DOCSLIB.ORG

Shai Wosner, Piano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Shai Wosner, Piano CAL PERFORMANCES PRESENTS Sunday, November 24, 2013, 3pm Hertz Hall Shai Wosner, piano PROGRAM Franz Schubert (1797–1828) Drei Klavierstücke, D. 946 (1828) No. 1 in E-flat minor Allegro assai — Andante — Tempo I No. 2 in E-flat major Allegretto No. 3 in C major Allegro Jörg Widmann (b. 1973) Idyll and Abyss: Six Schubert Reminiscences (2009) Unreal, as if from afar Allegretto un poco agitato Quarter = 40, like a lullaby Scherzando Quarter = 50 Mournful, desolate Schubert Sonata No. 13 in A major, D. 664 (1819) Allegro moderato Andante Allegro INTERMISSION Schubert Sonata No. 21 in B-flat major, D. 960 (1828) Molto moderato Andante sostenuto Scherzo: Allegro vivace con delicatezza Allegro, ma non troppo Funded by the Koret Foundation, this performance is part of Cal Performances’ 2013–2014 Koret Recital Series, which brings world-class artists to our community. This performance is made possible, in part, by Patron Sponsors Dalia and Lance Nagel. Cal Performances’ 2013–2014 season is sponsored by Wells Fargo. CAL PERFORMANCES 35 PROGRAM NOTES PROGRAM NOTES Franz Schubert (1797–1828) Schubert leavened their inherent pianism with at the Juilliard School in New York. After win- having moved the soul, so literally and real does Drei Klavierstücke, D. 946 his incomparable sense of melody, a situation ning the Carl Maria von Weber Competition, his music enter us.’ This statement from 1928 by for which Kathleen Dale proposed the following Competition of German Music Colleges the influential German philosopher and musi- Composed in 1828. explanation: “Schubert’s continued experience and Bavarian State Prize for Young Artists, cologist Theodor Adorno captures the essential of song-writing had by now so strongly devel- Widmann was appointed professor of clarinet at phenomenon of Schubert’s music. In my com- Schubert was among the first practitioners of oped his wonderful natural gift of apprehending the Staatliche Hochschule für Musik in Freiburg positions in homage to Schubert, the Lied für the so-called “character piece,” the species of the spirit of a poem and re-creating it in music, in 2001; he continues to be recognized as one Orchester (2003, rev. 2009), the Octet (2004) compact, single-movement, sharply etched pi- that when he turned from songs to write for pi- of his generation’s finest clarinetists. His parallel and now these six brief piano pieces, my objec- ano composition designed for the burgeoning ano solo, he inevitably composed works which, interest in composition began when he started tive is to capture in my own personal fashion home music market of the early 19th century. though specifically instrumental in character, lessons with Kay Westermann in Munich at this constantly precarious flight between heaven There grew to be a virtual musical tidal wave are so truly lyrical in essence that each is a poem age eleven, and continued with his studies and hell, paradise and the very depths of anxi- of these popular miniatures in the years after in sound.” A Poem in Sound—music that is flow- with Hans Werner Henze, Wilfried Hiller, and ety, between idyll and abyss.” The Reminiscences Schubert’s death in 1828—the masterful ex- ing, evocative, reflective of the rhythms of the Wolfgang Rihm; in 2009, he was also named range from ethereal to angry, from playful to amples by Chopin, Schumann, Brahms, Liszt, heart and the soul and of life itself. Such is the to the Freiburg Hochschule’s composition tragic, with tone clusters in the penultimate Mendelssohn, Fauré, Grieg, and others occupy gift that Schubert left the world. faculty. Widmann’s residencies include those movement that may be intended to evoke “the the heart of the piano literature—but the form The Drei Klavierstücke are arranged accord- with the Berlin Symphony Orchestra, German abyss” answered by the sense of loss in the finale, was still new when he took it up around 1815 ing to a pleasing tonal plan: E-flat minor, E-flat Radio Orchestra of Saarbrücken-Kaiserslautern, which quotes Schubert’s transcendent Sonata in to provide keyboard entertainment at the con- major and C major. They are in simple three- Cleveland Orchestra, Salzburg Festival, Lucerne B-flat major, his last work for piano. vivial local gatherings known as “Schubertiads” part structures (the second adds an additional Festival, Cologne Philharmonic, Vienna Pianist Shai Wosner said of Idyll and Abyss, that featured his music and performances. intervening episode: A–B–A–C–A), and almost Konzerthaus, Oxford Chamber Music Festival, “Its six short, dreamy miniatures are like frag- Beginning in 1824, during what proved to be opulent in the warmth of their sonority and Dortmund Konzerthaus, Essen Philharmonic, mented sketches that use images and gestures the last years of his pitifully brief life, Schubert harmony. No. 1 (E-flat minor) opens and closes and Heidelberg Spring Festival. Among his familiar from Schubert’s musical language— created a fine and characteristic series of char- with an anxious strain whose febrile quality is many distinctions as a composer are the Stoeger echoes of distant horn calls, half of a forgot- acter pieces that parallel his superb late sona- enhanced by layering its duplet melody upon a Prize of the Chamber Music Society of Lincoln ten Ländler. It is as if Widmann is trying to tas. First among this group were the endear- triplet accompaniment; the central Andante is, Center, Arnold Schoenberg Medal, Belmont delve into the psyche of Schubert’s sound world ing Moments Musicaux, whose six movements by way of expressive balance, quiet and medita- Award for Contemporary Music of the Forberg- and the contrasting elements of which it is occupied him between 1824 and 1827. During tive. No. 2 (E-flat major) is based on a tender Schneider Foundation, Schneider-Schott Music made—the naïve, the tragic, the nostalgic, and the last six months of 1827, he composed eight theme that Schubert borrowed from the chorus Award, Honorary Award of the Munich Opera the foreboding.” pieces he called Impromptu. Schubert sold his that opens Act III of his 1823 opera Fierrabras; Festival, Paul Hindemith Prize, Ernst von Impromptus to Haslinger in Vienna, who agreed the movement’s two contrasting episodes are Siemens Foundation Encouragement Award, to publish them in small lots to test their accep- unsettled and mysterious. No. 3 (C major) ex- Composition Award of the Berlin Philharmonic Schubert tance. He issued the first two numbers of the hibits a teasing rhythmic ambiguity reminis- Academy, and Kaske Foundation Music Award, Sonata in No. 13 A major, D. 664 series in 1828 as Schubert’s Op. 90, Nos. 1 and 2 cent of a Slavic dance that is countered in its and election to membership in the Institute for with some success, but the composer’s death on middle region by a rather stolid paragraph in Advanced Study in Berlin, Bavarian Academy Composed in 1819. November 19th of that year halted the project, block chords. of the Fine Arts, Free Academy of the Arts and the remaining pair of Op. 90 Impromptus in Hamburg, and German Academy of the Early in July 1819, Franz Schubert left the heat was not published until 1857 or 1858; the four Dramatic Arts. Widmann’s creative output in- and dust of Vienna for a walking tour of Upper others were issued at the end of 1839 by Diabelli Jörg Widmann (b. 1973) cludes a large number of chamber compositions Austria with his friend, the baritone Johann as Op. 142. Idyll and Abyss: Six Schubert Reminiscences (many featuring clarinet), the 2003 opera Das Michael Vogl. The goal of the journey was Steyr, It seems likely that the three piano pieces Gesicht im Spiegel (“The Face in the Mirror”) a small town in the foothills of the Austrian Schubert wrote in May 1827 were intended as Composed in 2009. Premièred on April 24, 2009, and other music theater works, and several Alps south of Linz and some eighty miles west the nucleus of a third set of Impromptus, though at the Allerheiligen Hofkirche in Munich by large-scale orchestral scores. of Vienna in which Vogl was born and to which their manuscripts bear neither title nor number. Siegfried Mauser. Widmann wrote of his Idyll and Abyss: Six he returned every summer. Schubert enjoyed When Johannes Brahms edited them and over- Schubert Reminiscences of 2009, part of a tril- the venture greatly, writing home to his brother, saw their initial publication in 1868, he labeled German composer and clarinetist Jörg Widmann ogy in which he also paid homage to Robert Ferdinand, that the countryside was “incon- them simply “Drei Klavierstücke” (“Three Piano was born in Munich in 1973 and studied clari- Schumann (Eleven Humoresques) and Johannes ceivably beautiful.” In Steyr, Vogl introduced Pieces”). Perhaps the most remarkable quality net with Gerd Starke at the Hochschule für Brahms (Intermezzi): “‘On hearing Schubert’s the composer to the village’s chief patron of the of these character pieces is the manner in which Musik in Munich and with Charles Neidich music, tears pour out of the eyes without ever arts, Sylvester Paumgartner, a wealthy amateur 36 CAL PERFORMANCES CAL PERFORMANCES 37 PROGRAM NOTES PROGRAM NOTES cellist and an ardent admirer of Schubert’s mu- Schubert At the end of August, Schubert felt unwell, Beethovenian model in favor of a warm, even sic. Paumgartner’s home was the site of frequent Sonata No. 21 in B-flat major, D. 960 complaining of dizziness and loss of appetite, sometimes dreamy, lyricism whose principal local musical events—private musical parties and his physician advised that he move for a aims are to examine fragments of the move- were held in the first floor music room and a Composed in 1828.
Load more

Recommended publications
  • Franz Schubert's Impromptus D. 899 and D. 935: An
    FRANZ SCHUBERT’S IMPROMPTUS D. 899 AND D. 935: AN HISTORICAL AND STYLISTIC STUDY A doctoral document submitted to the Division of Research and Advanced Studies of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Keyboard Studies Division of the College-Conservatory of Music 2005 by Ina Ham M.M., Cleveland Institute of Music, 1999 M.M., Seoul National University, 1996 B.M., Seoul National University, 1994 Committee Chair: Dr. Melinda Boyd ABSTRACT The impromptu is one of the new genres that was conceived in the early nineteenth century. Schubert’s two sets of impromptus D. 899 and D. 935 are among the most important examples to define this new genre and to represent the composer’s piano writing style. Although his two sets of four impromptus have been favored in concerts by both the pianists and the audience, there has been a lack of comprehensive study of them as continuous sets. Since the tonal interdependence between the impromptus of each set suggests their cyclic aspects, Schubert’s impromptus need to be considered and be performed as continuous sets. The purpose of this document is to provide useful resources and performance guidelines to Schubert’s two sets of impromptus D. 899 and D. 935 by examining their historical and stylistic features. The document is organized into three chapters. The first chapter traces a brief history of the impromptu as a genre of piano music, including the impromptus by Jan Hugo Voŕišek as the first pieces in this genre.
    [Show full text]
  • Andras Schiff Franz Schubert Sonatas & Impromptus
    Andras Schiff Franz Schubert Sonatas & Impromptus -• ECM NEW SERIES Franz Schubert Vier Impromptus D 899 Sonate in c-Moll D 958 Drei Klavierstücke D 946 Sonate in A-Dur D 959 Andräs Schiff Fortepiano Franz Schubert (1797-1828) II 1-4 Vier Impromptus D899 1-3 Drei Klavierstücke D 946 Allegro molto moderato in c-Moll 9:32 Allegro assai in es-Moll 9:12 Allegro in Es-Dur 4:39 Allegretto in Es-Dur 11 :46 Andante in Ges-Dur 4:59 Allegro in C-Dur 5:31 Allegretto in As-Dur 7: 21 4-7 Sonate in A-Dur D959 5-8 Sonate in c-Moll D958 Allegro 15:45 Allegro 10:35 Andantino 7:13 Adagio 7:00 Scherzo. Allegro vivace - Trio 5:30 Menuett. Allegretto - Trio 3:04 Rondo. Allegretto 12:35 Allegro 9:13 Beethoven's sphere "Secretly, I hope to be able to make something of myself, but who can do any­ thing after Beethoven?" Schubert's remark, allegedly made to his childhood friendJosef von Spaun, gives us an indication of how strongly he feit himself to be in the shadow of the great composer he was too inhibited ever to approach. For his part, Beethoven cannot have been unaware of Schubert's presence in Vienna. The younger composer's first piano sonata to appear in print - the Sonata in A minor D 845 - bore a dedication to Beethoven's most generous and ardent pa­ tron, Archduke Rudolph of Austria. Moreover, the work was favourably reviewed in the Leipzig Al/gemeine musikalische Zeitung - a journal which Beethoven is known to have read.
    [Show full text]
  • The Functions of Harmonic Motives in Schubert's Sonata Forms1 Brian
    The Functions of Harmonic Motives in Schubert’s Sonata Forms1 Brian Black Schubert’s sonata forms often seem to be animated by some hidden process that breaks to the surface at significant moments, only to subside again as suddenly and enigmatically as it first appeared. Such intrusions usually highlight a specific harmonic motive—either a single chord or a larger multi-chord cell—each return of which draws in the listener, like a veiled prophecy or the distant recall of a thought from the depths of memory. The effect is summed up by Joseph Kerman in his remarks on the unsettling trill on Gß and its repeated appearances throughout the first movement of the Piano Sonata in Bß major, D. 960: “But the figure does not develop, certainly not in any Beethovenian sense. The passage... is superb, but the figure remains essentially what it was at the beginning: a mysterious, impressive, cryptic, Romantic gesture.”2 The allusive way in which Schubert conjures up recurring harmonic motives stamps his music with the mystery and yearning that are the hallmarks of his style. Yet these motives amount to much more than oracular pronouncements, arising without any apparent cause and disappearing without any tangible effect. Quite the contrary—they are actively involved in the unfolding of the 1 This article is dedicated to William E. Caplin. I would also like to thank two of my colleagues at the University of Lethbridge, Deanna Oye and Edward Jurkowski, for their many helpful suggestions during the article’s preparation. 2 Joseph Kerman “A Romantic Detail in Schubert’s Schwanengesang,” in Walter Frisch (ed.), Schubert: Critical and Analytical Perspectives, (Lincoln: University of Nebraska Press, 1986): 59.
    [Show full text]
  • Franz Schubert
    FRANZ SCHUBERT Foreword . 3 About the Composer . 3 Contents Schubert’s Piano Music . 3 About This Edition . 4 About the Music . 5 Moments Musicaux, Op . 94 (D . 780) . 5 Impromptus, Op . 90 (D . 899) . 7 Impromptus, Op . 142 (D . 935) . 9 Recommended Reading . 12 Recommended Listening . 12 Acknowledgments . 12 MOMENTS MUSICAUX, Op . 94 (D . 780) No . 1 (C major) . 13 No . 2 (A-flat major) . 16 No . 3 (F minor) . 20 No . 4 (C-sharp minor) . 22 No . 5 (F minor) . 26 No . 6 (A-flat major) . 29 IMPROMPTUS, Op . 90 (D . 899) No . 1 (C minor) . 32 No . 2 (E-flat major) . 43 No . 3 (G-flat major) . 49 No . 4 (A-flat major) . 57 IMPROMPTUS, Op . 142 (D . 935) No . 1 (F minor) . 68 No . 2 (A-flat major) . 83 No . 3 (B-flat major) . 88 No . 4 (F minor) . 99 2 Moments Musicaux, Op. 94 Impromptus, Opp. 90 & 142 Edited by Murray Baylor SCHUBERT’S PIANO MUSIC Schubert’s music seems to fall between Classical and Foreword Romantic classifications—perhaps between that of Beethoven and Chopin . Although he first became known in Vienna as a composer of lieder, the piano was his instrument, and he wrote some of his finest music for piano solo and piano duet . The kind of instrument he played, however, usually called a fortepiano, was ABOUT THE COMPOSER very different from a modern Steinway . In the Kunsthis- torische Museum in Vienna, there is a well-maintained Of the many famous composers who lived and worked piano that he once owned . Its compass is from the F an in Vienna, Europe’s most musical city, Franz Schubert octave below the bass staff to the F two octaves above was the only one who made his home there from birth the treble—six octaves in all .
    [Show full text]
  • SHAI WOSNER Piano Short Biography Pianist ​Shai Wosner Has Attracted International Recognition for His Exceptional Artistry
    SHAI WOSNER Piano Short Biography Pianist Shai Wosner has attracted international recognition for his exceptional artistry, musical integrity, and ​ creative insight. His performances of a broad range of repertoire—from Beethoven and Schubert to Ligeti and the music of today—reflect a degree of virtuosity and intellectual curiosity that has made him a favorite among audiences and critics. This season, Mr. Wosner continues his career-long, critically acclaimed engagement with Schubert’s music in his latest recital series Schubert: The Great Sonatas comprising the composer’s six final sonatas, which he describes as ​ ​ “thick novels, rich with insight about the human condition.” Recitals take place at the Konzerthaus in Berlin, and include a residency at Cal Performances in Berkeley as well as appearances in Buffalo, Fresno, and Cambridge (MA). He also performs works from his latest solo recording, Impromptu (Onyx Classics) featuring an eclectic mix of improvisationally ​ inspired works by composers from Beethoven and Schubert to Gershwin and Ives in St. Paul and elsewhere. His concerto performances include appearances with the Detroit and Toronto Symphony Orchestras (Mozart’s Concerto No. 21); the Jerusalem Symphony Orchestra (Brahms’ Concerto No. 2), and the Alabama and Wichita Falls Symphony Orchestrad, Musikalische Akademie of the National Theater Orchestra Mannheim, and Syracuse’s Symphoria (Schumann’s Piano Concerto). His chamber music collaborations include a six-city U.S. tour with Orion Weiss playing works for 4-hands and two pianos by Schubert and Brahms with David Lang’s companion pieces gravity and after gravity; performances with the ​ ​ ​ ​ Emerson Quartet for CMS of Lincoln Center; New York Philharmonic musicians at David Geffen Hall; cellist Stephen Isserlis and violinist Laura Frautschi as part of Orpheus Chamber Orchestra’s Twilight at Tarisio series; and a Bridge to ​ Beethoven concert with violinist Jennifer Koh on Baltimore’s Shriver Hall Concert Series.
    [Show full text]
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
    [Show full text]
  • Program Notes for a Graduate Recital in Piano Amy Jun Ming Chin Minnesota State University - Mankato
    Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato Theses, Dissertations, and Other Capstone Projects 2012 Program Notes for a Graduate Recital in Piano Amy Jun Ming Chin Minnesota State University - Mankato Follow this and additional works at: http://cornerstone.lib.mnsu.edu/etds Part of the Music Performance Commons Recommended Citation Chin, Amy Jun Ming, "Program Notes for a Graduate Recital in Piano" (2012). Theses, Dissertations, and Other Capstone Projects. Paper 195. This Thesis is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Program Notes for a Graduate Recital in Piano By Amy J. Chin Program Notes Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music In Piano Performance Minnesota State University, Mankato Mankato, Minnesota April 2012 Program Notes for a Graduate Recital in Piano Amy Jun Ming Chin This program notes has been examined and approved by the following members of the program notes committee. Dr. David Viscoli, Advisor Dr.Linda B. Duckett Dr. Karen Boubel Preface The purpose of this paper is to offer a biographical background of the composers, and historical and theoretical analysis of the works performed in my Master’s recital. This will assist the listener to better understand the music performed. Acknowledgements I would like to thank members of my examining committee, Dr.
    [Show full text]
  • Guest Artist Recital: Jennifer Koh, Violin and Shai Wosner, Piano Jennifer Koh
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-9-2010 Guest Artist Recital: Jennifer Koh, violin and Shai Wosner, piano Jennifer Koh Shai Wosner Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Koh, Jennifer and Wosner, Shai, "Guest Artist Recital: Jennifer Koh, violin and Shai Wosner, piano" (2010). All Concert & Recital Programs. 4456. https://digitalcommons.ithaca.edu/music_programs/4456 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Jennifer Koh, violin Shai Wasner, piano As a virtuoso whose natural flair is matched with a probing intel- Shai Wasner continues to attract international recognition for his excep- lect, Jennifer Koh is committed to exploring connections between tional artistry, mu s ical integrity, and creative insight. With imaginative the piece s she plays, searching for similarities of voice between and programming that communicates his intellectual curiosity, Was ner perform s among composers, as well as within the works of a single compos- a wide-ranging repertoire from Mozart and Beethoven to Ligeti and com- er. She has most recently been recognized by a Grammy nomination posers of his own generation. Hailed by the Financial Times as "an artist to for her recording String Poetic, on the Cedille label, which include s follow keenly," Wos ner"s vi.rtuo s ity and perceptiveness have increas ingly world premieres by Jennifer Higdon and Lou Harrison as well as made him a favorite among audiences and critics alike.
    [Show full text]
  • HPPAD Advanced Levels A1 A2 Advanced 1
    HPPAD Advanced Levels A1 A2 Advanced 1 TECHNIQUE: Scales: All Major and minor scales (in three forms as in Intermediate levels), 4 octaves parallel, HT All Major Scales, 2 octaves Contrary Chromatic Scale 4 octaves Hands Together, starting on any note Chords: I-IV-I-V7-I Cadence in root position and first inversion; bass line, pedal Tonic Triad Inversions blocked and broken, HT (see Intermediate 2) Arpeggios: All Major and Minor scales keys, in root position and 1st inversion, 4 octaves HT Sight Level of Difficulty Time Approximate Keys reading: signature length Intermediate 1 2 3 4 6 Eight Major and minor keys up to three repertoire 4 4 4 8 measures sharps or three flats REPERTOIRE: 2 pieces required; 3 pieces optional; Inclusion of a Sonatina/Sonata movement, is highly recommended; assessment of repertoire performances will be memory neutral Bach, French Suites, easier selections; Two-Part Inventions Mozart, Sonata K.545; Beethoven, Sonata Op. 49 No. 1 Schubert, Scherzo in B Flat Major, selections from Impromptus and Moment Musicaux Schumann, Children’s Sonata op. 118; Grieg, Lyric Pieces, more advanced Chopin, Polonaises in g minor and B Flat Major, Preludes Op. 28, easier selections Kabalevsky, Rondos, Op. 60 (selections); McDowell, Woodland Sketches, Op. 51 Mendelssohn, Songs without Words, Op. 30, selections (N. 3, 6) Schumann, Op. 124, selections (Fantastic Dance) Prokofiev, Music for Children, Op. 65, more difficult selections Other comparable material Advanced 2 TECHNIQUE: Scales: All Majors and minors, 4 octaves
    [Show full text]
  • & Orion Weiss, Piano James Ehnes, Violin
    IN ASSOCIATION WITH DUKE PERFORMANCES THE CHAMBER ARTS SOCIETY OF DURHAM PRESENTS JAMES EHNES, VIOLIN & ORION WEISS, PIANO SAT, MAR 13 VIRTUAL PERFORMANCE IN ASSOCIATION WITH DUKE PERFORMANCES THE CHAMBER ARTS SOCIETY OF DURHAM PRESENTS JAMES EHNES, VIOLIN & ORION WEISS, PIANO SAT, MAR 13 VIRTUAL PERFORMANCE PROGRAM Sonata in G Minor, D. 408 Franz Schubert I. Allegro giusto (1797-1828) II. Andante III. Menuetto: Allegro vivace IV. Allegro moderato Ich Ruf Zu Dir Sonata No. 2 Sergei Prokofiev Frederico Busoni (1866-1924) | Johann Sebastian Bach, (1685-1750) in D Major, op. 94a (1891-1953) I. Moderato II. Presto - Poco piu mosso del - Tempo I III. Andante IV. Allegro con brio - Poco meno mosso - Tempo I - Poco meno mosso - Allegro con brio Sonatine for Violin and Piano Aaron Jay Kernis I. Oracle, Cetacea, Larkspur (b. 1960) Oracular Proclamation - Allegro Sostenuto Dolphinic Syncopation Delphinium Pollination – Delicato Allegro, Tempo 1 II. Shaded Blue III. Catch That Train! Sonata in D Minor, Op. 75 Camille Saint-Saëns I. Allegro agitato (1835-1921) II. Adagio III. Allegro moderato IV. Allegro molto SCHUBERT: SONATA IN G MINOR, D. 408 As a young person, Schubert learned the violin and composed chamber music to perform with family and friends. The G Minor sonata, written in 1816 fits this scene. At the time, he was just beginning a teaching career while studying composition with Antonio Salieri on the side. Correspondingly, the music reflects a strong familiarity with classical models, but also Schubert’s fledgling individuality — the melodic lines are intuitively graceful, and there is an acute awareness of harmonic subtlety.
    [Show full text]
  • Emanuel Ax, Piano
    Sunday, January 22, 2017, 3pm Zellerbach Hall Emanuel Ax, piano PROGRAM Franz SCHUBERT (1797 –1828) Four Impromptus, D. 935 (Op. 142) No. 1 in F minor No. 2 in A-flat Major No. 3 in B-flat Major No. 4 in F minor Frédéric CHOPIN (1810 –1849) Impromptus No. 1 in A-flat Major, Op. 29 No. 2 in F-sharp Major, Op. 36 No. 3 in G-flat Major, Op. 51 Fantaisie-Impromptu in C-sharp minor, Op. 66 INTERMISSION SCHUBERT Klavierstück No. 2 in E-flat Major, D. 946 CHOPIN Sonata No. 3 in B minor, Op. 58 Allegro maestoso Scherzo: Molto vivace Largo Finale: Presto non tanto Funded, in part, by the Koret Foundation, this performance is part of Cal Performances’ 2016/17 Koret Recital Series, which brings world-class artists to our community. Additional support made possible, in part, by Patron Sponsors Diana Cohen and Bill Falik. Steinway Piano PROGRAM NOTES Four Impromptus, D. 935 (Op. 142) C Major, the last three piano sonatas, the String Franz Schubert Quintet, the two piano trios, the Impromp tus— On January 31, 1827, Franz Schubert turned 30. that he created during the last months of his He had been following a bohemian existence brief life. in Vienna for over a decade, making barely Schubert began his eight pieces titled more than a pittance from the sale and per - Impromptu in the summer and autumn of formance of his works, and living largely off 1827; they were completed by December. He the generosity of his friends, a devoted band of did not invent the title.
    [Show full text]
  • Schubert's Recapitulation Scripts – Part II
    CHAPTER 4 CATEGORY 2 RECAPITULATIONS 4.1. Introduction 4.2. Mozart, Monahan, and the Crux 4.3. Beethoven and the Minimally Recomposed Category 2 4.4. Beethoven and Schubert: Labor and Grace 4.5. Repetitions of Single Referential Measures 4.6. A Summary Analysis: The Finale of D. 537 4.7. Conclusion ADD CUT 1. One alteration only, + x 1. One alteration only, - x SIZE a. Minimally different, + 1 a. Minimally different, -1 1. by repetition (at the same pitch 1. deletion of originally repeated level) material 2. by sequence (repetition at a 2. deletion of non-repeated different pitch level) material a. by repetition of multiple referential measures, en bloc (backing up) STRATEGY b. by repetition of a single referential measure (stasis) 3. by composing new material Figure 4.1. Category 2 Strategies. 151 The ways in which thematic and harmonic gestures reappear go well beyond what can be captured by the standard notions of return or recapitulation.1 Like virtually all Western music, the music of the common-practice period is characterized by formal correspondences of various kinds. Such correspondences usually do not form exact symmetries, however, even at the phrase level. This stems partly, no doubt, from distaste for too much repetition and regularity—for predictability, that is, the negative side of the symmetrical coin.2 At this very early date, Riepel could scarcely be expected to realize what he was observing; later, of course, asymmetry would set in on a much greater scale.3 If one does not perceive how a work repeats itself, the work is, almost literally, not perceptible and therefore, at the same time, not intelligible.
    [Show full text]