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Richard Goode, Piano Sunday, October 26, 2014, 3pm Zellerbach Hall Richard Goode , piano PROGRAM Franz Schubert (1797–1828) Piano Sonata No. 19 in C minor, D. 958 (1828) Allegro Adagio Menuetto: Allegro Allegro Schubert Piano Sonata No. 20 in A majo r, D. 959 (1828) Allegro Andantino Scherzo: Allegro vivace Rondo: Allegretto INTERMISSION Schubert Piano Sonata No. 21 in B-flat major, D. 960 (1828) Molto moderato Andante sostenuto Scherzo: Allegro vivace con delicatezza Allegro, ma non troppo Funded, in part, by the Koret Foundation, this performance is part of Cal Performances’ !– " Koret Recital Series, which brings world-class artists to our community. This concert is made possible, in part, by Patron Sponsors Annette Campbell-White and Ruediger Nauman-Etienne. Cal Performances’ !– " season is sponsored by Wells Fargo. PLAYBILL PROGRAM Franz Schubert ( %'%– &!&) of short pieces for piano, wrote all but one of Piano Sonata No. ' in C minor, D. '#& the 13 songs publis hed after his death in the Piano Sonata No. ! in A major, D. '#' collection Schwanengesang , did extensive Piano Sonata No. ! in B-flat major, D. '$ work on what proved to be his last three piano sonatas (D. 958–60), and began his C major Composed in MRNR. String Quintet. At the end of August, Schubert felt unwell, In the hall of the Gesellschaft der complaining of dizziness and loss of appetite, Musikfreunde in Vienna on March 26, 1828, and his physician advised that he move for a immediately after completing his magnificent time to a new house outside the city recently C major Symphony (justifiably dubbed “The acquired by the composer’s brother Great” by later generations), Franz Schubert Ferdinand. Though Ferdinand’s dwelling was gave the only public concert entirely of his damp and uncomfortable and hardly works held during his lifetime. The event, conducive to his recovery, Franz felt better prompted and sponsored by his circle of during the following days, and he was able to devoted friends, was a significant artistic and participate in an active social life and attend financial success, and he used the proceeds to the première of a comedy by his friend Eduard celebrate the occasion at a local tavern, pay off von Bauernfeld on Septe mber 5th. Schubert some old debts, acquire a new piano, and buy also continued to compose incessantly, tickets for Nicolò Paganini’s sensational début completing the three piano sonatas on the in Vienna three days later. Despite the 26th , and performing them at the house of renewed enthusiasm for creative work that Dr. Ignaz Menz the following day. The that concert inspired in him, and encouraging C major Quintet was finished at that same signs that his music was beginning to receive time; it and the sonatas were the last recognition outside Vienna, Schubert’s spirits instrumental works he completed. On were dampened during the following months October 31st, Schubert fell seriously ill, his by the perilous state of his health. His syphilitic condition perhaps exacerbated by constitution, never robust, had been the typhus then epidemic in Vienna, and he undermined by syphilis, and by the summer died on November 19, 1828, at the age of 31. of 1828 , he was suffering from headaches, He had originally intended that the three exhaustion, and frequent digestive distress. In sonatas be dedicated to Johann Hummel, a May, he received invitations from friends to pianist, composer, student of Mozart and summer in both Graz and Gmunden in order important supporter during his last years, but to refresh himself with the country air, but he when Diabelli published them in 1838 as had to refuse his hosts because he lacked “Schubert’s Last Compositions: Three Grand money to pay for the transportation. He Sonatas,” Hummel was already dead, so settled instead for a three-day excursion in the pieces were instead inscribed to another early June with the composer-conductor champion of Schubert’s music, Robert Franz Lachner to nearby Baden, where he Schumann. wrote a Fugue in E minor for organ, four “All three of the last sonatas are works in hand s (D. 952, his only work for organ), which meditation, charm, wistfulness, sadness, which he tried out with his companion on the and joy are housed in noble structures,” wrote instrument in the twelfth-century Cistercian George R. Marek in his biography of the abbey at neighboring Heiligenkreuz on June 4th. composer. Though each follows the traditional Between his return to the city a few days later four-movement Classical pattern of opening and August, he composed the Mass in E-flat, sonata-allegro, lyrical slow movement, scherzo made a setting in Hebrew of Psalm 92 for the (minuet in the C minor Sonata) and lively City Synagogue of Vienna, created a number finale, this is music less concerned with the CAL PERFORMANCES PROGRAM titanic, visionary, long-range formal structures incessantly active not only in its rhythmic of Beethoven (whom Schubert idolized) than motion but also in its wide exploration of with the immediately perceived qualities of colorful harmonic territories. melody, harmonic color, piano sonority, and The A major Sonata begins with a heroic the subtle balancing of keys—what Hans gesture immediately balanced by airy falling Költzsch in his study of Schubert’s sonatas arpeggios—the opposed states of vigor and called “the nascent present.” This languor are juxtaposed throughout much of characteristically Schubertian predilection is the movement. The Andantino is the most particularly evident in the development dramatic movement in the last three sonatas. sections of the opening movements, which Its outer sections exude barren bleakness, an eschew the rigorous thematic working-out of uncommon emotion in Schubert’s music but the Beethovenian model in favor of a warm, one he had distilled perfectly the year before even sometimes dreamy, lyricism whose in his stunningly desolate setting of Wilhelm principal aims are to examine fragments of the Müller’s Der Leiermann (“The Hurdy-Gurdy movement’s melodies in different harmonic Man”), the closing song of the cycle Die lights and to extract the instrument’s most Winterreise (“The Winter’s Journey”); the ingratiating sonorities. movement’s central portion rises to peaks of Schubert’s closest approach to Beethoven’s true passion. The Sonata is rounded out by a weight of utterance comes in the opening gentle Scherzo and a supple Rondo . Allegro of the C minor Sonata—the work may The B-flat Sonata, generally regarded as even be a tribute of sorts to the older Schubert’s greatest achievement in the genre, composer, who died in Marc h 1827, just a year opens with a movement of breadth and majesty before this piece was begun. The movement’s based on one his most ravishing melodies. The essential tunefulness and its concern with Andante , music such as it is given to only the matters of hearth and heart rather than with greatest masters to compose, seems almost grandeur and sublimity, however, mark it freed from earthly bonds, rapt out of time. “It unmistakably as a creation of Schubert. The is,” concluded Alfred Einstein, “the climax and following Adagio is a gentle, major-key song, apotheosis of Schubert’s instrumental lyricism poignantly inflected with delicate minor-mode and his simplicity of form.” The playful Scherzo borrowings, which becomes animated in its that follows serves as the perfect foil to the slow central section before resuming the initial movement. The finale balances a certain quietude for its closing phrases. Though given seriousness of expression with exuberance and the old name of Menuetto , the third movement rhythmic energy. displays such forward-looking devices as irregular phrasing and sudden contrasts of © NLMP Dr. Richard E. Rodda dynamics. The finale is rambunctious and PLAYBILL ABOUT THE ARTISTS the Philadelphia Chamber Music Society, the University Musical Society in Ann Arbor, at Shriver Hall in Baltimore, in Toronto at the Royal Conservatory, at The Schubert Club in St. Paul, Spivey Hall in Atlanta, Yale School of Music, Dartmouth College, Duke Perform - ances, Middlebury College, and in other major series in the United States and Europe. In addition, Mr. Goode will present master classes at top conservatories and universities around the world. In the 2013–2014 season, Mr. Goode ap - peared as soloist with such orchestras as the New York Philharmonic with David Zinman, the Chicago Symphony with Mark Elder, the Deutsches Symphonie-Orchester Berlin with n Herbert Blomstedt, and the Royal Scottish o s l i National Orchestra with Peter Oundjian, with W l e a whom he also appeared in Toronto, Ottawa, h c i and Montreal with the Toronto Symphony. M His always compelling recitals were heard ICHARD GOODE has been hailed for at Carnegie Hall in New York, in London, Rmusic-making of tremendous emotional in Paris, at the Aldeburgh Festival, and on power, depth, and expressiveness, and has leading concert and university series around been acknowledged worldwide as one of the world. today’s leading interpreters of Classical and Among the highlights of recent seasons Romantic music. In regular performances have been the recitals in which, for the first with the major orchestras, recitals in the time in his career, Mr. Goode performed the world’s music capitals, and through his exten - last three Beethoven sonatas in one program, sive and acclaimed Nonesuch recordings, he drawing capacity audiences and raves in such has won a large and devoted following. cities as New York, London, and Berlin. Mr. Goode began hi s 2014–2015 season Recent seasons have also included perform - performing Mozart’s Piano Concerto No. 23 ances with the Metropolitan Opera Orchestra in A major, K. 488, to open Lincoln Center’s led by Fabio Luisi at Carnegie Hall; with the Mostly Mozart Fe stival.
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