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Seong-Jin Cho Seong-Jin Cho WHEN: VENUE: SUNDAY, BING OCTOBER 21, 2018 CONCERT HALL 2∶30 PM Harald Hoffmann Program About “Images,” Book 1 (1905) Claude Debussy (1862–1918) the Program Reflets dans l’eau Hommage à Rameau CLAUDE DEBUSSY (1862-1918) Mouvement Images (Book One), L. 110 (1905) Ballade No. 3 (1841) Frédéric Chopin (1810–1849) Debussy liked the word ‘Image.’ It pro- Polonaise Fantasy, Op. 61 (1846) vided a framework that is difficult to pin down in words. His titles are often —Intermission— reflections upon the music itself, rather than statements describing what the “Images,” Book 2 (1907) Claude Debussy music is ‘about.’ Debussy valued his Cloches à travers les feuilles Images highly, telling his publisher, Et la lune descend sur le temple qui fût Jacques Durand: “I think I may say Poissons d’or without undue pride that I believe these pieces will live and will take their Piano Sonata No. 3 in B minor, Op. 58 (1844) Frédéric Chopin place in the piano literature …either to Allegro maestoso the left of Schubert, or to the right of Scherzo. Molto vivace. Chopin.” Water was, of course, a Largo much-loved theme of the Impressionist Finale. Presto non tanto; Agitato painters and it posed a challenge to Debussy when he tried to capture its Seong-Jin Cho will be available to sign CDs and programs following the performance. essence on paper. Pianist Marguerite Long writes that Debussy likened the Seong-Jin Cho records exclusively for Deutsche Grammophon. opening motif in Reflections in the water For more information on Seong-Jin Cho, visit www.seongjin-cho.com. to “a little circle in water with a little Management for Seong-Jin Cho: Primo Artists, New York, NY pebble falling into it.” In this wonderful www.primoartists.com. tone poem, the rippling and shimmer of light have a hypnotic effect and build to a formidable climax, dying PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms. Photography and recording of any kind are not permitted. Thank you. away on ripples of sound. Homage to Upcoming Events New subhead here? Tickets and information: Beethoven Meets Frankenstein The Routes of Slavery live.stanford.edu Nov 3 • 7∶30 PM Jordi Savall Bing Studio Nov 4 • 4∶00 PM Bing Concert Hall 2 Rameau was written when Debussy was traveled from the peasant origins of FRÉDÉRIC CHOPIN (1810-1849) editing an edition of a Rameau ballet. the dance, Chopin calls his final work Sonata No. 3, in B minor, Op. 58 (1844) It’s more of a tribute to the 18th cen- in the genre Polonaise-Fantaisie in A-flat. tury French composer than an imita- His use of the word ‘Fantasy’ in the title In 1844, Chopin was 34 and at the tion of his style and contains the reflects a freer form, but a nationalistic peak of his genius. He wrote his third directions “Slow and grave, in the style feeling remains in the music. Alongside and final piano sonata during a last, of a sarabande, but without rigour.” it, we also get a more deeply felt and happy summer spent with the novel- The final piece in the collection, a bril- personal side of Chopin—what has ist George Sand, at Nohant in liant toccata titled Movement, is pure been called ‘Chopin the suffering man.’ France. Here, free from the need to shimmering virtuosity, built around a This is represented in the nostalgia of support himself and teach, he was non-to-slow-moving harmonic bass, the first melody, on which much of the able to concentrate on composition. which looks forward to the rhythmi- piece is based. Links can be found The B minor Sonata, arguably his cally-driven piano music that Bartók between all the themes of this work. most successful large-scale work, and Stravinsky would write a short The harmonies are restless and shift begins with a proud, heroic flourish. generation later. constantly. The music is carefully con- A second theme introduces a noctur- structed yet it still manages to create nal mood. Both themes are amongst FRÉDÉRIC CHOPIN (1810-1849) the impression of spontaneous improv- Chopin’s finest, capable of the gen- Ballade No. 3, in A-flat, Op. 47 (1841) isation. Its conclusion is triumphant. tlest expression and the most exhila- Polonaise-Fantaisie in A-flat, Op. 61 (1846) rating virtuoso development. At the CLAUDE DEBUSSY (1862-1918) same time, Chopin writes more con- With its origins in narrative poetry and Images (Book Two), L. 111 (1907) trapuntally here than in any other folk song, and its use to describe such piece. His veneration for the music of 19th century songs as Schubert’s The The first piece in Book Two of Bach, which he played daily, under- Erl-King, Chopin began to use the title Debussy’s Images is the evocative Bells lines every bar, the learning masked Ballade for piano music in 1831. All four [ heard ] through the leaves. It incorpo- in the romantic surge of the music. Chopin Ballades are single-movement, rates a whole-tone scale, on which After the grand scale of the opening extended piano compositions with an Debussy’s entire musical structure is movement, the Scherzo comes in implied storyline. They draw on the built, together with bell overtones and complete contrast, as a fine example idea of contrasting and reconciling multi-layered textures to summon of the sort of shimmering right-hand opposites—the basis of the sonata impressions of distant tolling bells, piano playing with which Chopin principle. This becomes clear in the heard beyond a landscape of rustling used to dazzle his audiences. The Ballade No. 3, Op. 47 where two con- leaves. The title of the oriental-colored slow movement is a glorious Italian trasting themes are fused into a third. And the moon sets over the temple that aria, where the voice floats effort- Essays have been written on the way was is believed to have been proposed lessly over the accompaniment and Chopin transforms the themes of this by its dedicatee, Louis Laloy, after the the mood is positive and radiant in ballade, a true example of art conceal- piece was composed. The piece sug- feeling. After the calm repose, the ing art. Yet it is a mark of the strength gests serenity and stillness, colored by finale is an exultant rondo which of Chopin’s creative powers in 1841 echoes of the gamelan. The techni- increases in intensity with each that the Third Ballade flows with natu- cally demanding third Image, Goldfish, return of the theme. The excitement ral momentum and strikes us as the is believed to have been inspired by a builds to a final stretto—an operatic most romantic of the set. Japanese lacquer painting, showing device that Chopin adapts to great two darting goldfish in rippling water. effect, in which the tempo quickens Chopin wrote close to 20 Polonaises Its synthesis of trills, tremolos and a to a dazzling conclusion. and they express the noblest tradi- toccata-style of keyboard writing pro- tional feelings of Poland and the purest duces vivid illustrative effects, as —Program notes © 2018 Keith Horner. type of national character. As though pianistic bravura transcends technical acknowledging the distance he had challenges. 3 About the Artist Seong-Jin Cho An active recitalist, he performs in Cho collaborates with conductors at With an overwhelming talent and many of the world’s most prestigious the highest level such as Sir Simon innate musicality, Seong-Jin Cho is concert halls. In the 2018-19 season, Rattle, Valery Gergiev, Esa-Pekka Salo- rapidly embarking on a world-class returns to the main stage of Carnegie nen, Gianandrea Noseda, Antonio career and considered one of the most Hall as part of the Keyboard Virtuoso Pappano, Myung-Whun Chung, distinctive artists of his generation. His series where he had sold out the hall in Vladimir Ashkenazy, Yuri Temirkanov, thoughtful and poetic, assertive and 2017. He will return to Amsterdam’s Kzysztof Urbanski, Marek Janowski, tender, virtuosic and colorful playing Concertgebouw in the Master Pianists Vasily Petrenko, Jakub Hrusa, Leonard can combine panache with purity and series and play recitals at the Berlin latkin and Mikhail Pletnev. is driven by an impressive natural Philharmonie Kammermusiksaal, sense of balance. Frankfurt’s Alte Oper, Los Angeles’ Dis- In November 2017, Cho stepped in for ney Concert Hall, Zurich’s Tonhalle- Lang Lang and the Berlin Philhar- Cho was brought to the world’s atten- Maag, Stockholm’s Konserthuset, monic Orchestra for sold-out concerts tion in Fall 2015 when he won the cov- Munich’s Prinzregententheater, with Sir Simon Rattle in Berlin, Frank- eted Gold Medal at the Chopin Chicago’s Mandel Hall, Lyon’s Audito- furt, Hong-Kong and Seoul. Other International Competition in Warsaw. rium, La Roque d’Anthéron Festival, major orchestral appearances include This same competition launched the Verbier Festival, Gstaad Menuhin Festi- the Royal Concertgebouw Orchestra, careers of world-class artists such as val and Rheingau Festival among sev- Orchestre de Paris, Mariinsky Orches- Martha Argerich, Maurizio Pollini, Gar- eral other venues. tra, Munich Philharmonic Orchestra, rick Ohlsson and Krystian Zimerman. Rundfunk-Sinfonieorchester Berlin, Within one month, a recording of During the next two seasons, he will Royal Liverpool Philharmonic Orches- Cho’s live competition highlights was play with the London Symphony tra, NHK Symphony Orchestra, Phil- rush-released by Deutsche Gram- Orchestra and Gianandrea Noseda at harmonia Orchestra, Seoul mophon, propelling the pianist to pop- the Barbican Centre, Orchestre Phil- Philharmonic Orchestra, Czech Phil- star status in South Korea. The album harmonique de Radio France and harmonic Orchestra, Budapest Festi- achieved multi-platinum sales within a Myung-Whun Chung at the Paris Phil- val Orchestra, Danish National week of its release and triggered a harmonie, Leipzig Gewandhaus Symphony Orchestra, Russian sales frenzy at stores across the coun- Orchestra with Antonio Pappano, National Orchestra, Detroit Symphony try.
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