PRINCETON UNIVERSITY CONCERTS 12/13 ABOUT THE PROGRAM minutes. I was afraid it was too long, swaying rhythms provides contrast as the Wednesday, January 23, 2013 at 7:30PM Richardson Auditorium in Alexander Hall but it was quite all right, at least for me.” second theme; the development section Koussevitzky’s premiere of the Concerto is a free continuation of the chaconne CHRISTIAN TETZLAFF, Solo Violin for Orchestra in Boston the following variations. The movement achieves formal week (which the composer was too weak closure with the altered versions of the Eugène YSAŸE Sonata No. 1 for Unaccompanied Violin to attend) greatly helped to fuel the main and second themes that occupy the (1858-1931) in G Minor, Op. 27, No. 1 momentum of Bartók’s growing acclaim. recapitulation. The second movement is Grave: Lento assai The Solo Violin Sonata was the last work a fugue on a chromatic subject, a tour de Fugato: Molto moderato Allegretto poco scherzando: Amabile that Bartók completed before his death force for both composer and performer, in Finale con brio: Allegro fermo in New York on September 26, 1945. His which the single voice of the violin is made final two compositions, the Third Piano to imply four intertwining polyphonic Johann Sebastian BACH Sonata No. 3 for Unaccompanied Violin (1685-1750) in C Major, BWV 1005 Concerto and the Viola Concerto, were put lines through double-stops, quick shifts of Adagio into their finished forms by his friend and register, and subtle gradations of melodic Fuga disciple Tibor Serly. emphasis. Melodia traces an arching, Largo melancholy song in its outer sections, while Allegro assai Rather than using the easily accessible the hushed central passage, verdant with — INTERMISSION — idioms of his other American works, rustling trills and whispered high notes, Bartók revived the advanced melodic is the kind of twittering “night music” György KURTÁG Selections from Signs, Games and Messages and harmonic techniques of the Quartets that Bartók favored for many of his slow (b. 1926) Hommage à J.S.B. In memoriam Tamás Blum Nos. 3 and 4 and the two Violin and movements. The closingPresto , in the Vivo Piano Sonatas for this piece, though here form of a rondo, uses as its main theme a The Carenza Jig the formal architecture places the most murmuring, moto perpetuo strain which Doloroso Garzulyéknak Zank-Kromatisch difficult matters in the opening movement is interrupted by two extended episodes of and passes on to easier things as the work folkish character, the first syncopated and Béla BARTÓK Sonata for Unaccompanied Violin unfolds. The first movement is a formal dance-like, the second lyrical and nostalgic. (1881-1945) Tempo di ciaccona [chaconne] hybrid, taking as its main subject a craggy All three themes are tumbled together in Fuga: Risoluto, non troppo vivace Melodia: Adagio chaconne (a set of continuous variations the energetic coda. Presto on the theme’s harmonic skeleton — the most famous movement of Bach’s ©2013 Dr. Richard E. Rodda Christian Tetzlaff appears by arrangement with C/M Artists New York. unaccompanied violin compositions follows this procedure) placed into a full Recordings available on the Virgin Classics/EMI and Hänssler recording labels. sonata structure. A lyrical melody in Princeton University Concerts is tremendously grateful to Mr. Tetzlaff for agreeing to step in to replace Julia Fischer on short notice. -12- PRINCETON UNIVERSITY CONCERTS 12/13 ABOUT CHRISTIAN TETZLAFF PRINCETON UNIVERSITY CONCERTS 12/13 ABOUT THE PROGRAM

ABOUT CHRISTIAN TETZLAFF academic education while continuing His health declined enough to make public 8th. Later that month, back in New York his musical studies. He did not begin appearances impossible after 1943. His City, he was able to attend a well-received n artist known for his musical intensive study of the violin until making chief disappointment, however, was the concert by the brilliant Yehudi Menuhin Aintegrity, technical assurance and his concert debut playing the Beethoven almost total neglect of his compositions at Carnegie Hall that included his Violin intelligent, compelling interpretations, Violin Concerto at the age of 14 and by the musical community. At the end Concerto and Violin Sonata No. 1. Shortly Christian Tetzlaff is internationally attributes the establishment of his musical of 1942, he lamented, “The quasi boycott thereafter, Menuhin, long a champion of recognized as one of the most important outlook to his teacher at the conservatory of my works by the leading orchestras Bartók’s music, proposed to the composer violinists of his generation. in Lübeck, Uwe-Martin Haiberg, who continues; no performances either of old a commission for an unaccompanied placed equal stress on interpretation and works or new ones. It is a shame — not for violin sonata. Bartók was concerned that From the outset of his career, Mr. Tetzlaff technique. Mr. Tetzlaff came to the United me, of course.” It is to the credit of ASCAP his health would make writing the piece has performed and recorded a broad States during the 1985-86 academic year to (American Society of Composers, Authors difficult, but when ASCAP arranged for spectrum of the repertoire, ranging work with at the University and Publishers) that they provided money him to take a rest cure that winter at from Bach’s unaccompanied sonatas and of Cincinnati College-Conservatory of for the health care that enabled Bartók to Asheville, in the mountains of western partitas to 19th century masterworks by Music and also spent two summers at the continue composing to the very end of his North Carolina, he accepted Menuhin’s Mendelssohn, Beethoven and Brahms; Marlboro Music Festival in Vermont. life. offer. On January 30, 1944, Bartók wrote to and from 20th-century concertos by his old friend the violinist Joseph Szigeti, Bartók, Berg and Shostakovich to world Mr. Tetzlaff has been in demand as a soloist During the last months of Bartók’s life, “At present, I feel in the best of health, no premieres of contemporary works. Also a with many of the world’s leading orchestras there were a few signs that his fortunes fever; my strength has returned. I take dedicated chamber musician, he frequently and conductors, establishing close artistic were improving. Performances of his fine walks in the woods and mountains; collaborates with distinguished artists partnerships that are renewed season after works, which had been woefully infrequent actually, I climb the mountain (of course, including pianists , Lars season. Mr. Tetzlaff has performed with the since his arrival in America in 1940, were only with due caution). Last March, my Vogt and and is the orchestras of Chicago, Cleveland, Boston, occurring with more regularity, and in weight was 87 pounds; now it is 105. I founder of the Tetzlaff Quartet, which he Philadelphia, New York, San Francisco, Los early 1943, he received a commission for grow fat. I bulge. I explode. You will not formed in 1994 with violinist Elisabeth Angeles and Toronto, among many others an important composition — the Concerto recognize me.” The salubrious surroundings Kufferath, violist Hanna Weinmeister and in North America, as well as with the for Orchestra — from Sergei Koussevitzky, allowed Bartók to finish the Sonata by his sister, cellist . major European ensembles including the music director of the Boston Symphony. March 14th. When the work was premiered Berlin Philharmonic, London Symphony, An ASCAP-sponsored stay at a sanatorium at Menuhin’s Carnegie Hall recital on Born in in 1966, music occupied Orchestre de Paris, Vienna Philharmonic, at Saranac Lake in upper New York State November 26, 1944, in the presence of the a central place in his family and his three Rotterdam Philharmonic and the Royal fortified Bartók’s strength enough so that composer, the audience applauded it, the siblings are all professional musicians. Concertgebouw Orchestra in Amsterdam. he could work on the new orchestral critics carped, and Bartók allowed, “It was Mr. Tetzlaff began playing the violin and piece, over which he labored doggedly a wonderful performance. The Sonata has piano at age six, but pursued a regular Highlights of Mr. Tetzlaff’s 12/13 season until the score was finished on October four movements and lasts about twenty

-2- -11- PRINCETON UNIVERSITY CONCERTS 12/13 ABOUT THE PROGRAM PRINCETON UNIVERSITY CONCERTS 12/13 ABOUT CHRISTIAN TETZLAFF steady tread of a funeral procession that years later had already begun to erode his in North America include appearances Professional Training Workshop for young rises to a shrill cry before ending with an health. Adding to the trial of his medical with the New York Philharmonic, the violinists and pianists, culminating in a attenuated but deeply expressive lament. condition was the Second World War Pittsburgh, New World and Montreal young artist concert. The pointillisticVivo was composed for raging in Europe, a painful torment to Symphonies, the St. Paul Chamber solo cello in 1961 and arranged for violin Bartók’s ardent Hungarian patriotism. Orchestra and a three-concert chamber Tetzlaff’s highly regarded recordings in 1992. The Carenza Jig, modeled on the Upon leaving his homeland, he not only music project at the 92nd St. Y in New reflect the breadth of his musical interests lively dance that is a staple of traditional relinquished the native country so dear to York City. European highlights include and include solo works, chamber music Irish and Scottish music, was named for him, but also forfeited the secure financial return visits to the Berlin and London and concertos ranging from Haydn to the young daughter of a family Kurtág and professional positions that he had Philharmonics, Bavarian Radio Symphony Bartók. His recent recordings include visited in Cornwall, England in 1989. earned in Budapest. Compromise in the Orchestra, Leipzig Gewandhaus Orchestra, Szymanowski Violin Concerto No. 1 with Doloroso Garzulyéknak (“Sad Song for the face of Hitler’s brutality, however, was Orchestre de Paris and the London the Vienna Philharmonic led by Pierre Garzulys”) (1992) was written in honor of never a possibility for a man of Bartók’s Symphony. Boulez for Deutsche Grammophon; the the physician Ferenc Garzuly, a prominent uncompromising convictions. “He who complete Bach Sonatas and Partitas for music patron in Budapest and for years the stays on when he could leave may be said Christian Tetzlaff was a “Perspectives” Solo Violin for the Musical Heritage director of the city’s annual Bartók Festival, to acquiesce tacitly in everything that is artist at Carnegie Hall during the 2010-11 and Hänssler labels; the Schumann and and his wife, the noted Hungarian ceramist happening here,” he wrote on the eve of season, an initiative in which musicians Mendelssohn Violin Concertos with Maria Geszler-Garzuly. Zank-Kromatisch his departure. “This journey [to America] are invited to curate a personal concert Frankfurt Radio Orchestra and Paavo Järvi (“Chromatic Quarrel”) (1987) draws is like plunging into the unknown from series through collaborations with other for Edel Classics; and Schoenberg String remarkable contention both harmonically what is known, but unbearable.” Filled musicians and ensembles. Mr. Tetzlaff’s Quartet No. 1 and Sibelius Quartet Op. 56 and melodically from a single instrument. with apprehension, he made the difficult “Perspectives” included an appearance with the Tetzlaff Quartet on the AVI label. overland trip to Lisbon, then sailed to New with the Boston Symphony playing Sonata for Solo Violin York. concertos by Mozart, Bartók and the Tetzlaff currently performs on a violin BÉLA BARTÓK (1881-1945) New York premiere of a new concerto by modeled after a Guarneri del Gesu Sad to say, Bartók’s misgivings were Sir Harrison Birtwistle; a play/conduct made by the German violin maker, Composed in 1944. justified in one of the unhappiest chapters performance with the Orchestra of St. Peter Greiner. In honor of his artistic Premiered on November 26, 1944 in in American music. His financial support Luke’s; a performance with the Ensemble achievements, Musical America named by Yehudi Menuhin. from Hungary was, of course, cut off, and ACJW led by Sir Simon Rattle; a concert Mr. Tetzlaff “Instrumentalist of the Year” money worries aggravated his delicate with the Tetzlaff Quartet; and a duo-recital in 2005. More information can be found at éla Bartók came to America in April physical condition. He held a modest post with violinist . He also led a christiantetzlaff.com. B1940, sick of body and afflicted of as a folk music researcher at Columbia spirit. He had been frail all his life, and University for several months, but that the leukemia that was to take his life five ended when funding from a grant ran out.

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1958, Kurtág went to Paris to study with Composers (1994), Kossuth Prize for Life’s ON TONIGHT’S PROGRAM... Messiaen and Milhaud, but an equally Work (1996), Munich’s Siemens Music important influence on him at that time Award (1998), membership in the Bavarian reating and re-creating works for unaccompanied violin are monumental challenges for Ccomposer and performer alike. Four strings and a pound or so of meticulously crafted were his sessions with the psychologist Academy of Fine Arts (1987) and West wood activated by a three-ounce bow tautly strung with hair from a horse’s tail seems an Marianne Stein, whose deep understanding Berlin’s Academy of Art (1987), and the unpromising mechanism for addressing the sublime, but musicians from the time of the of the artistic temperament helped to prestigious Grawemeyer Award from the passacaglia that Heinrich Ignaz Franz Biber included in his Mystery Sonatas in the 1670s to unlock his creativity. He composed his University of Louisville (2006). 20th-century compositions by Prokofiev, Bartók, Cage and Bright Sheng have confirmed the Op. 1, the String Quartet No. 1, upon expressive and stylistic possibilities that it offers. Christian Tetzlaff’s recital includes works for his return to Hungary and dedicated the Signs, Games and Messages (Jelek, Játékok unaccompanied violin by four masters of the genre — a sonata by Bach, the acknowledged score to her. From 1958 to 1963, Kurtág és Üzenetek in Hungarian) is a collection summit of this repertory, sonatas by Belgian virtuoso Eugène Ysaÿe and Hungarian composer/pianist Béla Bartók, and a set of miniatures by the Romanian-Hungarian worked as a coach and tutor at the Bartók of several dozen greatly varied musical contemporary composer György Kurtág. Secondary School of Music in Budapest, aphorisms for string duo and trio and and occupied a similar position with the solo violin, viola, cello, double bass, National Philharmonic from 1960 to clarinet, bassoon, oboe and flute composed Sonata No. 1 for Unaccompanied Violin admitted to the Liège Conservatory and 1968, helping to train such outstanding between 1987 and 2005 that includes style in G Minor, Op. 27, No. 1 there won a prize for his playing, but he Hungarian musicians as Zoltán Kocsis, studies, technical etudes, character pieces, EUGÈNE YSAŸE (1858-1931) had a falling out with his teacher, Désiré András Schiff and the first Takács String homages to friends, colleagues and other Heynberg, and quit the school. In 1872, Quartet. In 1967, Kurtág was appointed composers, and random musical thoughts. Composed in 1924. Ysaÿe was back at the Conservatory as a to the faculty of the Budapest Academy of The Armenian violinist Movses Pogossian, pupil of Rodolphe Massart, under whose Music, where he taught piano and chamber a friend of Kurtág who has recorded many ugène Ysaÿe (ee-sy-uh) was one of tutelage he flourished sufficiently to receive music until his retirement in 1986; in of the Signs, Games and Messages, noted Ethe most beloved musicians in the a scholarship for study with Henryk 1993 he moved to southwestern France to that these miniatures encompass a “unique decades surrounding the turn of the 20th Wieniawski at the Brussels Conservatory be near his son’s family. He has served as world of naked nerves, meticulous detail century, a violinist revered by his peers from 1874 to 1876. In 1876, Ysaÿe learned Composer-in-Residence with the Berlin and symphonies that may last under one and lionized by audiences, a teacher that Henri Vieuxtemps had recovered Philharmonic (1993-1995) and with the minute.” TheHommage à J.S.B. [Johann of immense influence, a conductor of sufficiently from a recent stroke to accept Vienna Konzerthaus (1995-1996), and Sebastian Bach] (1998) implies within international repute, and a composer of a few students, and he moved to Paris to has been recognized with the Erkel Prize its widely spaced cantabile melody the excellent skill. His father was a theater receive that virtuoso’s instruction for the (1954, 1956, 1969), Kossuth Prize (1973), multiple voices for which Bach’s solo violin conductor and violinist in his native Liège, next three years. Ysaÿe toured Germany in Order of the Star with the Golden Wreath partitas and sonatas provided the model Belgium, and it was with him that Eugène 1879, winning praise from the great Joseph from the Hungarian Government (1986), and inspiration. In memoriam Tamás Blum, began his study of the instrument at the Joachim and being named concertmaster of Monaco’s Prix de Composition Musicale written upon the death of that Hungarian age of four. Three years later, the boy was Benjamin Bilse’s orchestra, the predecessor (1993), Austria’s State Award for European conductor in 1992, moves with the sad,

-4- -9- PRINCETON UNIVERSITY CONCERTS 12/13 ABOUT THE PROGRAM PRINCETON UNIVERSITY CONCERTS 12/13 ABOUT THE PROGRAM player Louis Marchand fled town rather achieved) from the Pentecost antiphon of the Berlin Philharmonic. After Quartet (for which ensemble Saint-Saëns than be beaten in a contest arranged by Veni Sancte Spiritus (“Come Holy Ghost”), concertizing in Scandinavia and Russia wrote his Quartet No. 1) and founded the a local nobleman.) Though Bach may a favorite melody of his which also appears with pianist Anton Rubinstein, Ysaÿe orchestral Concerts Ysaÿe, both of which have found models and inspiration in the in two Chorale Preludes (BWV 651 and settled from 1883 to 1886 in Paris, where he were principally dedicated to promoting music of his predecessors, his works for 652), the Cantatas Nos. 59 and 175, and the formed close ties with Franck, Chausson, new French and Belgian music. Increasing unaccompanied violin far surpass any motet Der Geist hilft unsrer Schwachheit auf d’Indy, Saint-Saëns, Debussy and other of commitments for tours as violinist and others in technique and musical quality. (BWV 226). The touchingLargo , modest the city’s leading musicians: Franck’s Violin conductor required him to leave the in its expression and dimensions, provides Sonata was a wedding gift for him (Ysaÿe Conservatory in 1898, though he continued Though the three violin partitas, examples a foil for the grandeur of the preceding first played the piece at the ceremony on to live in Brussels until the outbreak of of the sonata da camera (“chamber sonata”) Fugue. The closingAllegro assai, in two- September 28, 1886, and gave its public World War I in 1914. Following his debut or suite of dances, vary in style and part dance form, eschews double-stopping premiere three months later in Brussels); in the United States in 1894, Ysaÿe’s structure, the three solo sonatas uniformly in favor of a moto perpetuo unfolding of Chausson’s Poème and Concert for Violin, American prestige equaled that which adopt the precedent of the more serious briskly moving melodic material. Piano and String Quartet were dedicated to he enjoyed in Europe, and he was named “church sonata,” the sonata di chiesa, him; Debussy composed his String Quartet music director of the Cincinnati Symphony deriving their mood and makeup from Selections from Signs, Games and for Ysaÿe and originally conceived the in 1918; he conducted that ensemble for the works of the influential Roman master Messages for Solo Violin Nocturnes as a solo vehicle for him. From four years before being succeeded by Fritz Arcangelo Corelli. The sonatas follow the GYÖRGY KURTÁG (born in 1926) 1886 to 1898, Ysaÿe served as professor Reiner. In 1922, he returned to Europe to standard four-movement disposition of of violin at the conservatory in Brussels, revive the Concerts Ysaÿe and resume his the sonata da chiesa — slow-fast-slow-fast Composed 1987-2005 where he also established the Ysaÿe String tours. Declining health caused by diabetes — though Bach replaced the first quick movements with elaborate fugues and yörgy Kurtág was born on February WHAT’S NEW AT PRINCETON UNIVERSITY CONCERTS? suggested a certain dance-like buoyancy G19, 1926 in Lugoj, a town whose in the finales. The openingAdagio of the territory had been ceded to Romania by • INTERLUDE - Interlude will offer fresh pastries, Small World coffee, tea, Sonata No. 3 in C Major, whose somber Hungary following World War I. Kurtág beverages and snacks at our evening concerts. Located in the lobby of mood and dotted-rhythm tread recall the took piano and composition lessons in Alexander Hall, Interlude will be open one half hour before the concert style of the French Overture, serves as a Timisoara before entering the Budapest and during intermission. Cash only. broad preface to the stupendous Fugue that Academy of Music in 1946, where he • princetonuniversityconcerts.org - What did you think follows. Bach borrowed the theme for this earned diplomas in composition (his of tonight’s event? Visit our all new and improved elaborate and precisely planned movement teachers included Sándór Veress and website to let us know. Use “Take Note,” (his audacity at composing a fugue for just Ferenc Farkas), piano (Pál Kadosa) and our new blog to share your comments. the four strings of a solo violin is justified chamber music (Leo Weiner). He became by the superbly satisfying result that he a Hungarian citizen in 1948. In 1957-

-8- -5- PRINCETON UNIVERSITY CONCERTS 12/13 ABOUT THE PROGRAM PRINCETON UNIVERSITY CONCERTS 12/13 ABOUT THE PROGRAM and an affliction of his bowing arm began never published and are virtually unknown) its propulsive triple rhythms from the a student of Vivaldi; Jean Baptiste Volumier, to limit his activities in his later years, and in the utilization of progressive gigue and its technical requirements from leader of the Dresden court orchestra; and however, and in 1929, he was forced to have techniques in his later creations. His single the furthest reaches of the instrument’s Joseph Spiess, concertmaster of the Cöthen a foot amputated. He was able to conduct composition for the stage, the opera Piére capabilities. orchestra, have been advanced as possible a few more programs the following year li houïeu (“Peter the Miner”), remains in candidates. After the introduction of the (his last appearance as a conductor was manuscript, though about a dozen works Sonata No. 3 for Unaccompanied Violin basso continuo early in the 17th century, on November 13, 1930, with cellist Pablo for violin and orchestra have enjoyed a in C Major, BWV 1005 it had been the seldom-broken custom to Casals as soloist), but he was unable to number of performances and recordings. JOHANN SEBASTIAN BACH supply a work for solo instrument with lead the premiere of his only opera, Piére li His smaller pieces for violin and piano (1685-1750) keyboard accompaniment, so the tradition houïeu (to his own libretto in the Walloon are regular recital items, but his most behind Bach’s solo violin sonatas and dialect), on March 4, 1931 in Liège. He admired compositions are the six Sonatas Composed before 1720. partitas is slight. Johann Paul von Westhoff, died in Brussels two months later. In 1937, for Unaccompanied Violin (Op. 27), which a violinist at Weimar when Bach played Queen Elisabeth of Belgium, a long-time he was inspired to compose after hearing ach composed the set of three sonatas in the orchestra there in 1703, published a violin student of his, inaugurated an annual Joseph Szigeti play a Bach solo sonata in Band three partitas for unaccompanied set of six unaccompanied partitas in 1696, violin competition in Brussels — the Prix 1924. These Sonatas are in an advanced violin before 1720, the date on the and Heinrich Biber, Johann Jakob Walther International Eugène Ysaÿe (rechristened stylistic idiom influenced by the modern manuscript, probably while serving at the and Pisendel all composed similar works. the Queen Elisabeth Competition after music of France, and call for feats of court of Anhalt-Cöthen. Though there Many of these composers were active in World War II) — in his honor. technical mastery that rival those required is not a letter, preface, contemporary and around Dresden. Bach visited Dresden by the Solo Caprices of Paganini. account or shred of any other documentary shortly before assuming his post at Cöthen, Though he was famed internationally as a evidence extant to shed light on the genesis and he may well have become familiar at supreme master of the violin (in his book The Sonata No. 1 in G Minor, dedicated and purpose of these pieces, the technical that time with most of this music. (Bach’s on The Art of Violin Playing, the noted to Szigeti, is modeled on Bach’s three demands that they impose on the player reputation as a peerless keyboard virtuoso scholar and performer Carl Flesch called such works for unaccompanied violin. indicate that they were intended for a preceded him on his visit to Dresden in him “the most outstanding and individual It opens with a deeply expressive Grave virtuoso performer: Johann Georg Pisendel, 1717: the French organ and harpsichord violinist I have ever heard in my life”), whose mood of stern solemnity is Ysaÿe also composed a sizeable number of heightened by considerable chromaticism COMING UP... original works, most of them for his own and harmonic piquancy. The three-voice The East Coast Chamber Orchestra (“ECCO”) performs on Tuesday, February 12 instrument. He was never formally trained Fugato that follows is a virtuoso feat of both at 7:30PM. They will be inviting amateur string players to join them on stage for in the discipline, but he had a natural talent composition and execution. The dance-like a community reading of Britten’s Simple Symphony. There are just a few spots for composition that manifested itself in a third movement serves as a stylistic and remaining. If you are interested in participating, call the Concert Office at Romantic virtuoso style in his early works expressive foil to the Sonata’s otherwise 609-258-2800. (notably eight violin concertos which were stern countenance. The finale borrows

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