballet Music(arr. ofSchubert’s Fürstin Rosamunde, (Born February 2,1875, Vienna; diedJanuary 29, 1962, NewYork) F Chamber Players, andVoices of Change. Commission, composedfortheAtlanta ChamberPlayers, theDaCapo November 19, 1828isaNationalEndowment fortheArtsConsortium task; hediedaboutaweeklater, onNovember 19, 1828. fugue subjectonhisown name.Schubertwas unabletoundertake the dent whoever cameforalesson,concludedby assigningSchuberta Sechter, wellaware thathewas teachingthemost extraordinary stu- century, themost influentialcomposerofthe progressive vanguard of major musician.” Lisztbecame, inthelatter halfofthenineteenth of theidealsand aspirationsofthenineteenth century thanany other cologist AlanWalker writesthatLiszt“contained inhischaractermore Franz Lisztwas oneofthedefining figures of the Romanticera.Musi- Approximate duration: 3minutes R. 289(1846);Three SchubertMarches forPiano, S. 426/R. 251(1846) S. 700h(1835–1849); Overture toDerFreischütz [Weber], S. 575, la romance de“Lemarin”(IandII)forViolinPiano, S. 128and trans. M. G.Friedrich), S. 293(1845–1858); Grand duoconcertantsur Other works fromthisperiod:Jeanne d’Arc aubûcher(A.Dumas, Published: 1856, Spina, Vienna;1846, Diabelli,Vienna(secondversion) Composed: 1846 Die Forelle (D. 550),S. 564 (Born October22,1811,Raiding;diedJuly31,1886,Bayreuth) FRANZ SCHUBERT/F ritz One of Kreisler’s legitimate transcriptions for is an arrangement Kreisler was alsoanactive composer. Inadditiontoastring quar —John Harbison K reisler

ranz L iszt

- - concert Programs concert Programs derives itsélanfromthedramatic tensionbetween Florestan and lyrical, and introspective side. Much of Schumann’s music likewise hero, andoptimistic; vigorous Eusebiusreflects Schumann’s tender, psychological world.Florestan representsSchumannthe Romantic conceived tosymbolize twocomponents ofSchumann’s artistic and invoked Florestan twofictional alteregos: andEusebius, archetypes mitted toseeherhusbanduntiltheday beforehedied. again. He starved himselftodeathtwoyearslater;Clarawas not per was senttoanasylum inBonn1854andnever saw hischildren asylum, forfearofinadvertently harmingClaraortheirchildren.He cide attempt, Schumann demanded that he be committed to a mental attempted tokillhimselfby jumpingintothe Rhine.Following hissui- its nadir, andafterweeksofunbearablepsychotic episodes, Schumann and, eventually, psychosis. In his earlyforties, his mental state reached began todecline.He frequentlybattled boutsofdepression,insomnia, the twoweremarriedin1840. history. Afteraprotracted legalbattle withClara’s forbiddingfather, somed yearslaterintooneofthemost intenselove affairsofmusic gifted pianist. Robert and Clara developed a closefriendshipthat blos- nist Friedrich Wieck,whosenine-year-old daughter, Clara,was alsoa was eighteenyearsold,hetraveled toLeipzig tostudy withthepia- the hallmarksofRomanticism,sodidevents ofhislife.Whenhe essential symbols of the Romantic era. Just as his music exhibited The German composer Robert Schumann stands among the quint- Approximate duration:28minutes composer’s most fertilechambermusicyear. op. 88;andthispianoquartet alldatefrom1842,celebratedasthe op. 41;thePianoQuintet, op. 44;Phantasiestücke forPianoTrio, Other works fromthisperiod:Schumann’s ThreeStringQuartets, along withClaraSchumannaspianist. Matvei Wielhorsky, whoperformedascellist inthepublicpremiere, Dedication: ComposedforanddedicatedtotheRussianCount First performance:December8, 1844,inLeipzig Published: 1845 Composed: 1842 op. 47 MajorforPiano,Quartet inE-flat Violin,Viola,andCello, (Born June8,1810, Zwickau, Saxony;diedJuly29, 1856,Endenich) R pyrotechnics, thespiritofSchubert’s melodicgiftstill shinesthrough. additional handwithwhichtoplay amelody. Butunderpinningallthe the use of the“three-hand effect,” wherea pianist seems to possessan tions, unabashedglorifications ofkeyboard virtuosity, highlightedby in fairness, Liszt’s Schuberttranscriptions arefairlyliberaladapta- who famously chided Johannes Brahms as a stuffy traditionalist. And, significant tributetoanearlyRomanticmaster, fromthecomposer It is one of numerous transcriptions he made of Schubert’s music—a performance andpedagogy, aswellinhiscompositions forpiano. tributions liesinhisdevelopment ofpianotechnique,throughhis anotherpiano virtuosoofhisgeneration; most importantcon- to hisactivitiesasacomposer, Lisztwas alsothemost acclaimed one ofthelateRomanticperiod’s quintessentialgenres. Inaddition ment ofthesymphonic poem,anorchestral formthatwouldbecome and form.Amonghismost significant innovations was thedevelop- ods ofthematicdevelopment andboldlyexperimentedwithharmony Richard Wagner andHector Berlioz. He developed radicalnewmeth- Western musicknown astheNew whichincluded GermanSchool, obert In hisdiaries, letters, andcriticalwritings, Schumannoften By the mid-1840s, Schumann’s physical and mental health both Liszt transcribedSchubert’s DieForelle forsolopianoin1846. S chumann

- Schumann. a monthlater, thePianoQuartet, op. 47. Both werecomposedforClara posed twocompanionpieces:first, thePianoQuintet, op. 44,andthen quartets, each dedicated to Felix Mendelssohn. In the fall, he com- Between February andJuly ofthatyear, hecompleted histhreestring music. In1842cameSchumann’s most significant chamberpieces. works, and1840was hisyearoflieder, followed by ayearofsymphonic of hiscreative career. The1830sprimarilysaw thecreationofpiano wise serve theRomanticperiodinmusicasawhole. Eusebius. WhileSchumann’s creation,thesemetaphors couldlike- scherzo endswithonelast glanceback atthemelodyoffirst trio. bright blocks of chordsalternating between the piano and strings. The second triosectionappears, providing even furthercontrast withits scherzo withlyricalmelodiclines. Afterareturn tothescherzo, the and cello. Thefirst oftwotriosectionscontrasts themoodof dominates themovement, introducedinthelow register ofthepiano melody inthecello. prominent role.Thecodathatendsthefirst movement featuresanew talented amateurmusician.Throughoutthequartet, thecelloplays a when hecomposedhisPianoQuartet: CountMatvei Wielhorsky, a most giftedpianists, RobertSchumannhadaparticularcellist inmind second musicalideatakes amoreaggressive tone. presents hismaintheme.Following twovariationsonthistheme,a slow and sentimental introduction, in which Schumann immediately Piano Quartet. these basicmusicalideas, Schumannspinsastaggeringfinale tothe found love oflife,reminiscenttheworksHaydn andMozart. With dialogue. Themusicflows withmagicaleaseanddemonstrates apro- sweet andfluidline.Next,inananimated thepianoandviolaengage Schumann turns into a fugue. Following this fugue, the cello sings a responds withaboisterous note. Itopenswithalively theme,which after theme.Afterthepoignantendofslow movement, themusic on oneslow theme,thefinale bubbleswithenergyanderupts intheme Romantic extremes. Whereasthepreviousmovement basicallydwells three-note motif, outofwhichspringstheexuberantfinale. another world.Butinsidethisotherworldly music,Schumannsows a enly coda,sotranscendentlybeautifulastotransportthelistener to comes atthe end of the slow movement: Schumann fashions a heav a tenderclose.Perhaps themost inspiredmomentoftheentirework whiletherest ofthequartet drawsto onadeepB-flat, normally C—sits est string. At the endofthemovement, thecello—whose lowest note is plays themelody, heasksthecellist todetune theinstrument’s low Romantic. Theviolinfollows, andthetwosingabeautifulduet. cello beginswithamost lyricalmelody, showing Schumannathis most The first movement, composedinsonata Schumann’s compositionsappearinclusters over thecourse The breathtakingAndante cantabile The secondmovement scherzobeginswiththepattern that In additiontoClaraSchumann,oneofthenineteenth century’s The fourthmovement liesontheoppositeendofspectrum Schumann usesauniquetrickinthismovement. Astheviola movement follows. The form, beginswitha - -