February 6, 2020 at 8:00pm | Richardson Auditorium in Alexander Hall Pre-concert discussion between Scott Burnham and Elaine Pagels at 7:00pm

ISABELLE FAUST VIOLIN JEAN-GUIHEN QUEYRAS CELLO ALEXANDER MELNIKOV PIANO

LUDWIG Variations in G Major, Op. 121a, on Wenzel Müller’s VAN “Ich bin der Schneider Kakadu” BEETHOVEN (1770–1827)

Piano Trio in E-flat Major, Op. 70, No. 2

Poco sostenuto—Allegro ma non troppo Allegretto Allegretto ma non troppo Finale: Allegro

INTERMISSION

Piano Trio in B-flat Major, Op. 97 “Archduke”

Allegro moderato Scherzo: Allegro Andante cantabile, ma però con moto Allegro moderato. Presto About the Program By Lucy Caplan, © 2020

LUDWIG VAN BEETHOVEN (1770–1827) his publisher that, although it was one of his early works, it was not among Variations in G Major, Op. 121a, “the reprehensible ones”—he is thought on Wenzel Müller’s “Ich bin to have made substantial revisions. der Schneider Kakadu” (1824) Further revisions followed prior to the work’s publication in 1824, more than The thunder boomed, and the lightning two decades after it was first begun. flashed. The rain poured down as the As such, the variations have a nostalgic dying man shook his fist at the sky. This cast: they suggest the older composer highly dramatic, oft-repeated story of looking backward to an earlier time and Beethoven’s final moments has become his younger self, recapturing elements of the stuff of legend. It may or may not be the past before they disappeared entirely. true (the thunderstorm can be confirmed; the rest cannot), but it captures a certain These qualities can be heard in the music way of thinking about the composer and itself. The variations are characterized his godlike stature in classical music by extreme contrast, even lopsidedness. culture. In this anniversary year, 250 The g-minor introduction is as serious years after Beethoven’s birth, such as anything Beethoven ever wrote. myths are as omnipresent as they ever (Musicologists speculate that it dates have been. Yet in sacralizing and deifying from one of Beethoven’s later revisions, Beethoven, they risk obscuring the more not from the work’s initial composition.) interesting—and more human—dimensions Slowly paced, full of lugubrious chromatic of his life and work. melodies, and fantasy-like in structure, this opening movement offers little sense The “Kakadu” variations evoke a mood of the exuberance that is to follow. But very different from that grim deathbed follow it does: ten variations on Müller’s scene. The piece was published toward theme, many of which evoke the light-opera the end of Beethoven’s life, but its exact context from which that theme emerged. date of composition is unclear. As early The first variation, presented by the piano as 1801, Beethoven crafted a set of alone, is simple, even conventional. The variations on a cheery, buoyant song from next two shift the spotlight to the violin Die Schwestern von Prag (1794), a light and cello, respectively. Later variations opera by the Austrian composer Wenzel increase in complexity with cascading runs Müller that was popular in Vienna at the in the piano, a playful duet between cello time. When he returned to the piece and violin, and even a brief return to the years later, in 1816—cheekily assuring solemnity of the introduction. The piece

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culminates with a joyful, contrapuntally mood, moving from earthbound 4/4 time complex coda. With abundant cheer and to a lilting 6/8. The movement twists and virtuosity, this music recalls not so much turns, making excursions into faraway a thunderstorm as a cloudy day that keys and allowing for the occasional return finally gives way to sunshine. of the opening’s searching tones. In the second movement, Beethoven substitutes a comfortably paced, song-like movement Piano Trio in E-flat Major, for what would typically be a slower one. Op. 70, No. 2 (1808) As in the earlier movements, the three instruments are equal partners, with no If you know four Beethovenian notes, one voice dominating the conversation. they are probably the first four of the The third movement makes a similarly Fifth Symphony: dramatic, foreboding, understated rebuke to formal conventions monumental. After completing that with a not-too-fast, minuet-like Allegretto; symphony in the fall of 1807 and following lyricism takes precedence over sheer it with the more bucolic yet equally large- technical virtuosity. The final movement scale Sixth Symphony, the composer amps up the drama with quick changes turned, in 1808, to the more intimate of mood and key, flourishing chords, and realm of chamber music. The trio Op. rapid alteration between heroic runs 70, No. 2 (the nickname-less counterpart and lyrical moments of respite—a richly to the celebrated “Ghost” trio, Op. 70, layered conclusion to a work that draws No. 1) dates from that year. Decidedly audiences in with moments of subtlety un-symphonic in scale, it is mellow yet rather than overt displays of force. substantive. Like the “Kakadu” variations, the Op. 70, No. 2 trio looks backward—not to Beethoven’s own earlier work, per se, Piano Trio in B-flat Major, Op. 97 but rather to the elegant classicism of “Archduke” (1811) Haydn and Mozart. It is as if, having proven his ability to play a transformative role Expanse and breadth characterize in music history, Beethoven also took Beethoven’s “Archduke” piano trio, a work care to pay homage to the past. of grand proportions and ambitious scope. But to describe it as such necessarily The trio’s opening gesture could hardly occludes other elements—its playfulness, be more different from that of the Fifth its warmth, even its occasional silliness. Symphony. Rather than beginning with This is, in fact, a problem that often arises a fateful knock at the door, it invites when listening to Beethoven’s music, the listener in with a downward-sliding especially in hagiographic contexts: melody in the cello, all connection and we are so enamored by its greatness smoothness. As the violin and piano that we lose sight of what makes it so join in, the luxurious slowness of the pleasurable. introduction warms into a more spirited

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In the case of the “Archduke” trio, an textures. The second movement, a elite reputation is bolstered by a noble scherzo, is similarly capacious in scale. provenance. Dedicated to Beethoven’s Based upon a theme of almost disarming friend, pupil, and patron, Archduke simplicity, it moves on to a technically Rudolph of Austria, it the final work and emotionally complex middle section, that the composer wrote for piano trio. in which twisty fugal figures compete for Composed in just a few weeks’ time, space with a charming, tuneful waltz. In it likely was first performed at the the third movement, Beethoven offers a nobleman’s palace. Its public premiere, set of variations on a theme of striking in 1814, was a bittersweet occasion. It serenity. Increasingly elaborate in nature, featured the composer at the piano in they conclude with a restatement of the what would prove to be one of his final original theme and a corresponding public appearances, due to hearing loss return to tranquility. The final movement that made it difficult for him to continue makes use of the rondo form to offer performing in public. contrast and variety. Imposing passages alternate with carefree ones, and a giddy The trio is a work of great musical conclusion almost makes one forget generosity. Its opening theme sings out the weighty music that preceded it. Or, from the piano, unhurried and majestic. perhaps, it asks the listener to think As the movement unfolds, its moderate beyond the very concepts of weightiness pace encourages close listening. Audiences and greatness—and, instead, to rejoice have the opportunity to savor its rhythmic in sound for its own sake. variances, formal clarity, and nuanced

WITH THE AWARD-WINNING CALIDORE STRING QUARTET

Join members of the Calidore String Quartet in a community sight-reading of Beethoven’s String Quartet, Op. 18, No. 6

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ISABELLE FAUST Violin

Isabelle Faust won the prestigious Leopold Mozart and Paganini competitions and was soon invited to appear with the world’s leading orchestras, including the Berlin Philharmonic, Boston Symphony Orchestra, NHK Symphony Orchestra Tokyo, Freiburg Baroque Orchestra, and the Chamber Orchestra of Europe. This led to close and sustained cooperation with conductors such as Claudio Abbado, , Frans Brüggen, Sir John Eliot Gardiner, Bernard Haitink, Daniel Harding, Philippe Herreweghe, Andris Nelsons, and Robin Ticciati. Faust’s vast artistic curiosity encompasses all eras and forms of instrumental collaboration, performing a wide-ranging repertoire from J. S. Bach to contemporary composers such as György Ligeti, Helmut Lachenmann, and Jörg Widmann. To highlight this versatility, in addition to her mastery of the great symphonic violin concertos, she also performs works such as György Kurtág’s “Kafka Fragments” with soprano Anna Prohaska, Igor Stravinsky’s L’Histoire du soldat, or ’s octet on historical instruments, for instance. She will premiere several

4 | Princeton University Concerts princetonuniversityconcerts.org | 5 About the Artists new works for violin and orchestra in the JEAN-GUIHEN coming seasons, including concertos by composers Péter Eötvös, Brett Dean, QUEYRAS Cello Ondrej Adámek, and . A prolific recording artist, Isabelle Faust Curiosity, diversity, and a firm focus on has a large discography, and her critically the music itself characterize the artistic acclaimed recordings have received the work of Jean-Guihen Queyras. Whether Gramophone award, the Diapason d’or, on stage or on record, one experiences the Choc de l’année, and other prizes. Her an artist dedicated completely and most recent recordings include Bach’s passionately to the music, whose violin concertos with the Akademie für treatment of the score reflects its clear, Alte Musik Berlin and Felix Mendelssohn’s undistorted essence. The inner motivations violin concerto with the Freiburg Baroque of composer, performer, and audience Orchestra conducted by Pablo Heras- must all be in tune with one another Casado. Her album of Bach’s harpsichord in order to bring about an outstanding sonatas with Kristian Bezuidenhout was concert experience: Jean-Guihen Queyras released in March 2018. Faust shares learned this interpretative approach from a longstanding recital partnership Pierre Boulez, with whom he established with pianist Alexander Melnikov, with a long artistic partnership. whom she has recorded many discs for harmonia mundi including sonatas for His approaches to early music—as in violin and piano by Mozart, Beethoven, his collaborations with the Freiburg and Brahms, among other chamber Baroque Orchestra, the Akademie für recordings. During the 2019/20 season, Alte Musik Berlin, and Concerto Köln— Isabelle Faust is Artist-in-Residence at and to contemporary music are equally the Royal Concertgebouw Amsterdam, thorough. He has given world premieres Philharmonie Essen, Centro Nacional de of works by Ivan Fedele, Gilbert Amy, Difusión Musical Madrid, and Philharmonie Bruno Mantovani, Michael Jarrell, Luxembourg. Johannes-Maria Staud, and Thomas Larcher, among others. Conducted by Isabelle Faust made a stunning PUC the composer, he recorded Péter Eötvös’ debut in 2015 playing all of the sonatas Cello Concerto to mark his 70th birthday and partitas of Bach in the Princeton in November 2014. University Chapel. Jean-Guihen Queyras is a founding member of the Arcanto Quartet, who made its PUC debut in 2015. He has also collaborated with zarb specialists Bijan and Keyvan Chemirani on a Mediterranean program.The versatility in his music-

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making has led to many concert halls, works by Carl Philipp Emanuel Bach festivals, and orchestras inviting Jean- and Antonio Vivaldi were released. Guihen to be Artist-in-Residence, including the Royal Concertgebouw Amsterdam Highlights of the 2019/20 season and the Festival d’Aix-en-Provence, include concerts with the Munich Vredenburg Utrecht, De Bijloke Ghent, Philharmonic, Danish National Orchestra, and Wigmore Hall London. Orchestre de chambre de , and Mozarteum Orchestra, as well as Jean-Guihen Queyras often appears performances of “Mitten wir im Leben with renowned orchestras such sind” with choreographer Anne Teresa De as the Philadelphia Orchestra, the Keersmaeker, the opening of Beethoven Symphonieorchester des Bayerischen Week in Bonn, the Beethoven String Trio Rundfunks, Mahler Chamber Orchestra, cycle with violist Tabea Zimmermann the Orchestre de Paris, London Symphony and violinist Daniel Sepec, and—last Orchestra, the Gewandhausorchester, but not least—solo recitals in Buenos and the Tonhalle-Orchester Zürich, Aires, Riga, Taipei, Prague, Freiburg, working with conductors such as Iván Leipzig, London, and New York City. Fischer, Philippe Herreweghe, Yannick Nézet-Séguin, François-Xavier Roth, Jean-Guihen Queyras holds a professorship Sir John Eliot Gardiner, and Sir Roger at the University of Music Freiburg and Norrington. is Artistic Director of the Rencontres Musicales de Haute-Provence festival in Jean-Guihen Queyras’ recordings of cello Forcalquier. He plays a 1696 instrument concertos by Sir Edward Elgar, Antonín by Gioffredo Cappa, made available to Dvorák, Philippe Schœller, and Gilbert Amy him by the Mécénat Musical Société have been released to critical acclaim. Générale. As part of a harmonia mundi project dedicated to , he has recorded the complete piano trios with ALEXANDER Isabelle Faust and Alexander Melnikov and at the same time the Schumann MELNIKOV Piano cello concerto with the Freiburg Baroque Orchestra under Pablo Heras-Casado. Alexander Melnikov graduated from the The recording THRACE—Sunday Morning Moscow Conservatory under Lev Naumov. Sessions explores, in collaboration His most formative musical moments with the Chemirani brothers and in Moscow include an early encounter Sokratis Sinopoulos, the intersections with Svjatoslav Richter, who thereafter of contemporary music, improvisation, regularly invited him to festivals in Russia and Mediterranean traditions. In 2018, and France. He was awarded important two highly acclaimed recordings with prizes at eminent competitions such

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as the International Robert Schumann including on the PUC series last season. Competition in Zwickau (1989) and the An essential part of Melnikov’s work is Concours Musical Reine Elisabeth in intensive chamber music collaboration Brussels (1991). with partners including cellist Jean-Guihen Queyras and violinist Isabelle Faust. Known for his unusual programmatic decisions, Alexander Melnikov developed Alexander Melnikov’s association with the his career-long interest in historically label harmonia mundi arose through his informed performance practice early regular recital partner, Isabelle Faust, on. His major influences in this field and in 2010 their complete recording include Andreas Staier and Alexei of the sonatas Lubimov. Melnikov performs regularly for violin and piano won a Gramophone with distinguished period ensembles Award. This album, which has become including the Freiburg Baroque Orchestra a landmark recording for these works, Musica Aeterna, and Akademie für Alte was also nominated for a Grammy. Their Musik Berlin. most recent release features the sonatas for violin and piano. As a soloist, Alexander Melnikov has performed with orchestras including Melnikov’s recording of the Preludes and the Royal Concertgebouw Orchestra, Fugues by Shostakovich was awarded Gewandhausorchester Leipzig, Philadel- the BBC Music Magazine Award, Choc de phia Orchestra, NDR Sinfonieorchester, classica and the Jahrespreis der Deutschen HR-Sinfonieorchester, Russian National Schallplattenkritik. In 2011, it was also Orchestra, Munich Philharmonic, Rotter- named by the BBC Music Magazine as dam Philharmonic, BBC Philharmonic, one of the “50 Greatest Recordings of Orchestre des Champs-Élysées, and the All Time.” Additionally, his discography NHK Symphony and under conductors features works by Brahms, Sergei such as Mikhail Pletnev, Teodor Cur- Rachmaninov, Shostakovich, and rentzis, Charles Dutoit, Paavo Järvi, and Alexander Scriabin. Joined by Isabelle Valery Gergiev. Faust, Jean-Guihen Queyras, conductor Pablo Heras-Casado, and the Freiburg Together with Andreas Staier, Alexander Baroque Orchestra , Melnikov recorded Melnikov developed a program that sets a trilogy of albums featuring the Robert excerpts from J. S. Bach’s Well-Tempered Schumann Concertos and Trios; the second Clavier (Andreas Staier, harpsichord) in installment, featuring the Piano Concerto musical dialogue with Dmitri Shostakovich’s and the Piano Trio No. 2, was released in 24 Preludes and Fugues (Alexander September 2015. Other releases include a Melnikov, piano). Additionally, the artists 2016 recording featuring works of Sergei recently recorded a unique all-Schubert Prokofiev, a recording released in June program of four-hand pieces, which 2017 with Ernest Chausson and César they have also performed in concert, Franck repertoire, and his most recent

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release, Four Pieces, Four Pianos, which his close collaboration with Tapiola was released in February 2018 and has Sinfonietta. Further highlights include since been highly acclaimed by critics. performances in the Chamber Music Hall of the Philharmonie Berlin, in Wigmore In the 2019/20 season Alexander Melnikov Hall, at the Beethoven Week in Bonn, in will tour his project “Many Pianos,” São Paulo, as well as concert tours with where he performs a solo recital on Isabelle Faust to North America and Asia. different instruments reflecting the periods in which the works were written, Alexander Melnikov has appeared on and which will take him to Tokyo and the PUC series two other times, with Vienna, among others. In addition to pianist Andreas Staier in 2019 and playing concerts with Ensemble Resonanz, the complete Preludes and Fugues of Gewandhaus Orchestra Leipzig and Shostakovich in 2016. We are happy to Basel Symphony Orchestra, he continues welcome him back!

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10 | Princeton University Concerts princetonuniversityconcerts.org | 11 Kurt & Judit Stenn Steven & Florence Kahn Jeanette Tregoe Edmund Keeley Alec Tsuo & Xiaoman Chen Judith Klotz Susie Wilson Dick Kraeuter Ariana Wittke Melissa Lane & Andrew Lovett William & Elizabeth Wolfe Paul Lansky & Hannah MacKay Lansky Inkyung & Insu Yi Maurice Lee, Jr. Phyllis Lehrer Beethoven ($100-249) Celia Lidz Kathleen & Jim Amon Daniel Lister Steve Baglio & Betsy Kalber Baglio Edward & Libby Martinsen Gisella Berry Beth Morgan & Steve Lestition Marvin Bielawski Roger V. Moseley Barbara P. Broad Ferris Olin Beth & Victor Brombert Armando Orozco John H. Burkhalter III Bob & Marion Pollack Janet & John Burton Ruth Randall Theodore Chase, Jr. Suzanne & Charles Rebick Patricia Daley Irina Rivkin Julie Denny Clark Naomi Rose Joanne Elliott David & Christina Rowntree Sherri Garber Inez & Dick Scribner Mort & Debbi Gasner Laura Sinderbrand Roe Goodman Kate Skrebutenas & Paul Rorem Audrey S. Gould Joseph C. & Alice K. Small Nancy Greenspan & John Ricklefs Haim Soicher Barbara E. Greenstein Ellen Stark Lilian Grosz Elly Stein Gerry & Hank Halpern Sandra C. Sussman Ruth & András Hámori Eliane Swanson N. Hilary Hays Jeffrey B. Tener Art & Mary Hull Rosalie & Evan Wolarsky Mr. & Mrs. A. Jodidio

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John H. Burkhalter III Lor & Michael Gehret Thomas & Trudy Jacoby

10 | Princeton University Concerts princetonuniversityconcerts.org | 11 We are happy to thank all of our staff and volunteers for their support.

Princeton University Concerts 2019–2020­ Student Ambassadors Marna Seltzer of Princeton University Concerts Director Sérgio Martins De Iudicibus ‘20 John Burkhalter Co-Chair Subscription Manager Alexander Moravcsik ‘23 Kerry Heimann Co-Chair Operations & Patron Services Manager Dasha Koltunyuk Campus Venue Services Marketing & Outreach Manager Nick Robinson Bryan Logan Director Production Manager Kathleen Coughlin Assistant Director, Alexander Moravcsik ‘23 Performing Arts Services Student Outreach Assistant James Allington Deborah Rhoades Audio Engineer Accounts Manager Anne Cutrona Tom Uhlein Theater Operations Technician Graphic Designer Lucien Dowdell Brendan Zelikman ‘23 Senior Production Manager Student Intern Matthew Halbert 2019–2020 Princeton University Theater Operations Technician Concerts Committee Lindsay Hanson Michael Gehret Chair Artist Services Manager Scott Burnham Mary Kemler Alexandra Holt Day Assistant Director, Client Resources Christine Gage Sharon Maselli Brandon Gaines Audience Services Manager Wendy Heller Gail E. Kohn Bill Pierce Dorothea von Moltke Theater Operations Technician Alexander Moravcsik ‘23 Reba Orszag James Taylor Marcia Snowden Systems and Support Manager William Stowe Marue Walizer Presenting the world’s leading classical musicians at Princeton University since 1894, Princeton University Concerts aims to enrich the lives of the widest possible audience. We are grateful to Wendy Heller, Chair and Scheide Professor of Music History, and the Department of Music for its partnership in and support of this vision. For more information about the Department and its vibrant student and faculty led programming, please visit music.princeton.edu.

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