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The 2020 Mercedes T. Bass Sunday Concert Series Alan Fletcher, President and CEO a Recital by Behzod Abduraimov, Piano

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The 2020 Mercedes T. Bass Sunday Concert Series Alan Fletcher, President and CEO a Recital by Behzod Abduraimov, Piano Aspen Music Festival and School Robert Spano, Music Director The 2020 Mercedes T. Bass Sunday Concert Series Alan Fletcher, President and CEO A Recital by Behzod Abduraimov, piano Sunday, August 2, 2020 3 pm BEETHOVEN Piano Sonata No. 14 in C-sharp minor, op. 27, no. 2, "Moonlight" (1801) 16' (1770–1827) Adagio sostenuto Allegretto Presto agitato DEBUSSY Children's Corner (1906–08) 16' (1862–1918) Doctor Gradus ad Parnassum Jimbo's Lullaby Serenade for the Doll The Snow is Dancing The Little Shepherd Golliwog's Cakewalk MUSORGSKY Pictures at an Exhibition (1874) 35' (1839–1881) Promenade Gnomus The Old Castle Tuileries Bydło Promenade Ballet of Chicks in their Shells Samuel Goldberg and Schmuyle Promenade Limoges Catacombs: Sepulcrum romanum Promenade The Hut on Fowl's Legs: Baba-Yaga The Great Gate of Kiev With special thanks to Deborah and Richard Felder, Shirley and Barnett C. Helzberg, Jr., Janet and Tom O'Connor, Dana and Gene Powell, and Kelli and Allen Questrom The Aspen Music Festival and School uses Steinway and Boston pianos, designed by Steinway & Sons; Steinway & Sons is represented in Colorado exclusively by Schmitt Music. Aspen Music Festival and School Robert Spano, Music Director Alan Fletcher, President and CEO A Recital by Behzod Abduraimov Sunday, August 2, 2020 3 pm 2020 saw the release of two recordings: Rachmaninov’s Rhapsody on a Theme of Paganini with Lucerne Symphony Orchestra under James Gaffigan (recorded on Rachmaninov’s own piano from Villa Senar for Sony Classical), and Rach- Behzod Abduraimov performs with renowned orchestras maninov’s Piano Concerto No.3 with the Concertgebouwork- worldwide including the Philharmonia Orchestra, the Los An- est under Valery Gergiev, for the RCO live label. geles Philharmonic, Deutsches Symphonie-Orchester Berlin, San Francisco Symphony, Cleveland Orchestra, and Orches- Born in Tashkent, Uzbekistan, in 1990, Behzod began the tre de Paris, and with prestigious conductors such as Valery piano aged five as a pupil of Tamara Popovich at Uspensky Gergiev, Lorenzo Viotti, Jakub Hr˚uša, Santtu-Matias Rouvali State Central Lyceum. In 2009, he won First Prize at the Lon- and Gustavo Dudamel. don International Piano Competition with Prokofiev’s Piano Concerto No.3. He studied with Stanislav Ioudenitch at the Behzod has given multiple recitals at Carnegie Hall’s Stern International Center for Music at Park University, Missouri, Auditorium, Queen Elizabeth Hall in London and Amster- where he is Artist-in-Residence. dam’s Concertgebouw, and has recently been presented by Chicago Symphony presents, 92nd Street Y, Barbican Centre, Spivey Hall, Vancouver Recital Series, Kölner Philharmonie and Festspielhaus Baden-Baden. Festival appearances include Aspen, Verbier, Rheingau, La Roque Antheron and Lucerne Festivals. Photo credit: Evgeny Eutykhov A RECITAL BY BEHZOD ABDURAIMOV • PROGRAM NOTES moving way. Though the analyst can discern elements of sonata form in the movement, it would never strike the casual listener as a normal opening for a sonata. LUDWIG VAN BEETHOVEN Piano Sonata No. 14, in C-sharp minor, op. 27, no. The second movement, in D-flat major (which is simply 2, “Moonlight” another way of writing C-sharp), has the form of a scherzo with contrasting trio, though it is rather more Beethoven’s most famous piano sonata is also his lyrical than such movements tended to be in Beethoven. least typical. Everyone knows the opening strains of The tempo is only allegretto, a softening of the allegro the “Moonlight” Sonata—even listeners who have that is more likely in such a place. After so much use of never been to a recital. Like the Fifth Symphony, its relatively slow tempi and the carefully concealed formal opening phrase conjures up an entire world of classical seams in the first movement, Beethoven feels the need music and becomes a metaphor for something far for a straightforward fast finale with a straightforward more than the piece itself. Part of the work’s symbolic formal shape. Here at last, in the Presto agitato, is the effect comes from its nickname—which has nothing fast tempo normally associated with the beginning, and whatsoever to do with the composer. Beethoven himself here too the energy level rises to its peak with a volcanic never heard the name. Nor does it have anything to do eruption of agitato sixteenth notes that set the character with the circumstances of composition or the source of the entire movement, even of the second theme of inspiration. One oft-repeated anecdote has it that group, when the broader melody in the right hand is Beethoven was inspired “by the moonlight shining on supported by the grumbling and muttering sixteenths in the waters of Lake Lucerne.” Aside from the fact that the bass. —© STEVEN LEDBETTER Beethoven never set eyes on Lake Lucerne, the Sonata makes its effect quite fully without such apocryphal CLAUDE DEBUSSY tales. In Beethoven’s own day, long before the nickname Children’s Corner was invented, this Sonata became popular at once. Within eight years of writing it, Beethoven expressed to Carl Czerny his irritation that this one work had Claude Debussy was a masterful pianist of great achieved so much more popularity than his other technique and remarkable imagination, but he is sonatas: “They are incessantly talking about the C-sharp reported to have hated the instrument as a young man— minor sonata; on my word I have written better ones!” though perhaps that view came from his wearing the composer’s hat and being aware of what he considered At the time of its composition, though, the Sonata the instrument’s limitations on the music he wanted was different enough from the norm that Beethoven to write. In any case, he conquered the piano as a hesitated to label is simply “sonata.” He added the composer by changing quite dramatically what was important qualification “quasi una fantasia” (“almost a expected of piano music. He is one of that small group of fantasy”), suggesting that though the work had sonata- composers who not only wrote superb compositions for like elements, they would be difficult to discern in the his instrument but actually enlarged its possibilities. fine rapturous play of the composer’s imagination. The main feature that impelled Beethoven to use this title His early works were all conceived as abstract formal seems to be the unusual sequence of tempos, beginning compositions which in no way committed the composer with the full-scale Adagio rather than a vigorous (or the listener) to seeking visual images in the music, sonata form allegro. (The other work published with though they also show him coming to grips with new the “Moonlight” Sonata in opus 27, which Beethoven possibilities of sonority and texture. also labeled “quasi una fantasia,” also has an unusual sequence of tempi.) And to almost everyone, it is that But in 1903, with his first book of Estampes, Debussy evocative opening movement, Adagio sostenuto, that is suddenly arrived at his mature style, in which the titles the “Moonlight Sonata.” The movement is undoubtedly explicitly evoked sensory images, whether visual, aural, striking. It has virtually no melody as such, only a or even olfactory. His later, freer piano style provided continuous triplet rhythm in the accompaniment and subtle miracles of suggestion, extending still further the a characteristic dottednote figure introducing the main harmonic flexibility, textural freedom, and coloristic phrases. The harmony moves slowly but steadily over imagination of his early works. extreme distances and tinges the phrases in a richly A RECITAL BY BEHZOD ABDURAIMOV • PROGRAM NOTES The suite, Children’s Corner, composed in 1908, is a he makes one deliciously satirical quotation, a mark reflection of Debussy’s delight in watching his own of his anti-Wagnerian sentiment: the opening phrase five-year-old daughter, nicknamed Chouchou, but the of the prelude to Tristan und Isolde appears with the specific idea of composing a “children’s piece” may have performance indication “avec une grande émotion”— occurred to him in the process of writing an admiring only to be mocked by gleeful chuckles from “Golliwog.” critique of Musorgsky’s song cycle The Nursery. Debussy —© S. L. titled the work—and the individual movements—in his sometimes quirky English, possibly as a gesture toward Chouchou’s English governess. The music was MODEST MUSORGSKY composed over a period of years (Serenade of the Doll Pictures at an Exhibition had been published separately two years earlier); it was assembled into a suite of pieces that go far beyond music to be played by children; rather, they reflect The music of Modest Petrovich Musorgsky is the an adult’s sophisticated view of childhood, including triumph of genius over faulty technique. Though he had certain private musical jokes that would surely not be the least formal training of any of the Russian “Five” and understood by the child in question. was certainly regarded as little more than a dilettante by composers of far greater polish, Musorgsky had also a burning originality that sometimes overcame both his Doctor Gradus ad Parnassum is a satirical reference to the huge collection of piano works by Carl Czerny (a lack of technique and the tragic addiction to the bottle friend and confidante of Beethoven’s, who is unfairly that led to an unstable life and an early demise. His best remembered for his technical exercises, not genius expressed itself most directly in opera, for he had for many compositions that are far more musically the ability to translate verbal and physical gestures into rewarding). Debussy emphasizes the pedagogical extraordinarily imaginative, lifelike music. side of Czerny, producing what he called (in a letter to his publisher) “a sort of hygienic and progressive The signal exception to this rule is the suite Pictures at gymnastics; it should therefore be played every an Exhibition (Kartinki s vïstavki) for piano solo, one morning, before breakfast.
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