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Fabian2020-2021 CONCERT SERIES Robert Amy Schwartz Yinzi Charae Elizabeth McDuffie, Moretti, Kong, Krueger, Pridgen, violin violin viola cello piano Bringing world-class artistry to Mercer and Macon FEBRUARY 9, 2021 7:30 PM THE GRAND OPERA HOUSE Program FEBRUARY 9, 2021 Three Romances for Violin and Piano, Op. 22 Clara Schumann (1819-1896) I. Andante molto II. Allegretto III. Leidenschaftlich schnell Amy Schwartz Moretti, violin Elizabeth Pridgen, piano Sonata for Violin and Piano No. 1 in G Major, Op. 78 Johannes Brahms (1833-1897) I. Vivace ma non troppo II. Adagio III. Allegro molto moderato Robert McDuffie, violin Elizabeth Pridgen, violin - Intermission - Piano Quintet in C Minor, Op. 1 Ernő Dohnányi (1877-1960) I. Allegro – Adagio – Tempo I II. Scherzo. Allegro vivace III. Adagio, quasi andante IV. Allegro animato Amy Schwartz Moretti, violin Augusta Schubert, violin (Junior – Woodway, TX)* Yinzi Kong, viola Charae Kreuger, cello Elizabeth Pridgen, piano * Robert McDuffie Center for Strings Young Artist Program Notes **Please Note** These program notes were made for the previously announced program. Since new pieces will be performed tonight, not all of these notes are applicable. W Beethoven Eyeglasses Duo, WoO 32 (10’) Unlike some of his other titled works (Moonlight sonata, Archduke trio, etc.), Beetho- ven himself christened this duo with the playful title of “Duett mit zwey obligaten Au- gengläsern,” or “Duo with two Obligato Eyeglasses.” Not too much is known about the conception of this posthumously published piece, but it is speculated that the bespectacled duo mentioned in the title actually refers to Beethoven himself and his friend Nikolaus von Zmeskall-Domanovetz. Unfortunately for the audience, the manuscript only contains sketches of two complete movements and an incomplete minuet; in other words, this is an incomplete piece. But on the bright side, it means that we as an audience also have the freedom to imagine what it could have been. Clara Schumann Three Romances for violin and piano, Op. 22 (9’) I. Andante molto II. Allegretto III. Leidenschaftlich schnell You may have heard of Robert Schumann, but chances are that you haven’t heard of Clara Schumann. Clara was undoubtedly the more talented half of the couple; not only is she considered to be among the most distinguished pianists of the 19th century, she wrote some underappreciated gems of music that are just now getting the attention they deserve. She was not a prolific composer, however, as she had her hands full taking care of three children and a concert career. Moreover, Clara stopped composing after Robert’s death, and instead dedicated her time to keeping his pieces alive. The Three Romances for Violin and Piano are among the last pieces she wrote. They are sweetly reminiscent of Robert Schumann’s fairytale pieces (Märchenbilder, Märchener- zählungen, etc.) and perfectly capture the ethereal quality of fables, with a dreamlike texture that is unique to its time. Perhaps they are a homage to Robert, whose health was failing while she wrote the piece. Mercy (2010) Max Richter (5’30”) Mercy is a piece for violin and piano that is part of a bigger project of Max Richter, called “Voices.” Rather than explaining it myself, here is Max Richter’s (paraphrased) explana- tion: “Mercy, written ten years ago for Hilary Hahn (...) was the starting point for the whole of VOICES. Over the years of working on the project, the music has taken many forms, nearly all of them put to one side, but the music of Mercy has always been a sort of pole star, guiding the rest of the piece. (...) The opening words of the Universal Declaration of Human Rights, drafted in 1948, are “All human beings are born free and equal in dignity and rights.” These inspiring words are a guiding principle for the whole declaration but, looking around at the world we have made in the decades since they were written, it is clear that we have forgotten them. The recent brutal events in the US, leading to the trag- ic deaths of George Floyd and Breonna Taylor, as well as countless other abuses around the world, are proof of that. At such times it is easy to feel hopeless but, just as the prob- lems of our world are of our own making, so the solutions can be. While the past is fixed, the future is yet unwritten, and the declaration sets out an uplifting vision of a better and fairer world that is within our reach if we choose it. VOICES is a musical space to recon- nect with these inspiring principles.” Dohnányi Piano Quintet in C minor, Op. 1 (30’) I. Allegro - Adagio - Tempo I II. Scherzo. Allegro vivace in A minor III. Adagio, quasi andante in F major IV. Allegro animato in C major Ernő Dohnányi, or more commonly known by his German name Ernst von Dohnányi, was the musician equivalent of Oskar Schindler. According to Tibor Serly, Dohnányi was credited with the fact that “not one Jewish musician of any reputation living in Hungary lost his life or perished during the entire period of World War II,” and saved the lives of hundreds of innocent people, including the likes of Carl Flesch. Dohnányi held many ti- tles during his life, including director of Budapest Academy, music director of Budapest Philharmonic Orchestra, and professor of music at Florida State University. It is hard to think of a piece with the title of Op.1 that received greater recognition than Dohnányi’s piano quintet. The then-seventeen year old composer received the highest praise from Johannes Brahms, who reportedly said, “I could not have written it better myself.” In my opinion, I hear a conglomeration of styles, and I find myself thinking that Dohnányi has not quite found his voice as a composer. Instead of his voice, one can hear the voices and influence of Brahms, Dvorak, Schumann, and other great composers of the 19th century. That is not to say that the piece isn’t masterfully written; however, if you are interested in observing his evolution as a composer, I would recommend listening to his Op.10 String Trio and his American Rhapsody. Seido Karasaki, Artist Diploma Candidate in Viola Performance McDuffie Center for Strings Artist Biographies Grammy-nominated violinist ROBERT MCDUFFIE enjoys a dynamic and multi-faceted career. While appearing as soloist with the world’s foremost orches- tras, he has also shared the stage with Chuck Leavell and the late Gregg Allman in Midnight Rider and with actress/playwright Anna Deavere Smith in Martin Luther King, Jr.’s Letter from a Birmingham Jail. Philip Glass dedicated his Sec- ond Violin Concerto, The American Four Seasons, to Mr. McDuffie. Mike Mills of the iconic band R.E.M. has composed a Concerto for Violin, Rock Band, and String Orchestra for him. Robert McDuffie is the founder of both the Rome Chamber Music Festival in Italy and the Robert McDuffie Center for Strings at Mercer University in his native city of Macon, Georgia. Mr. McDuffie holds the Robert McDuffie Violin Faculty Chair at the Aspen Music Festival and School. Robert McDuffie has appeared as soloist with most of the major orchestras of the world. He gave the world premiere of Philip Glass’ Violin Concerto No. 2, The American Four Seasons, with the Toronto Symphony and completed a 30-city U.S. tour with the Venice Baroque Orches- tra, pairing the Glass Four Seasons with the Vivaldi Four Seasons. The Mills Concerto for Violin, Rock Band and String Orchestra was also premiered with the Toronto Symphony, followed by performances at the Rome Chamber Music Festival, the Aspen Music Festival, and a three-week tour of the U.S. Robert McDuffie recorded The American Four Seasons with the London Phil- harmonic and Marin Alsop on Philip Glass’ Orange Mountain Music label. The Mike Mills Con- certo for Violin, Rock Band and String Orchestra is also on the Orange Mountain Music label. His acclaimed Telarc and EMI recordings include the violin concertos of Mendelssohn, Bruch, Adams, Glass, Barber, Rózsa, Bernstein, William Schuman, and Viennese violin favorites. He has been profiled on NBC’s Today, CBS’ Sunday Morning, PBS’ Charlie Rose, A&E’s Breakfast with the Arts, and in the Wall Street Journal. In 2017, he toured the U.S. with the Bruckner Orchestra Linz, alternating the Barber Violin Concerto with the Glass Violin Concerto No.1. He returned to the Aspen Music Festival. Recent performances include first appearances in Auckland, New Zealand; with the Orchestre National de Lille; the Bernstein Serenade with the Atlanta, Hawaii, and Virginia symphonies; the Mills Concerto for Violin, Rock Band and String Orchestra with the Naples and Buffalo symphonies; and the Glass Four Seasons along with the Mills Concerto with the Fort Worth Symphony. As founder of the Rome Chamber Music Festival, Robert McDuffie has been awarded the prestigious Premio Simpatia by the Mayor of Rome in recognition of his contribution to the city’s cultural life. He is also the founder of the Robert McDuffie Center for Strings at Mercer University in his hometown of Macon, Georgia, where he holds the Genelle and Mansfield Jennings Distinguished University Professor Chair. He plays a 1735 Guarneri del Gesù violin, known as the “Ladenburg”. The instrument is owned by a limited partnership formed by Mr. McDuffie. He lives in New York City. Curator of the Fabian Concert Series and Director of the McDuffie Center for Strings at Mercer University, violinist AMY SCHWARTZ MORETTI is equal- ly versatile as chamber musician, concertmaster, soloist, and educator. Despite the hold on activities and concerts during this time of Covid-19, she has continued to find musical outlets these past few months, highlighted by virtual concerts and a recording project with the Ehnes Quartet.

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