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Narae Lee, Piano Narae Lee, Piano with Xingqiao Ren, Cello Sonata for Piano and Violoncello No. 5 in D Major, Op. 102 Nr. 2 Ludwig van Beethoven (1770-1827) Allegro con brio Adagio con molto sentimento d’affetto - Attaca Allegro – Allegro fugato Sonata for Piano and Violoncello in A Major César Franck (1822-1890) Allegretto ben moderato Allegro Ben moderato: Recitativo-Fantasia Allegretto poco mosso Friday, January 24, 2020 06:30 PM Leith Symington Griswold Hall "#$%!&'($)*+!$%!,--'&'.!$/!0*&)$*+!-1+-$++2'/)!,-!)#'!&'31$&'2'/)%!-,&!)#'!.'4&''!,-!5,(),&!,-!61%$(*+! 7&)%8! "#'!1%'!,-!(*2'&*%!*/.!9$.',!,&!)*0'!&'(,&.'&%!:$)#,1)!0&$,&!0'&2$%%$,/!$%!%)&$()+;!0&,#$<$)'.8! =,)$('>!?,&!;,1&!,:/!%*-');@!ABBC!-,&!;,1&!/'*&'%)!DEF"8!!F/!(*%'!,-!'2'&4'/(;@!G7AC!.,!/,)!HI=@!),!)#*)!DEF"8!!J;!,&.'&!,-!)#'!6*;,&!*/.!K$);! K,1/($+!,-!J*+)$2,&'8! Program notes Ludwig van Beethoven- Sonata for Cello and Piano No. 5 in D Major, Op. 102 No. 2 In 1815, Beethoven completed his last piece for a solo instrument and piano and dedicated it to the countess Marie von Erdödy, who was his longtime patron. Beethoven composed five sonatas for cello and piano; the first two sonatas in a set of Op. 5 (1796) during his early period, the third sonata (1807) in his middle period, and the last two sonatas in a set of Op. 102 in his late period. Most of the cello sonatas were composed with a two-movement format besides No. 3 and No. 5, with the traditional three movements sonata form. The first four measures with a grand opening appear throughout the first movement in both cello and piano parts. At the coda in the first movement, it is striking to note how long he keeps the dynamic range in pp. In contrast to the first movement, the second movement starts in a slow, dark manner until the second theme resurfaces in D Major, just like the first movement. Unlike the exposition, the recapitulation takes a different turn featuring a dialogue between cello and piano. After a long minor section, the second movement finally ends with a D Major dominant chord connecting to the last movement in attacca. The last movement is a four-voice fugue beginning with the cello playing the subject and piano receives the subject a few measures later. The piano leads off with the subject in the tenor voice moving to the alto, and the last subject appears in the bass part with ascending octaves. Once it reaches the coda, the subject repeats a few times that builds to the climax. The continuous trill in the piano is similar to his last piano sonata, Op. 111. Finally, the cello and piano joins together in a powerful duo with hemiola rhythm to bring the movement to a close. César Franck- Sonata for Cello and Piano in A Major César Franck’s Cello Sonata was originally composed for violin in September of 1886. Franck dedicated the piece to the Belgian violinist and composer Eugène Ysaÿe as his wedding gift, which the violinist enjoyed playing very often. Franck was known for using cyclic form in many of his works including his chamber, solo, and his symphonic compositions. This sonata is an example of cyclic form in that the thematic material comes back in the later movements. Instead of the conventional sonata-form having three movements including a slow movement in the middle, Franck added a Recitativo-Fantasia based on improvisation as a slow third movement and the last movement follows after. The world premiere of this piece took place in Belgium, while the Paris premiere (violin version) did not happen until a few months later on May 1887, due to the publisher’s delay. Despite the late Paris premiere, his cello version was made possible by the cellist Jules Delsart expressing his enthusiasm, as well as asking Franck for a permission to arrange the sonata. The sonata is mostly performed by violin and cello but due to the fame of the composition, different instrumental arrangements have been made including viola, flute and saxophone. .
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