Denis Matsuev

Sunday Afternoon, October 16, 2016 at 4:00 Hill Auditorium Ann Arbor

11th Performance of the 138th Annual Season 138th Annual Choral Union Series PROGRAM

Ludwig van Beethoven Piano Sonata No. 31 in A-flat Major, Op. 110 Moderato cantabile molto espressivo Allegro molto Adagio ma non troppo

Robert Schumann Symphonic Etudes, Op. 13 Theme: Andante Etude VI: Agitato Etude I: Un poco più vivo Etude VII: Allegro molto Etude II: Marcato il canto Etude VIII: Andante Etude III: Vivace Etude IX: Presto possibile Etude IV: Allegro marcato Etude X: Allegro Etude V: Vivacissimo Etude XI: Andante Posthumous Variation No. 4 Etude XII: Allegro brillante Posthumous Variation No. 5

Intermission

Franz Liszt Mephisto Waltz No. 1, S. 514

Piotr Ilyich Tchaikovsky

This afternoon’s presenting sponsor is the Masco Corporation Foundation. Méditation, Op. 72, No. 5 This afternoon’s supporting sponsors are Retirement Income Solutions and the Catherine S. Arcure Endowment Fund. Media partnership is provided by WGTE 91.3 FM and WRCJ 90.9 FM. Sergei Prokofiev Piano Sonata No. 7 in B-flat Major, Op. 83 The Steinway piano used in this afternoon’s recital is made possible by William and Mary Palmer. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of Allegro inquieto floral art for this afternoon’s recital. Andante caloroso Mr. Matsuev gratefully acknowledges The AVC Charity (Andrey Cheglakov, Founder) as a Strategic Precipitato Partner of this afternoon’s performance. Mr. Matsuev appears by arrangement with Columbia Artists Management, Inc. In consideration of the artist and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited.

3 PIANO SONATA NO. 31 IN A-FLAT MAJOR, OP. 110 (1822) and elevating. Once again, in the middle portion, the beautiful arioso Ludwig van Beethoven raises its plaintive voice. Hesitatingly, Born December 16, 1770 in Bonn, Germany the fugue resumes its progress with Died March 26, 1827 in Vienna, Austria an inner unrest, from which only the final sections bring release. UMS premiere: Myra Hess; January 1933 in Hill Auditorium. Program note © Columbia Artists Snapshots of History…In 1822: Management Inc. · The Rocky Mountain Fur Company (“Ashley’s Hundred”) leave from St. Louis, Missouri, setting off a major increase in fur trade · The first group of freed slaves from the US arrive to the west coast of Africa, founding Monrovia on April 25 · The Chippewas turn over a huge tract of land in Ontario to the United Kingdom

This work, one of the most lyrical ecstatic beauty of melody dominates and second-to-last of his 32 piano the movement, which seems to sonatas, was written in 1822, when have grown out of the tone colors Beethoven had already begun his that are peculiar to the pianoforte, Ninth Symphony and was working partaking neither of the quartet nor on the enormous Missa Solemnis. It the orchestral style. The music glides is one of the three sonatas written along, now disporting itself in graceful between 1820 and 1822, a set of curves, arabesques, or trills, now works highly diverse in content speaking in eloquent declamation. but similar in their precision and The second movement, scherzo- economy of development, the like, mixes the soft dialogue sounds distillation of a lifetime’s musical with harder accents. It is a kind of experience. Aided by developments fantastic march, with suspended that within the span of his career had rhythms, mobile basses, light and considerably expanded the range of heavy, delicate and opulent, high and the fortepiano, Beethoven took the low, loud and soft. A trio-intermezzo inherited structure of the sonata form in ‘D-flat’ flutters along, following a crystallized by Haydn and transformed capriciously drawn line. it into a spacious framework for the A subdued recitative at the expression of grand ideas. He did this beginning of the next movement by employing important innovations, leads to the deeply-moving arioso, such as frequent key changes, and by filled with prayerful expression. Deep, reintroducing into it fugal elements. melancholy shadows descend upon The first movement of this this sorrowful a-flat-minor piece. But sonata, which is lyrical, friendly, and it would not be worthy of Beethoven informal in construction, begins to remain in this mood long. Building “con amabilita” (amiably, graciously). a rampart against it, piling stone upon Like a foreboding of romanticism, an stone, the fugue follows, liberating

4 5 SYMPHONIC ETUDES, OP. 13 (1834) variations he composed. Schumann, keyboard. No. 2 pits an assertive impressed with the theme, used it for and massive triplet accompaniment Robert Schumann his own Symphonische Etüden. But against a canto in duple time. The Born June 8, 1810 in Zwickau, Germany he felt that the somber character of wide-spaced “violin” arpeggios in Died July 29, 1856 in Endenich the theme was too prevalent in the the right hand of No. 3 provide a Baron’s work (a problem Schumann background for the left hand’s elegant UMS premiere: Louis Mass; April 1884 in a general lecture room. eventually solved by giving his work melody. No. 4 is another march, with a triumphant conclusion). As he full chords in both hands separated Snapshots of History…In 1834: explained in a letter to the Baron: from one another by eighth-note · York, Upper Canada, is incorporated as Toronto rests; it leads directly into No. 5, · Anti-abolitionist riots in New York City begin No doubt the subject ought to keep in view a scherzo handled in pseudo- · The Office of Indian Affairs is organized in the US but it ought to be shown through different canonic fashion. The fourth of the colored glasses, just as there are windows posthumous variations is a waltz of various colors which make the country setting with a prominent accent on Robert Schumann is a central figure resistance and a court battle, would look rosy like the setting sun, or as golden the second beat of the measure. The in musical Romanticism; his music is become Schumann’s father-in-law. as a summer morning…I am now really final variation of this set combines infused with much self-expression, Wieck told Frau Schumann that three arguing against myself, as I have actually brilliant finger work with the melody potent lyricism, and extra-musical years of solid study could see her son been writing variations on your theme, and hidden in the offbeats. Returning associations — both personal and one of the foremost pianists of the am going to call them “pathetic.” Still, if to the first edition, No. 6, marked literary — thus making him one of the day. His share of Robert’s tutelage there is anything pathetic about them I have agitato, gets its tumbling, fluttering quintessential Romantic composers. however, dropped to naught when his endeavored to portray it in different colors. quality by a complicated figuration Though Schumann was above all daughter Clara showed promise as a divided between the two hands. No. 7 a composer of piano music and art concert pianist herself and required Strangely enough, Schumann starts with both hands moving close songs, the concert literature of the 19th his presence on concert tours. struggled all his life to find the perfect together, in parallel motion, but the century would be greatly impoverished The Symphonic Etudes, Op. 13, is version of this work. He was not only right hand gradually gains a separate without his orchestral works. not only one of Schumann’s greatest interested in composing variations identity. No. 8, with its persistent Son of a bookseller, publisher, and works, but a landmark in the history of with the utmost variety, but variations dotted rhythm and ascending- author, Schumann demonstrated such piano literature. The title of the work that united structurally to form a work descending slides, resembles the talent in both musical and literary underwent several metamorphoses: of symphonic proportions. opening of a baroque overture. No. 9 is spheres while still a schoolboy that Schumann had originally intended The first version contained 18 another puckish scherzo, to be played his father thought to send him to to call it 12 Davidsbündsleretuden in variations, but when it was published presto possibile. There is never a pause study composition with Carl Maria von reference to the League of David which in 1837, it had just 12 variations. In 1852, in the massive, 16th-note progression Weber in 1826. Unfortunately, both he had invented as a symbol of his Schumann published a second edition of No. 10. The left hand is equally Weber and Schumann’s father died battle with musical philistines. Later he in which numbers three and nine were persistent in the following etude, but before this plan could be realized, and thought of the more portentous title of deleted and the finale revised. After above it the right hand spins out an in 1828, Robert’s mother sent him to Etudes in Orchestral Character, finally Schumann’s death, Clara Schumann expressive nocturne. the University of Leipzig to matriculate settling for the double title of Etudes and Brahms published five variations The finale is more than three times as a law student. After a rather dilatory en forme de Variations, or XII Etudes of the six that had been left out of the the length of any of the preceding pursuit of legal studies in both Leipzig symphoniques. first edition. This afternoon’s program etudes and tends to overshadow them and Heidelberg, he finally won his The theme is, in fact, not by presents the first edition, as well as by its brilliance and melodic appeal. parent’s permission to devote himself Schumann, but Baron von Fricken, an the last two so-called posthumous As a tribute to the young Englishman solely to music in 1830. amateur composer and the father of variations. William Sterndale Bennet, a close Much of this was due to the support Ernestine von Fricken (Schumann’s Etude No. 1 is a rhythmically tense friend of Schumann’s to whom the of the renowned piano pedagogue fiancée at the time). In 1834, the Baron march confined almost exclusively work is dedicated, Schumann used Friedrich Wieck, who later, after much asked Schumann to look at a set of to the middle and lower half of the the theme “Du stolzes England, Freue

6 7 dich” (Proud England, rejoice) from a MEPHISTO WALTZ NO. 1, S. 514 (1860) Marschner opera, Der Templer und die Jüdin, as the theme for the finale. Franz Liszt Though one of Schumann’s most Born October 22, 1811 in Raiding, near Sopron, in the Austro-Hungarian Empire brilliant works, the Etüden were Died July 31, 1886 in Bayreuth, Germany received with so much hostility when first performed by Clara, that Schumann UMS premiere: Harold Bauer; January 1902 in University Hall. Orchestral advised her not to play it in public performance by the Chicago Symphony Orchestra under the baton of Frederick again. He said it was written not to Stock, May 1921 in Hill Auditorium. please the public but for its own sake. Snapshots of History…In 1860: Program note © Columbia Artists · Christians and Druzes clash in Damascus, Syria Management Inc., edited by · Shoe-making workers of Lynn, Massachusetts, strike successfully Mark Williams. for higher wages; the strike spreads throughout New England and eventually involves 20,000 workers · The Pony Express begins its first run from St. Joseph, Missouri to Sacramento, California with riders carrying a small bible

The Mephisto Waltz is the first of four Liszt scored this work first for full such title works Liszt wrote, this one in orchestra, then later transcribed it 1860. Goethe’s Faust, one of his favorite for piano solo and for two pianos. The pieces of literature, inspired these Mephisto Waltz is a grand showpiece; it and many of Liszt’s compositions, but presents the performer with technical this music is based on a scene from problems that are truly diabolical. There Nicolaus Lenau’s poetic setting of the are few compositions that offer such a legend. Subtitled “The Dance in the wealth of dazzling pyrotechnics in so Village Tavern,” the story inscribed at few minutes. length in Liszt’s score follows in brief: Program note © Columbia Artists Faust and Mephistopheles enter a village Management Inc. tavern where a wedding celebration is in progress. Faust becomes enamored of a dark-eyed beauty, while Mephistopheles takes over the fiddle-playing. The dancers become intoxicated by his demonically inspired music-making and the party becomes a bacchanalia. The dancers trip to the meadows, with Mephistopheles’ laughter echoing from time to time as a double-note trill. Finally, the nightingale’s song is heard. The heavy desire pulls them down. And they are swallowed in the boiling sea of ecstasy.

8 9 MÉDITATION, OP. 72, NO. 5 (1892–93) PIANO SONATA NO. 7 IN B-FLAT MAJOR, OP. 83 (1942)

Piotr Ilyich Tchaikovsky Sergei Prokofiev Born May 7, 1840 in Votkinsk, Russia Born April 23, 1891 in Sontsovka, Ukraine Died November 6, 1893 in St. Petersburg Died March 5, 1953 in Moscow

UMS premiere: This piece has never been performed on a UMS concert. UMS premiere: Vladimir Horowitz; January 1945 in Hill Auditorium.

Snapshots of History…In 1893: Snapshots of History…In 1942: · Thomas Edison finishes construction of the first motion picture studio in · Daylight savings time goes into effect in the US West Orange, New Jersey · The first African-American seamen are taken into the US Navy · The 1893 World’s Fair, also known as the World’s Columbian Exposition, · On her 13th birthday, Anne Frank makes the first entry in her new diary opens to the public in Chicago; the first US commemorative postage stamps are issued for the Exposition · New Zealand becomes the first country in the world to grant women the Not many contemporary composers keyboard writing is exhibited in the right to vote write music that has such an nine piano sonatas. Their composition unmistakable identity as that of covers a span of over 40 years. The Prokofiev. What is particularly Seventh Piano Sonata was begun in Tchaikovsky’s works do not exhibit the deserving of inclusion in the recital interesting is that Prokofiev’s music 1939 and completed three years later raw national and folk-song idiom to repertoire. Its grand tune, interesting stylistically changed little over the in Tbilisi, where and when he also the extent of Mussorgsky’s music, for figurations, and strong sense of decades; the same qualities and completed the opera War and Peace. instance, and his colors are not quite direction paired with its strong mannerisms by which his later works The composer entitled this sonata, as brilliant as Rimsky-Korsakov’s; Russian roots and contemplative are recognized can be found in many along with the Sixth and Eighth, the yet, more than those by either of nature make this piece the well- of his earlier compositions. In his “War Sonatas,” as they were written these two composers, Tchaikovsky’s deserved respite in a virtuosic recital. autobiography, Prokofiev stated that during the period when the impact of works are considered by musicians five principal factors dominated his art; the Nazi invasion was most strongly over the world to be the epitome of Program note © Columbia Artists these are: 1) the influence of Baroque felt by the Russian people, and Russian music. While he adhered to Management Inc, by Elizabeth E. Torres. and Classical forms, 2) the desire especially by Prokofiev. Western European forms of technical to innovate new harmonies into his The first performance of this work skill and lyric style, in his essentials expressive music, 3) strong rhythms, was given by Sviatoslav Richter in Tchaikovsky remains a Russian of 4) elements of lyricism, and 5) the Moscow, January 18, 1943; the pianist the most classic tendencies — his jesting and mocking characteristics so described the Sonata in these terms: language is emotionally Slavic. His typical of his symphonies, concertos, music glows with the peculiar fire that and stage works. The Sonata throws us immediately into burned in his soul; rapture and agony, In his keyboard works, Prokofiev the anxious atmosphere of a world off- and gloom and joy seem in perpetual sought freedom from typical 19th- balance. Disorder and uncertainty reign. struggle for expression. century techniques. He used the piano’s Man watches the play of death-bearing Tchaikovsky’s piano works often full sonority, at the same time treating forces. That which made up his life has take a backseat compared to his it as a basically percussive instrument. ceased to be. He feels, he loves. The orchestral and vocal works. This is This music, which has become fullness of this feeling is now directed curious when one realizes the praise extremely popular, often suggests toward all men. He, together with all men, they were given by both Bülow and strange, psychological elements. protests and keenly experiences the Rubinstein. Nevertheless, his works are Prokofiev wrote more than 100 general grief. The impetuous offensive infrequently played, and little gems like piano pieces, of varying lengths and rush, full of the will of victory, sweeps his Méditation, Op. 72, No. 5 are quite in many styles; however, his finest all in its path. He gains strength in the

10 11 battle, acquiring gigantic power, and this ARTIST becomes an affirmation of life. Denis Matsuev has enjoyed a stellar career of Honorary Citizen of Irkutsk), and since In his biography of the composer, since his triumphant victory in the 11th 2005 he has been the artistic director of the Israel Nestyev writes as follows about International Tchaikovsky Competition in music festival Crescendo (a series of events the Seventh Sonata: Moscow and is now one of the most sought- held in international cities such as Moscow, after musicians of his generation. He appears St. Petersburg, Yekaterinburg, Tel Aviv, They were correct who sense in the regularly with world-famous orchestras Kaliningrad, Paris, and New York). In 2010 he tempestuous, precipitate rhythms of such as the Chicago Symphony Orchestra, became the artistic director of Annecy Music the first movement, in its “percussive” the Pittsburgh Symphony, the London Festival in Annecy, France, with the goal to harmonies, in the Cyclopean might of its Symphony Orchestra, New York Philharmonic, bring together Russian and French music finale — music of gigantic, thundering Philadelphia and Los Angeles Philharmonic, cultures. In 2012 he became the artistic tension, as if overturning everything in Concertgebouw, Berliner Philharmoniker, the director of the first international Astana its path — a reflection of the shattering Bavarian Radio Symphony Orchestra, Leipzig Piano Passion festival and competition, events endured by the Soviet Union in Gewandhaus Orchestra, the BBC Symphony and in 2016 serves as the artistic director these years. The Sonata has no program, Orchestra, and the Orchestra of the Mariinsky of the competition and chairman of the but the storms of the war years are surely Theatre. He has successful creative organizing committee that started the Grand reflected in its general emotional tonality. partnerships with the world’s most prominent Piano Competition, a new competition for For a brief moment at the beginning conductors, including Valery Gergiev, Yuri young pianists in Moscow. Mr. Matsuev of the second movement the nervous Temirkanov, Mariss Jansons, Zubin Mehta, is the president of the charitable Russian dynamics give way to the charm of a Kurt Masur, Paavo Jarvi, Antonio Pappano, foundation New Names, which discovers live-lyrical minuet theme. But soon this Charles Dutoit, Alain Gilbert, Leonard Slatkin, and supports talented children and helps to oasis of pure lyricism is engulfed by the Myung-Whun Chung, Semyon Bychkov, Iván develop music education. More than 10,000 steely pressure of the B-flat Major finale, Fischer, Adam Fisher, Gianandrea Noseda, children have received monetary grants courageously uniting in itself the Russian Jukka-Pekka Saraste, James Conlon, Vladimir and/or the opportunity to perform on the monumentalism of Borodin with sharp, Spivakov, Mikhail Pletnev, Vladimir Fedoseyev, professional stage. modern, “machine” rhythms. Yury Bashmet, and others. Awards include The Presidential Council Mr. Matsuev is a frequent guest of musical for Culture and Art’s Honored Artist of Russia, One of the landmarks of 20th- festivals such as the Ravinia Festival and the titles People’s Artist of Republic of century piano literature, the Seventh the Hollywood Bowl in the US; BBC Proms North Ossetia-Alania and People’s Artist of Piano Sonata brought the composer and Edinburgh International Festival in Great Republic of Adygea. He is a laureate of the the award of the Stalin Prize. Britain; Schleswig-Holstein, Rheingau, and prestigious Shostakovich Prize in Music Festspielhaus Baden-Baden in Germany; and State Prize of Russian Federation in Program note © Columbia Artists Chopin Festival in Poland, Maggio Musicale Literature and Arts and is a People’s Artist Management Inc. Fiorentino in Italy; Les Choregies d’Orange of Russia. He is also honorary professor and Festival de la Rogue d’Antheron in of Moscow State University and became France; Verbier and Montreux Festivals in the head of The Public Council under Switzerland; and Stars of the White Nights The Ministry of Culture of the Russian Festival in Russia. Federation. Mr. Matsuev was viewed by For many years, Mr. Matsuev has led millions of spectators around the globe while numerous musical festivals and educational performing excerpts from Rachmaninoff’s projects which have added to his role as Second Piano Concerto at the closing a prominent public figure. Since 2004 he ceremony of the Sochi Olympic Games. has organized Stars on Baikal in Irkutsk, In April 2014, UNESCO designated Denis Siberia (in 2009 he was awarded the title Matsuev as a UNESCO Goodwill Ambassador.

12 13 Immersed in Community Spirit At Masco, we share the belief that a strong supportive presence in the areas where we live, work, and do business is vital. We salute UMS for its continued support of outstanding musicianship and service to our community.

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UMS ARCHIVES

This afternoon marks Denis Matsuev’s fifth performance under UMS auspices, following his UMS debut in October 2010 as soloist with the Mariinsky Orchestra and Maestro Valery Gergiev at Hill Auditorium. He most recently appeared in Ann 734-769-7727 | risadvisory.com Arbor in January 2015 with Maestro Gergiev and the Mariinsky Orchestra at Hill © 2015 Retirement Income Solutions is an Independent Investment Advisor Auditorium in a performance of Tchaikovsky’s First Piano Concerto.

15 THIS AFTERNOON'S VICTORS FOR UMS:

Masco Corporation Foundation — Retirement Income Solutions — Catherine S. Arcure Endowment Fund

Supporters of this afternoon’s recital by Denis Matsuev.

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Tickets available at www.ums.org.

ON THE EDUCATION HORIZON...

10/22 You Can Dance: Dorrance Dance (Ann Arbor Y, 400 W. Washington Street, 2–3:30 pm)

11/19 You Can Dance: Nora Chipaumire (Ann Arbor Y, 400 W. Washington Street, 2–3:30 pm Boll Family Y, 1401 Broadway Street, Detroit, 2–3:30 pm Sessions will meet at Ann Arbor and Detroit locations concurrently.)

Educational events are free and open to the public unless otherwise noted.