Birnbaum with gratitude for their generous support. Birnbaum withgratitudefortheirgenerous Music@Menlo dedicatesthisperformance toEileenandJoel SPECIAL THANKS Vineyards.partnership withRidge Schubertiades featureanintermissionreception hosted in Menlo School Sunday, July 19, 10:30a.m.,StentFamily Hall, July 19 Schubertiade I Art Resource,NY Baron von Spaun’s, 1868. Study forAnEvening at Moritz von Schwind (1804–1871).

Sonatina inDMajorforViolinandPiano, op. posth. 137, no. 1,D. 384(March 1816) FRANZ SCHUBERT Jeffrey K Piano SonatainGMajor, op. 78, D. 894(October 1826) Joélle Harvey, soprano; Jeffrey Kahane, piano Heidenröslein, op. 3, no. 3, D. 257(Goethe) (August 19, 1815) FRANZ SCHUBERT INTERMISSION Aaron Boyd, MajorforViolin,Viola,andCello, D.Trio inB-flat 581(September 1817) Joélle Harvey, soprano; GloriaChien,piano Wiegenlied, op. 98, no. 2,D. 498(author unknown) (November 1816) Lieb Minna,D. 222(Stadler)(July 2,1815) Aaron Bo Rondo: Allegretto Minuetto: Allegro moderato Andante Molto moderato ecantabile Rondo: Allegretto Minuetto: Allegretto Andante Allegro moderato Allegro vivace Andante Allegro molto ahane, piano yd, violin;GloriaChien,piano violin; Paul Neubauer, viola;BrookSpeltz,cello (1797–1828)

schubertiades schubertiades *Bolded termsare defined intheglossary, whichbegins onpage94. mal SchoolatLaibach(now Ljubljana),heappliedforthejob. Wiener ZeitungonFebruary 17, 1816, for a positionat the German Nor over completely tohisart,sowhenanadvertisement appearedinthe Schubert, however, was apparentlynot yet quitereadytogive himself (Tragic), completed inApril1816. Music,not teaching,was hispassion. dred piecesbetween theThirdSymphony andtheFourth Symphony duties to compose some two hun- enough timefrom his pedagogical melodramas. Thetorrentofmusiccontinuedunabated,andhestole church music,several pianopieces, andahalfdozen operettas and 150 songs, the Second and Third Symphonies, a mass and some other soothed hisfrustration by composing—in1815 alone,hewrote nearly school in suburban Vienna. He cared little for the situation and Between 1814 and 1816, Schubert worked as a teacher in his father’s Approximate duration:12minutes Orchestra, D. 383 and Orchestra, D. 345;StabatMaterinFMajorforSoli,Chorus, and MajorforPiano, B-flat D. 378; Konzertstück inDMajorforViolin 1816: Symphony no. 4incminor, D. 417, Tragic; EightLändlerin posth. 137, no. 3, D. 408 posth. 137, no. 2,D. 385;SonatinaingminorforViolinandPiano, op. Der Flüchtling,D. 402;SonatinainaminorforViolinandPiano, op. including Abschiedvon derHarfe,D. 406;DieHerbstnacht, D. 404;and Other works fromthisperiod:March1816:At least twelve songs, Composed: March1816 D. 384 inDMajorforViolinandPiano,Sonatina op. posth. 137, no. 1, (Born January 31,1797, Vienna; diedNovember 19, 1828,Vienna) FRANZ SCHUBERT Notes ontheProgramby Dr. RichardE.Rodda Program Notes: SchubertiadeI The Schubertiades became even merrier; so it was three o’clock in the morning before and, asitwasandplentiful,theparty, very good inahappy mood, the evening. Afterthat, punch was drunk, offered by one of the party, were sungandplayed by himself,whichlasted untilafterteno’clock in acquaintances fortheevening. Soalot ofsplendidsongsby Schubert 1821. “Franz [von Schober]invited Schubertandfourteenofhisclose lent entertainment,” wrote Josef Huber in a letter dated January 30, of Franz Schubert—theSchubertiades. “Last Friday Ihadexcel- lichkeit thatorbitedaroundthemodest butincomparablegenius reached inViennathe1820swithevenings ofmusicandGemüt- aspired torefined andgraciousliving. piano becameanintegralpartoffamilyandsociallifeforallthosewho swelling middleclasses, andevening musicalesaroundthehousehold last alternative was, of course, the most immediately accessible to the by tochurch,ormake itthemselves. anin-houseensemble),go This pay tohave musicplayed forthem(atapublicconcertor, fortherich, it by airorwiretosomedistant spot. Ergo, musiclovers eitherhadto no way inthoseoldendays torecorditandplay itlaterortotransmit to bepresentintheplacewhereitwas beingperformed—therewas necessary torecallthatuntil1900orsotheonlyway tohearmusicwas In this millennialtimeof inescapably ubiquitousmusic,it is perhaps The acmeofnineteenth-century domestic musicmakingwas - ody trotted outby theviolin tolaunchthemovement. The closingAllegro vivace isasunny rondobasedonthedapper mel- content isheightened by itsmelancholyminor-mode central section. instrumental song in three-part form der ofthiscompactsonata-form movement. TheAndante isapretty dialoguethatcomposesthe remain- thematic materialforthegenial outset inunisonby thetwopartnersand provides virtuallyallofthe Mozart’s ViolinandPianoSonata in aminor, K.304—is stated atthe few no. 1inDMajor—a climbupanddown thetonicchordtrailedby a dence oftheirinstrumental parts. Themain subjectoftheSonatina “piano sonatas with the accompaniment of violin” in the indepen- Schubert’s devoted study ofMozart’s worksbutmove beyondthose Diabelli in1836, eightyearsafterthecomposer’s death)demonstrate composing full-timeandnever againheldaregularposition. of teaching.He lefthisfather’s schoolthatspringtodevote himselfto get thejobinLaibach,hedecidedthathadmorethanhis fill the latest productsofhisflourishinggenius. WhenSchubertdidnot the convivial Schubertiadesatwhichheandhisfriends met tosavor sible tostudents—to enhancehischances atLaibachortobeplayed at in formandidiommodest enough intheirtechniquetobeacces- unknown, however, whether heintendedtheseworks—conventional 1816, hequicklycomposedthreesonatinasforviolinandpiano. Itis yet written apiecefeaturingtheinstrument, soinMarchandApril and intheamateurorchestra thatsprouted fromit),buthehadnot (though hepreferredplaying violaintheSchuberthouseholdquartet an orchestral orchamberensemble context. He was trainedinviolin to supporthisapplication,butworksforviolinhadallbeenwithin hundreds ofcompositionsforvoice andkeyboard thatcouldbeused violinplayer.”equally good Schuberthadalreadyauthoredliterally cant “mustandorganist, beathoroughlytrained singer aswellan make us, too, hisfriends. Welcome to theSchubertiades. totouchus,with asmilinggentleness tocheerus, torenewus, andto that heardinthisfestival ofhismusic. Schubertcontinuestoreachout to usinthemusicthatSchubertcreatedforhisfriends, musicsuchas warmheartedness, andjoy oflivingthosesoiréeshascomedown them have longsincefaded,thetimelessessenceofconviviality, amongthemusicallyliterateparticipants.arranged hand numbers, characterpieces—andsuchchamberpiecesascouldbe life, his performances of his own piano works—dances, sonatas, four- the matchlesssongsthatpouredfromSchubertthroughouthisbrief sion offlying.” ThemusicalhighlightsoftheseSchubertiadesincluded street, Schwind, runningandflappinghiscloak,gave astriking illu- skelter toBogner’s [café],wherewesmoked afewpipes, andinthe in ablanket...At last wetookleave ofourkindhosts andwenthelter- which muchsurprisedandpleasedme.Thenwetossedsomefellows Suddenly Spaunarrived andsaid wemust drinktobrotherhood, songs...Then wehadadeliciousrepast, andseveral toasts weredrunk. sonata forfourhands, gloriousvariations, andmany magnificent diary: “To Spaun’s, where there is a Schubertiade...We had a splendid we parted.” OnJanuary 12,1827, Franz von Hartmannreportedtohis chromatic scale notes, which is remarkably like theopening of The threesonatinasof1816(publishedasOpus137 by Anton totheLaibachadvertisement, thewinningappli- According Though the Schubertiades and the genteel worldthatfosteredThough theSchubertiadesandgenteel whose expressive (A–B–A), sures ofanAndante beforebreaking off,perhaps, indicatedAlfred completed nomore than thefirst movement andseveral dozen mea- major (D.cello inB-flat 471)fortheseso-called Schubertiadesbut music lovers. InSeptember 1816, hebeganatrioforviolin,viola,and cipal meansby whichSchubert’s worksbecameknown tothecity’s increasing notice duringthefollowing monthsandweretheprin- friends. Theseconvivial soirées ing theevening hauntingthecafésofGrinzingor making musicwith pouringoutmusicuntilearlyafternoon, andthenspend- morning), with hisglassesonsoasnot towaste any timegetting started inthe composing incessantly, risingshortlyafterdawn (sometimes heslept was thenrunning the state lottery, andcelebratedhisnewfreedomby of his devoted friend Franz von Schober, an Austrian civil servant who to follow thelifeofanartist. He moved intotheVienneseapartments son toleave hisirksometeachingpost athisfather’s school inorder teacher Heinrich Watteroth) anddecidedthathehadsufficient rea- one ofhiscompositions(anow-lost cantataforthenameday ofhis In June 1816, whenhewas nineteen, Schubertreceived hisfirst feefor Approximate duration:19minutes MajorforViolinandStringOrchestra, Polonaise inB-flat D. 580 including GruppeausdemTartarus, D. 583;andElysium, D. 584; Other works fromthisperiod:September 1817: At least sixsongs, Composed: September 1817 Trio MajorforViolin,Viola,andCello, inB-flat D. 581 FRANZ SCHUBERT later inAriadneaufNaxos. melody Richard Strauss quotedyoung child, whose gentle a century evocation ofmother love withpoignantthoughtsaboutthelossofa [D. 531,DeathandtheMaiden]heset threemonthslater),isatender thought ittobeby Matthias Claudius, whoseDerTod unddasMädchen her lifeinsorrow athisgrave. young maiden whose lover iskilled in battle and who then pines away Minna tiades), aswell a numberof poems, twoofwhichSchubertset. Lieb Johannthe singer MichaelVogl (afrequentperformerattheSchuber Schubert’s 1815singspielFernando andacantataforthe1819birthday of 1825. Stadlerwrote areminiscenceoftheirtimestogether, thetexts for Schubert whentheytraveled togetherduringthesummersof1819and yer andmoved to Linz in 1821, but herenewed his acquaintance with Vienna togetherasboys. Stadlerwentontomake hislivingasalaw attended theChoirSchoolofImperialandRoyal CourtChapelin Schubert andAlbertStadler(1794–1888) becamefriendswhenthey Approximate duration:7minutes Der GeistertanzforMaleVoices, D. 494 including AndieNachtigall,D. 497; AbendliedderFürstin, D. 495;and Other works fromthisperiod:November 1816:At least tensongs, Composed: November 1816 Wiegenlied, op. 98, no. 2,D. 498(authorunknown) D. 232 Claudine von Villa Bella,Singspiel,D. 239; Hymne andenUnendlichen, op. posth. 172,no. 4,D. 231;Fernando, D. SingspielinOneAct, 220; including GeistderLiebe,op. posth. 118, D. 233;andDasSehnen, Other works fromthisperiod:July 1815:At least twentysongs, Composed: July 2,1815 Lieb Minna,D. 222(Stadler) FRANZ SCHUBERT Wiegenlied (Lullaby),toananonymous text (though Schubert (Darling Minna)tellsthesomewhatmelodramatictaleofa became morefrequentanddrew - - ended withapolitepause,separatethereiterationsoftheme. opening measures. Two episodesofgreaterharmonicadventure, each ited rondobuiltaroundthedaintytuneintroducedby theviolinin bears theliltingdanceflavor oftheAustrian ländler. Thefinale isaspir preferred instrument when he participated in chamber music sessions), instrumental works, whilethecentraltrio, asoloforviola(Schubert’s from the same fertile country soil that Haydn so productively tilled in his and furtherelaborationoftheviolin’s melody. TheMinuetto issprouted tion, thethree-partformofmovement isroundedoutby thereturn After passingthroughsomedarker harmonicregionsinitsmiddlesec- Andante begins withadelicatelydecoratedwordless song for the violin. ishes ofquiet risingarpeggiosdrawing themovement toaclose.The ensemble. Therecapitulationproceedsasexpected,withafewflour theme, solidifies thepositionofviolinasprimusinterpares inthe and theviolin.Thecompactdevelopment section,basedonthemain to the violin; the subsidiary subject is given in close dialogue by the cello theme, asunny melodyofshort,carefullybalancedphrases, isassigned and Mozart. Theworkopenswithacompactsonataformwhosemain evinces Schubert’s thoroughgroundingintheClassicalidiomofHaydn existence thatcarriedhimthroughthelast dozen yearsofhisbrieflife. east ofVienna.Helefthomeandbeganthehappy eagerly bohemian daughters of Count Johann Esterházy in Zseliz in Hungary, 150 miles ing summer, whenheobtained atemporarypost asmusictutortothe soon thereafter. Schubertremainedwithhisfamilyuntilthefollow and certainlyfounditsway ontotheprogramsofSchubertiades his twobrothers onviolin,hisfatherplaying cello, andFranz asviolist) The workmay have beenplayed by thefamilyensemble(withoneof Violin, Viola,andCello(D. 581), thisonecomplete infourmovements. Majorfor composed therewas another trioattempt: theTrioinB-flat to hisfather’s homeandschoolinthesuburbs. Thefirst piecethathe less composer reluctantly removed himself fromhis room in thecity In September, Schober’s brother returned fromParis, andthepenni- the homesofwealthy patrons(whosefine pianosheloved totryout). seven sonatasby August, whichheplayed at the Schubertiadesandat May 1817(D. 556),heturnedhisattention tothepianoandcompleted fever thensweeping ViennatocomposeanItalian-style overture in songs, includingDer Antonio Salieri,aMagnificat,Stabat tata inhonorofthesixty-sixth birthday ofhiscounterpointteacher that year, however, he did finish two symphonies (nos. 4 and 5), a can- was not clearinhismindabouttheform.”Einstein, because“he In which hewrote some145 songs, almost threeperweek. fected style of a peasant melody in the miraculous year of 1815, during but Schubertcreatedforthepastoral poemanewsetting intheunaf- Goethe’s newwords, was harmonizedby J. F. Reichardt,amongothers, (Concerning GermanMannerandArt). Theoriginalfolktune,with in 1773acollectionby Herder titledVon deutscherArtundKunst röslein Johann Wolfgang von Goethe (1749–1832) wrote hispoemHeiden- Approximate duration:2minutes lieber schönerMai,CanonsforThreeVoices, D. 244 Trinklied imWinter, TrioforMaleVoices, D. 242; songs, including DieSpinnerin,D. 247; DerRattenfänger, D. 255; Other works fromthisperiod:August 1815: At least twenty-nine Composed: August 19, 1815 Heidenröslein, op. 3, no. 3, D. 257(Goethe) FRANZ SCHUBERT In its structure, style, and general demeanor, the String Trio in B-flat In itsstructure, style,demeanor, andgeneral theStringTrioinB-flat (Little Wild Rose)tofit aGermanfolk songandpublishedit Wanderer. Afterbeinginspiredby theRossini Mater, numberof andalarge and Willkommen, - - - schubertiades SCHUBERTIADES rapt timelessnessof someofBeethoven’s finest slow movements. The is floating,ethereal, andluminous, aSchubertiancounterpart tothe in evidencetheGMajorSonata. Thesonata’s openingstatement cism andmorefar-flung harmonicperegrinations, qualitiesmuch rather toexpandthegenre’s emotional scopethroughgreaterlyri- Classical four-movement sonatastructure inhismusicbutsought covers—possibly tohis surprise;certainlytohisdelight.” andoriginality,great ingenuity astheanalyst ofhissonatassoondis- pianoforte writing. In his own treatment of form, Schubert showed variety ofrhythmical schemes, and intheexquisite beautyofthe in graciousnessofmelody,in sublimityoftonalrange, intheunusual whatever hissonatas may lackinconstructional strength, theygain sonatas: “For him,sheerbeautyofsoundwas anendinitself,and Dale noted several essentialstylistic elementsofSchubert’s piano supporter, and frequent host of the convivial Schubertiades. Kathleen School oftheCourtChapelinViennawhobecamealifelongfriend, dedication toJosef von Spaun, a fellow student ofSchubert’s at the Schubert’s Opus78by theViennesefirm ofTobias witha Haslinger form andconception.” Thescorewas publishedinApril1827as completed inOctober1826, “Schubert’s most perfectwork,inboth tus—that hecreatedduringthelast months ofhisbrieflife. sonatas, the String Quintet, the two piano trios, and the works—Winterreise, the“Great” CMajorSymphony, thelatepiano istic achievements andtouchesindeliblytheincomparableseriesof bright sunlight—isoneofSchubert’s most remarkableandcharacter in hiscompositions—thedarkening cloudmomentarilyobscuringthe beauty.”agonizing The ability to mirror his own fluctuating feelings the darkconcentratedhours, itoftenbroughtoutsongsofthemost way intohisvicinity;not altogetheranevilspirit,itistrue,since,in when a black-winged demon of sorrow and melancholy forced its friend thedramatist Eduardvon Bauernfeld,“therewerealsotimes andpleasure-lovingtoo violentlyinthevigorous Schubert,” wrote his relationships andhisart,whentheAustrian characterappearedall makeup andhiscreative work.“Ifthere weretimes, both inhissocial reflected inthesharpswings ofmoodmarkingboth hispsychological person,” recorded onefriend.ThedualityinSchubert’s characterwas forget it—though in the afternoon, to be sure, he became another position, hiseyesshining,speaking,even, anotherwillnever language, “Anyone whohadseenhimonlyinthemorning,throesofcom- rience tocarrybackbenightedhumanitysometranscendentvision. the personality duringthosefinal yearsofhislife,onewhichsuitedwell friends orfamiliesoffriends. Acuriousdichotomy marked Schubert’s tine was broken by occasionaltripsinto the countrysidetostay with afternoon, companionshipforwineandsongintheevening. Therou- that time:compositioninthemorning,longwalks orvisitsinthe talent. Thepattern ofSchubert’s dailylifewas firmly established by lovers who ralliedaround his convivial personality and exceptional byofhisfriends,living largely thegenerosity adevoted bandofmusic more thanapittance fromthesale andperformanceofhisworks ing abohemianexistence inViennaforover adecade,makingbarely On January 31,1827, Franz Schubertturnedthirty. He hadbeenlead- Approximate duration:39minutes Piano, Four Hands, D. 968b op. posth. 161,D. 887; Deuxmarches caractéristiques inCMajorfor Chorus, andPiano, op. posth. 134,D. 892; StringQuartet inGMajor, for ViolinandPiano, op. 70, D. 895;NachthelleforTenor Solo, Male Other works fromthisperiod:1826:Rondobrillantinbminor Composed: October1826 inGMajor,Piano Sonata op. 78, D. 894 FRANZ SCHUBERT image oftheinspiredartist,Romantic image rapt out ofquotidian expe- Unlike Beethoven, Schubertmadenoattempt toredefine the Robert SchumanncalledthePianoSonatainGMajor(D. 894), impromp- - spacious rondoofsun-dappledgeniality. any other species of composition, save only solo songs. The finale is a more practicaldancepiecesforthepiano—over fourhundred—than courtly eighteenth-centurydance,isareminderthatSchubertwrote Austrianactually a vigorous TheMinuetto,without wordsinalternatingstanzas: A–B–A–B–A. and instrumental giftsby histwenty-ninth year, isanextended song evidence thatSchuberthadperfectedasublimemeldingofhisvocal stateing itsabidinghalcyon withtherecapitulation.TheAndante, to momentsofhighdramainthedevelopment sectionbutreassert- as its sonata form unfolds,music takes on a greater urgency mounting y favorite cl America’s D world. the over all from performances live and surprising — withunique, cha solo, Performance Today Performance ourclassical.org er why iscover er and symphonic works works symphonic and mber Performa ländler rather than a descendent of the . ® gives you the finest finest the you gives Hoste HALL. CONCERT OWN VERY YOUR sical pr assical nce Today d b y Fre ram at at ogram ® is is Child, d Child,