TH S E A S O N P R O G R A M N O T E S 45 WEEK 5 AUGUST 13 — 19, 2017 Sunday, August 13, 6 pm Beethoven combines his performers in This recital offers four songs by Hahn unusual ways: sometimes the piano plays full of love and longing. The beautiful LUDWIG VAN BEETHOVEN with one stringed instrument, sometimes “À Chloris” sets a brief love poem by the (1770 – 1827) with both, sometimes alone, and sometimes French poet, libertine, and freethinker Piano Trio in G Major, Op. 121a, the strings are alone. Beethoven’s Varia- Théophile de Viau (1590 – 1626), whose “10 Variations on ‘Ich bin der Schneider tions remain very much within the spirit of freethinking got him imprisoned for a Kakadu’” (published 1824) Müller’s gentle theme, and the effect is of couple of years. Hahn marks his setting accomplished and pleasant music-making. Very slow and arcs his musical line over the In his early years in Vienna Beethoven A brief rondo, itself a variation on the origi- long span of a 4/2 meter. Beginning gently established his reputation by a phenomenal nal theme, concludes the Trio. (Hahn’s marking is tendrement), the song ability to improvise at the piano, spontane- —Eric Bromberger rises to a soaring climax, then falls away to ously generating entire sets of variations its subdued conclusion. Part of the success from a single theme. He would return to REYNALDO HAHN (1874 – 1947) of this song is its wonderful piano prelude— the extended variation form in one of his Four Songs: stately, poised, and wistful—that returns finest late works, the Diabelli Variations, “À Chloris” (1899) throughout and finally draws the song into Op. 120, published in 1823. In the years “Quand je fus pris au pavillon” (1899) silence. before the Diabelli Variations Beethoven “Chanson au bord de la fontaine” (1912) “Quand je fus pris au pavillon” sets the put the final touches on a set of varia- “Paysage” (1890) work of another prisoner, Charles d’Orléans tions for piano trio, which he published in (1394 – 1465). Charles was taken prisoner 1824 as his Opus 121a. The exact date of Born in Venezuela to German parents, at the Battle of Agincourt in 1415 and this composition, known as the “Kakadu” Reynaldo Hahn was taken to Paris at age held by the British for 25 years in a sort of Variations, is uncertain. There is evidence three and had all his musical training in the easy confinement. Charles used that period that it was written as early as 1803 just City of Light. Hahn appears to have been to write more than 500 poems in English as Beethoven was beginning work on the one of those people who could do it all. and French. Hahn’s setting is animated: “Eroica” Symphony, but his manuscript He was a fine pianist and had a beautiful he marks the song Fast, very lightly, and dates from 1816. In that year Beethoven baritone voice, and he would give recitals the pianist’s left-hand dancing staccatos was mired in a deep creative drought, and in which he sang his own songs while he continue virtually throughout. The metric it may well be that—unable to generate played the piano, a cigarette dangling from marking is simply 2, and this very brief song new music—he turned to earlier composi- the corner of his mouth as he sang. He was rushes to a breathless finish. tions and revised them for publication. Why an accomplished conductor who conducted “Chanson au bord de la fontaine” was that publication should then have waited at the Salzburg Festival, became director the first number in Hahn’s incidental music for eight years remains unknown. of the Paris Opera in the final years of his to a production of the play Méduse by The “Kakadu” Variations themselves life, and was an early champion of Mozart’s Maurice Magre (1877 – 1941) in 1912. This are charming. The work divides into four operas. He also served for some years as is a very subdued setting: Hahn marks the parts: an introduction, the theme, 10 music critic of Le Figaro. Hahn composed vocal line doux (“gentle”), and the dynamic variations, and a concluding rondo. The operas, ballets, orchestral music, songs, never rises above piano. Long sections of theme itself comes from the song “Ich bin and operettas, and it was as a composer of this song are virtually recited above quietly der Schneider Kakadu” (“I am the Tailor operettas that he had his greatest success: sustained chords from the piano. Cockatoo”) from the singspiel Die Schwest- one of these—Ciboulette of 1923, set in a “Paysage” sets a brief poem by the ern von Prag (The Sisters from Prague) by fruit and vegetable market—ran for more French novelist and poet André Theuriet the Moravian composer Wenzel Müller than 1,000 performances. Hahn struck a (1833 – 1907), who was still alive when (1767-1835), best-known for his light distinctive, elegant, and witty figure in Paris the 16-year-old Hahn composed this song compositions. Beethoven’s Trio opens with salons. He was Marcel Proust’s lover, and he in May 1890. Theuriet was known for his a long and portentous slow introduction, also wrote a biography of Sarah Bernhardt, novels celebrating rural life, and this brief marked Adagio assai. Müller’s theme—a one of his close friends. A dandy, Hahn is expression of love is fired by the poet’s rather innocent little tune—is introduced reported to have dismissed members of or- longing for a quiet spot in Brittany sur- by the piano, and the 10 brief variations chestras if he felt they were not sufficiently rounded by trees, birds, and the sea. Hahn follow. These are melodic variations, and well-dressed at rehearsals. marks the vocal line Very intimate at the Program notes for Music at Noon Concerts are sponsored by Barbara & Ronald Balser with thanks to the gifted Festival musicians who inspire us all. beginning, but the song will eventually rise III. Chanson au bord de la fontaine to a surprising climax. The young composer Text by Maurice Magre (1877 – 1941) dedicated this song to Jules Massenet, with whom he was studying composition at the O blanches colombes du soir, Paris Conservatory when he wrote it. Quand je viendrai m’asseoir —Eric Bromberger Sur la pierre de la fontaine, Á l’heure où tout est noir, Texts Je vous dirai ma grande peine I. À Chloris I. To Chloris Et mon espoir. Text by Théophile de Viau (1590 – 1626) O blanches colombes du soir, Envoyez alors votre reine sur le lavoir; S’il est vrai, Chloris, que tu m’aimes, If it is true, Chloris, that you love me Je lui dirai pourquoi je traîne (Mais j’entends, que tu m’aimes bien), (And I hear that you love me well) ce désespoir; Je ne crois point que les rois mêmes I don’t believe that even kings Je lui dirai ma grande peine Aient un bonheur pareil au mien. Could have a happiness equal to mine. Et mon espoir. Que la mort serait importune How inopportune it would be De venir changer ma fortune If death came to turn my good fortune IV. Paysage A la félicité des cieux! Into the joys of heaven. Text by Claude Adhémar André Theuriet Tout ce qu’on dit de l’ambroisie Everything they say about ambrosia (1833 – 1907) Ne touche point ma fantaisie Could never stir my imagination Au prix des grâces de tes yeux. If it meant giving up the charms of your A deux pas de la mer qu’on entend bour- eyes. donner Je sais un coin perdu de la terre bretonne Où j’aurais tant aimé, pendant les jours II. Quand je fus pris au pavillon II. When I was caught in the pavilion d’automne, Text by Charles, Duc d’Orléans Chère, à vous emmener! (1394 – 1465) Des chênes faisant cercle autour d’une Quand je fus pris au pavillon When I was caught in the pavilion fontaine, De ma dame, très gente et belle, Of my noble and beautiful lady Quelques hêtres épars, un vieux moulin Je me brûlai à la chandelle I was burned by the candle, désert, Ainsi que fait le papillon. As happens to a butterfly. Une source dont l’eau claire a le reflet vert De vos yeux de sirène. Je rougis comme vermillon, I blushed red A la clarté d’une étincelle, With the brightness of a spark, La mésange, au matin, sous la feuille jaunie, Quand je fus pris au pavillon. When I was caught in her pavilion. Viendrait chanter pour nous Si j’eusse été esmerillon Et la mer, nuit et jour, Viendrait accompagner nos caresses Ou que j’eusse eu aussi bonne aile, Had I been a merlin, d’amour Je me fusse gardé de celle Or had had wings as strong, De sa basse infinie! Qui me bailla de l’aiguillon I would have saved myself from her Quand je fus pris au pavillon. Who stung me When I was caught in her pavilion. 2 2017 Program Notes Week Five III. Song by the Fountain JOHANNES BRAHMS (1833 – 1897) Monday, August 14, 6 pm Piano Quintet in F Minor, Op. 34a (1861-64) FRANCIS POULENC (1899 – 1963) O white evening doves, In 1861 what would become Brahms’s Sonata for Horn, Trumpet & Trombone, FP 33 When I come to sit down Piano Quintet, Op. 34 first came to life (1922/1945) On the stones of the fountain, as a string quintet with a second cello, à At the hour when all is dark, la Schubert’s late masterpiece.