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Simon Trpčeski, Piano Completed Its Transformation from the Origi- Schubert’S Health Nearly Collapsed for Good Nal Country Version in Which in Was Known Early in 1823

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Simon Trpčeski, Piano Completed Its Transformation from the Origi- Schubert’S Health Nearly Collapsed for Good Nal Country Version in Which in Was Known Early in 1823 CAL PERFORMANCES PRESENTS PROGRAM NOTES Sunday, April 14, 2013, 3pm Franz Schubert (1797–1828) Soon after he left the hospital in May 1823, Hertz Hall German Dances, D. 783 Schubert wrote a handful of German Dances or Deutscher (Teutscher), the triple-meter Austrian Composed in 1823 and 1824. couples’ dance that had by that time almost Simon Trpčeski, piano completed its transformation from the origi- Schubert’s health nearly collapsed for good nal country version in which in was known early in 1823. He was suffering from anemia, to the young Mozart to the elegant Viennese PROGRAM fever, headaches, an ugly rash and a nervous waltz. Schubert composed several more German disorder as the result of syphilis and its treat- Dances during the following months, most ap- Franz Schubert (1797–1828) German Dances, D. 783 (1823–1824) ment (mercury in the early 19th century!—his parently in July 1824, which were collected hair fell out and he had to wear a wig for al- into the set of Deutsche Tänze und Écossaises most a year until it grew back), and his symp- published in Vienna as Schubert’s Op. 33 by Schubert Fantasy in C major, D. 760, “Wanderer” (1822) toms became so acute that he was admitted to Cappi & Co. in 1825. (Austrian musicologist Allegro con fuoco ma non troppo the Vienna General Hospital in May. He was Otto Erich Deutsch assigned them the chrono- Adagio also constantly broke, living largely on the gen- logical number 783 in his comprehensive 1951 Presto erosity of his devoted companions, with only catalog of Schubert’s works.) Though each of the Allegro an occasional pittance from some performance 16 German Dances is built according to the tra- or publication. He poured out his troubles in a ditional model of regimented eight-bar phrases Played without pause letter to Leopold Kupelweiser, a close friend re- distributed in two repeated sections, this series cently moved to Rome: “In a word, I feel myself of miniatures—a string of melodies played with- INTERMISSION to be the most unhappy and wretched creature out pause, the template for the mature Viennese in the world. Imagine a man whose health will waltz—encompasses a wide range of keys, never be right again, and whose sheer despair moods, and themes, from a wistfulness that Franz Liszt (1811–1886) Prelude and Fugue on the Name BACH (1855) over this makes things constantly worse instead may reflect Schubert’s concerns over his life and of better; imagine a man whose most brilliant health at that time and the lilt of the gestating hopes have perished, to whom the felicity of waltz, to the rusticity of the dance’s origins and Liszt Soirées de Vienna, Valses Caprices d’après love and friendship have nothing to offer but the conviviality of the parties at which Schubert Schubert (1846–1852) pain; whom enthusiasm (at least of the stimu- loved to improvise just such music. Allegretto malinconico lating kind) for all things beautiful threatens Poco allegro to forsake, and I ask you, is he not a miserable, Allegro vivace unhappy being?” Schubert then quoted some Schubert Andantino a capriccio forlorn lines from Goethe’s poem Gretchen am Fantasy in C major, D. 760, “Wanderer” Moderato cantabile con affetto Spinnrade (“Gretchen at the Spinning Wheel”), Allegro con strepito which he had set in 1814: “‘My peace is gone, Composed in 1822. Allegro spiritoso my heart is sore, I shall find it never, nevermore’ Allegro con brio [are words which] I may well sing every day now, Schubert wrote his Fantasy in C major in Preludio a capriccio for each night on retiring to bed, I hope I may November 1822, immediately after he had bro- not wake again, and each morning but recalls ken off the composition of the “Unfinished” yesterday’s grief.” Such anguish, however, did Symphony. It was the first large instrumental Liszt Hungarian Rhapsody No. 2 in C-sharp minor not seem to thwart Schubert’s creative muse— work he had completed in two years, having (ca. 1850) the “Unfinished” Symphony and the “Wanderer” abandoned two quartets and two symphonies Fantasy were composed during the last three during that time. As thematic material for the months of 1822; the song cycle Die Schöne Fantasy, Schubert turned to his 1816 song Der Funded by the Koret Foundation, this performance is part of Cal Performances’ 2012–2013 Müllerin, Piano Sonata in A minor, many danc- Wanderer, Op. 4, No. 1 (D. 489, Ich komme Koret Recital Series, which brings world-class artists to our community. This performance es for piano and three theatrical ventures (the von Gebirge her—“I Come Down from the is made possible, in part, by Patron Sponsor Bernice Greene. Singspiel The Conspirators, the incidental music Mountains”), and wove upon it a magnificent to Rosamunde, and the three-act opera Fierrabras) hybrid of sonata and variation forms that is Cal Performances’ 2012–2013 season is sponsored by Wells Fargo. were all completed before the end of 1823. the most virtuosic piano piece in his keyboard 10 CAL PERFORMANCES CAL PERFORMANCES 11 PROGRAM NOTES PROGRAM NOTES output. (The work’s sobriquet did not originate to electrifying figuration and cadential transfor- his accumulating infirmities long enough to at- Liszt with the composer, and he did not use it when re- mations of the Fantasy’s principal theme. tend the statue’s unveiling. Soirées de Vienna, Valses Caprices d’après ferring to the piece.) The Fantasy was published Liszt created several works inspired by Bach. Schubert in February 1823 by the Viennese firm of Cappi His arrangements include piano transcriptions & Diabelli, and was immediately recognized as Franz Liszt (1811–1886) of six Preludes and Fugues (bwv 543–48) done Composed 1816–1826; arranged 1846–1852. one of Schubert’s greatest compositions, as the Prelude and Fugue on the Name BACH during the 1840s for use at his tour recitals; notice in the Wiener Zeitung on February 24th the Fantasia and Fugue in G minor (bwv 542), “O tender, ever-welling genius! O beloved hero indicates: “The present Fantasy stands worthily Composed in 1855; revised in 1870. Premiered published in 1863; the Adagio from the Violin of the heaven of my youth! From your soul’s side-by-side with similar products by the fore- on May 13, 1856, in Merseberg by Alexander Sonata No. 4 (bwv 1017) for organ; and organ depths and heights pour forth melody, freshness, most masters and therefore merits in every way Winterberger. adaptations of movements from the cantatas Ich power, grace, reverie, passion, soothings, tears the attention of all artists and lovers of art.” Of hatte viel Bekümmernis (bwv 21), Aus tiefer Not and flames; and such is the enchantment of your the grand pianism and variety of moods in the “For all my admiration of Handel,” Liszt in- (bwv 38), and Weinen, Klagen, Sorgen, Zagen world of emotions that we almost forget the great- “Wanderer” Fantasy, Robert Schumann said, formed a friend late in his life after a study of (bwv 12). In 1880, he planned but never real- ness of your craftsmanship! … Our pianists are “Schubert would like in this work to condense that master’s sacred music, “my predilection for ized an arrangement of the Chaconne from the scarcely aware of what a glorious treasure they the whole orchestra into two hands. The enthu- Bach remains unshaken, and after I have edi- Violin Partita No. 2 (bwv 1004). Liszt’s original have in the works of Schubert.” Franz Liszt ut- siastic beginning [movement] is a seraphic hymn fied myself sufficiently with Handel’s common compositions honoring Bach are the Prelude and tered these words of veneration at the end of 1868, to the Godhead; you can see the angels praying; chords, I long for the wonderful dissonances of Fugue on the Name BACH of 1855 and the fune- when he was editing a collection of Schubert’s pi- the Adagio is a gentle meditation on life and the St. Matthew Passion and the B minor Mass.” real Variations on “Weinen, Klagen,” composed ano music for publication. Though knowledge of removes the veil from it; then fugues thunder Only Beethoven occupied as lofty a niche in in 1862 after the death of his daughter Blandine. Schubert’s incomparable worth was still surpris- forth a song of endless humanity and music.” Liszt’s pantheon of composers did as Johann Early in 1855, when he was music director at ingly limited during much of the 19th century— The “Wanderer” Fantasy is one of Schubert’s Sebastian Bach, and his dedication to Bach’s Weimar, where Bach held a position early in his the “Unfinished” Symphony had been heard most adventurous formal achievements. It is dis- music was a lifelong passion. When Liszt first career, Liszt reported to Princess Carolyne Sayn- for the first time only three years before—Liszt posed in four continuous movements—Allegro, started to show talent as a pianist, his father, Wittgenstein that he had again been drawn to championed his music throughout his career. Adagio, Scherzo and Finale—but rather than his earliest teacher, nourished him with a steady study the score of the St. Matthew Passion: “The In April 1822, at the ripe age of eleven, young being independent essays, these sections are diet of Bach’s Well-Tempered Clavier (which, work is still one of my passions, unhackneyed Franz was taken by his father, Adám, to Vienna woven together by sharing thematic material. despite the general decline of interest in his for me, and every time I immerse myself in it, for study with Czerny (piano) and Salieri (har- This structure of four-movements-in-one, en- music following his death in 1750, had never its attractions redouble.” Liszt’s renewed enthu- mony and composition).
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