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ii | Portland Piano International

CP_Ad_program_PortlandPianoIntl_0919.indd 1 9/11/19 2:20 PM All arts organizations deliver on their promises through having generous donors who really believe in their mission. Portland Piano International is no exception. We continue to have a happy history of passionate patrons who, quite literally, make these remarkable concerts possible, a 42-year tradition! Gifts to our annual fund underwrite our SOLO series and allow us to include many aspiring piano students in our audience. Those students get master classes from, quite literally, the world’s best pianists. We are buoyed by your enthusiasm and goodwill. Thank you! RECENT GIFTS: Here is the list of people to whom we are boundlessly grateful for their support of our activities. You and they are the best! Gifts received between September 1, 2018 and November 1, 2019:

PEDAL SOCIETY Ken & Nancy Stephens Barbara Friesen Linda Hickok $10,000 & Above Lawrence & Karen Zivin Claire & Zanley Galton IBM International Foundation Come and experience Arts Impact Fund of the Regional Harold Gray & Mary Kogen Donna Larson Arts & Culture Council Gary Larson 88 KEY SOCIETY Scott Hibbs The Brookby Foundation Walter McMonies the world’s top names (also includes all names above) Susan Koe Dr. Richard & Nancy Chapman Neil Matteucci & Norman D. $1,000-1,999 Robert L. Ladehoff Daniel Deutsch Kalbfleisch Dean & Susan Alterman Julia H. Lee Carol Edelman Thomas & Dee Moore in the art of pianos – George & Nancy Barker Maryellen Hockensmith & Bob & Nancy Leon David O'Brien John H. Barker Michael McCulloch Jack & Lynn Loacker Richard Powell Ellen Bergstone Wasil & Dan Yamaha, Bösendorfer, Judy & Hank Hummelt Jeffrey Morgan Vince & Robin Power Wasil James F. & Marion L. Miller Nike, Inc. Bonnie & Peter Reagan Foundation David Brokaw Ralph & Ruth Nottingham Angela Roach Schimmel, Estonia, Ray & Amy Torgerson Richard Louis Brown & Thomas Mark Thomas Palmer & Ann Carter John & Joanne Rudoff Larry & Dorie Vollum Deborah Buchanan & Scott Maria Teresa & Luke Pietrok Steven & Carol Sandor Teitsworth Jaymi & Francis Sladen Mason & Hamlin Portland State University - D. A. Davidson & Co. GUARANTORS College of the Arts (in kind) Dr. Mary Smith $5,000-9,999 Maggie Doolen & John Slocom James Vannice and authentically George Rowbottom & Marilyn Alterman Law Group PC Pauline Eidemiller Crilley Darrell & Geneva Wright Anonymous Edmund H. Frank & Eustacia Su Glenn Shirley Bruce & Betty Bell Susan & Andrew Franklin restored University of Portland (in-kind) FRIENDS Jonathan & Yoko Greeney Missy Vaux Hall up to $249 Debra Vinikour & Jeff Mazur Jon & Brenda Hummelt Heritage Bank Dr. Richard & Carolyn Weleber Dave Ackelson Steinways. Oregon Arts Commission Carol Ihlenburg Peter Acker Regional Arts & Culture Council Daniel & Hooja Kim Walter & Nancy Weyler Sara Kennedy Adams Shell Oil Company Foundation David Kingsbury Virginia Adelsheim Albert Solheim Lawrence Levy & Pamela SUPPORTERS $250 - 499 Jen Alford Over 300 The Standard Lindholm-Levy Amazon Smile Starseed Foundation John Montague & Linda Agoston & Maria Agoston Greg & Nan Anderson Hutchins Anonymous new and used Anonymous (3) Brendan & Melinda O'Scannlain Linda Barkus Meena Antony BENEFACTORS George & Mary Lou Peters Willene & Mark Bautista $2,000-4,999 Chelsi Archibald pianos in Portland Piano Company (in- Margaret Bloomfield Carol F. Alexander kind) Laura Arcidiacono Jerry Bobbe Anonymous Steven & Violet Schad Debbie & Raquel Armendariz Jean Cauthorn Jeff & Lauren Canfield John L. Shipley Pablo Armendariz inventory. William J. & Kathryn A. Coffel Debbie & Steve Carlton Cameron & Carey Wiley Robert & Mary Jean Armendariz Bill Crane Sue Horn-Caskey & Rick Caskey Martin & Carolyn Winch through Jan Atwill Kay L. Doyle Margery Cohn & Marvin the MRG Foundation Philip Austin Margianne & Arthur Erickson Full Lifetime Richmond Barbara Backstrand Barbara Giesy Cliff & Karen Deveney (in-kind) PATRONS Gerald & Lori Bader Frank & Anne Glickman Carol Streeter & Harold $500-999 Michael D. & Jane S. Baird Trade-up Policy. Goldstein Winthrop Hall & Kyle Smoot Consulate General of Israel Harriet Bakken Lanier & Paulette Hanchett Carol Halvorson Anne & Jim Crumpacker Gwenn Baldwin Jeffrey Miller & Casselle Sonja L. Haugen Lisa Baldwin LaTourette (in-kind) Richard Dobrow Josephine Hawthorne Anita Barbey & Todd Liebow Marianne Perrin Carol Ferris Jay Henry Philip Barney Mon-Sat 10-5 I Sun 12- 5 • classicportland.com • 503-239-9969 The Standard Company Match Marybeth Fossati Kathryn Hickok

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CP_Ad_program_PortlandPianoIntl_0919.indd 1 9/11/19 2:20 PM Aubrey Beard Vivian Chen David Dowler Pamela Goddard James Bennett Chih-Chun Chien & Hse-Chien Davida Drewrey Veronica Gomez Amanda Bird Tu Vicky & Robert Drummond Thomas & Norene Green Mary Bishop Stephanie Ching Michelle & Shane Dunaway Judy Hadley & Allen Wheeland Nancy Salt Black Helen D. Christians Bill & Jeanette Dunaway Roger Hallin Richard Blickle Edgar & Janet Clark Jeana Edelman Carol Hamilton Ashley Blok Ann B. Clarke Tracy Edwards Ina Hammon Charles & Susan Bock Gaila Collins Gloria & Asher Eggers Rosalie Peggy Hammond Susan Bodin Richard Colman Luis Elenes Fred & Amelia Hard Amanda Boomershine Marisa Coluccio Michael England Susan Hare Carol & Anthony Boutard Chris Conklin Robert Erickson Andrew & Cynthia Haruyama Robert Brenner Timothy Corcoran Briar Ertz-Berger William Haskell Nicole Bresnahan Margaret Cormier Dorothy Fahlman Margaret Herrington Steve Brown & Kimberly Crouch Linda S. Craig Jan Fallt Peter Heuser Talon Buchholz Richard Crimi Maureen Fallt Martha Hicks Sally Broughton Brendan Curti Dennis & Kathy Ferguson Kirk Hirschfeld Diana Burman Ervin Czimskey & Tom Kuffner Lylen Ferris Susan Hoar Jackie Burnett Eloise Damrosch Kate Fitkin & Dave Peppel Greg Homza Charles Burrows & M. Paige Keith Davidson Martin Flora Ava Hoover Berdan Burrows Jill Davis Gary Fox DJ Hortert Susan Campbell Karen Davis Gerald Fox Xiaoyan Huang Maurine Canarsky Leo DeGuzman Amy Frazey Betty & Terry Husky Chauncey Canfield Jeff Deatherage Marcia Freed & Dr. Martin Eric Husky Alice, Paige & Cody Capitano Gerald Deckelbaum Schwartz Intel Foundation Matching Gifts Nancy Casey Raphael DeFranco Laura Frizzell Program Mary Lou Cavendish & Michael Penny M. DeGraff Joan Gardner Geri Jacobs Hughes Julie Deitering Ray & Joyce Gee Sibyl Jarrett Andrew Celentano Annette P. Demsey Kathy Gentry Kathleen Jensen Doug Chamblin Jing DePiero William Gilliland Charlie & Kate Johnson Susan Chan Nicholas T. Devlin Mary Ellen Glynn Marie Johnson Nancy J. Chapman Melia Donovan Luke Goodard Jacqueline Joseph Tim Chapman-Wilson

THE PORTLAND STATE UNIVERSITY SCHOOL OF MUSIC & THEATER PRESENTS

BY MJ KAUFMAN

NOVEMBER 14-23

TICKETS $6-$15 PDX.EDU/BOXOFFICE OR 503.725.3307

2 | Portland Piano International Justin Kagan (in-kind) James Peck Rebekah Kaplan Eleanor Peck Alison Kean Charles E. Peterson THE SOLO Kurt Kemmerer Kurt Peterson John Kennedy Pradeepkumar Pl PIANO MJ Key Susan & John Poss Lois & James King Caris Power SERIES Midge Kirby Melanie Proctor Fred Kirchhoff & Ron Simonis Jim Quackenbush & Amy 2019 / 2020 Pat Klimas Johnson Greg Lang Alberto Rafols SEASON Liz Large Carol & Walter Ratzlaf Signe Larson Elizabeth Reichhoff Linda Laviolette Kathleen Reimann Boman Law Ruth Reimann Julie Lawrence Sally Reimann Don Lawton Charles Rice Robert & Susan Leeb Margaret Rice-Nizza Gerri Sue Lent Eike & Kathleen Richter Jennifer Lewis Sharla Rickles Nadja Lilly Gordon & Susan Riggs Dr. Derek & Lydia Lipman Charles Riter Ray Little Rachel Rittman Richard A. Lloyd-Jones Don & Barbara Roberts Kai On Lo Anna Robillard Sally Longo Karl Robillard Eric & Crystal Lovinger Susannah Robillard Sally Manafi Timothy Rowan John Mansfield Cathy Rowland Paul Mansfield Beth Ruml Mauricio Esteves Marcal Tiffany Russon DASOL KIM Ashley Marton Salesforce.org Ayako Matsuo Martin Salinsky JAN 25 & 26, 2019 / 4PM Louis & Judy McCraw Anne Savaria Ethel McIlwraith Linda Sawaya Robert Meadows Roger Saydack & Elaine LINCOLN HALL Bernat Sarah Meigs Dewaina Scafidi Jim & Melinda Mercer Nancy Scharbach Eric Merten Audrey Schindler January 25 Sarah Merten Elizabeth Schlosser & Beethoven: Susan & Elizabeth Meyer Nanette Gatchel Piano Sonata No. 30 in E Major, Op. 109 Ronald & Carolyn Miller Tommy Schroeder Evon Mitchell Maxine Selling Piano Sonata No. 31 in A-flat Major, Op. 110 Thomas & Dee Moore Carl & Julie Seneker Piano Sonata No. 32 in C minor, Op. 111 Mike Morey April Severson Jeffrey Morgan Lance Shipley Robert Morrison January 26 Scott Shoen Schumann: G e i s t e r v a r i a t i o n e n , W o O 2 4 Noreen Murdock Mary Slowik Siciliano Jordan Muse Maggie Skenderian Medtner: Chetyre skazki, Op. 26, No. 1 ; Noreen Myers Anne Smith Chetyre skazki, Op. 26, No. 2; Dve skazki, Gayathri Narayanan Douglas C. Smith Op. 20, No. 1 Helene & Graham Nash Susan DeWitt Smith Scriabin: Piano Sonata No. 3, Op. 23 Uma Nathan Timothy Smith & Kenton Patricia Navin & Philip Kullby Chopin: Scherzo No. 1, Op. 20; Scherzo Poleson Tom & Sheila Smith No. 2, Op. 31; Scherzo No. 3, Op. 39; Barry D. Olson Softright Pro Steele Scherzo No. 4, Op. 54 Maynard Orme Richard Solomon & Alyce Andrew Osborn Flitcraft 503.228.1388 Sarah Osgood Bing Wong Becky Parsons Sue Specht PORTLANDPIANO.ORG James Payne Rob Stackhouse

portlandpiano.org | 3 MOVING MUSIC FORWARD

NOVEMBER 23, 7:30 PM | NOVEMBER 24, 2 PM | NOVEMBER 25, 7:30 PM SIBELIUS’ THE TEMPEST

Sibelius meets Shakespeare, as a live theatrical cast brings drama to the Finnish composer’s moving incidental music.

featuring: Acclaimed stage director Mary Birnbaum, a live cast, conductor Carlos Kalmar, and the PSU Chamber Choir

Tickets start at $24

DECEMBER 7, 7:30 PM | DECEMBER 8, 2 PM | DECEMBER 9, 7:30 PM PROKOFIEV’S FIFTH Prokofiev’s richly melodic Fifth Symphony shimmers with the joy of one of the happiest times in his life.

program also includes: Beethoven’s dramatic Prometheus Overture and inventive, thought-provoking music by Gabriel Kahane (pictured)

featuring: Composer/vocalist Gabriel Kahane and conductor Christian Kluxen

Tickets start at $24

orsymphony.org 503-228-1353 your official source for symphony tickets 4 | Portland Piano International

MKT-394_Ad_PPI_Tempest-Prokofiev5B.indd 1 Portland Piano International program: 8.5 x 11 + .125 bleeds 10/30/19 11:42 AM Runs: 11/16 Artist: Sibelius’ The Tempest, Prokofiev’s Fifth FRIENDS CONTINUED ... Jennifer Stacy The Harold Gray Legacy Society John Stanley We are extremely grateful to these individuals Diana Stava Anonymous who have chosen to make a lasting impact John Steele Louis & Judy McCraw through their legacy gifts. Janet Stein Maynard Orme Daniel Stevens Vince & Robin Power Elaine Strahle Cynthia Strausbaugh Walter Stinger* Marlise Stroebe & David Zine Mary Jean Thompson Dr. & Mrs. Aron Swerdlin Harry Turtledove* Matthew Swetnam Patricia Turtledove* Emily Teitsworth To learn more, Harmony Teitsworth contact Bill Crane * Members whose legacy gifts have been fulfilled Brian Thomas at 503.228.1388 or Jocelyn Thomas [email protected] David Thompson Mary Jean Thompson Susan Auerbach Triplett Herbert Trubo & Steven Buchert Li Chin (Lisa) Tzeng Join the Sostenuto Society: William Udy Monthly Auto-Giving to Portland WIDNEY MOORE Julie Vaillancourt Piano International This program is dedicated Benjamin Venable Peter Vennewitz Nothing builds confidence both within to the memory of Widney Wayne Wakeland and outside our organization better Moore, who passed away than our knowing of the ongoing Remy Walters on September 20. Widney Charles Warren support from true believers, especially those who choose to make automatic was the executive director of Christopher & Stella Watson Portland Piano International Lou Watson contributions monthly via our Sostenuto Sabine Welling Society. Won’t you join us? For as little during a challenging transition Ben Werner as $10 per month up to the-sky’s-the- in 2009 / 2010. Widney will Tim Wessels & Margaret Wessels Miles limit, your regularly scheduled giving will be remembered for her grace Susan Whitcher help so much in our ongoing presenting and style, as an award-winning of great music. Elizabeth E. Willis textile artist, a philanthropist, Dotti, Jill & Cheri Wilson (in-kind) and someone with a deep love Jessica Wilson Thank you. Jeff Winslow for the piano. James Wolfston It is simple to sign up on-line at portlandpiano.org. Or, give our audience Robert Woods & Jeff Pittman engagement guy, Bill Crane, a ring at TRIBUTE GIFTS: Merri Souther Wyatt 503-544-2455 any time. He would love In honor of Bill Crane Teri Wymore to tell you more. Greg & Nan Anderson Sharon Wynde In memory of Florence Goodman Judith Yap PORTLANDPIANO.ORG/DONATE Jean Cauthorn Joseph & May Yip Jan Zingraf In honor of Filippo Gorini SOSTENUTO SOCIETY: Donors who Tom & Sheila Smith make monthly contributions to SOLO / In honor of Harold Gray Portland Piano International. Our apologies in advance for any omissions. Jean Cauthorn Every gift is important to us! Ellen Bergstone Wasil & Dan Wasil In honor of Pauline Jensen Bill Crane Lauren Canfield Yoko & Jonathan Greeney In honor of Tony Newcomb Amy Johnson & Jim Quackenbush Maynard Orme Maryellen & Michael McCulloch In honor of Ruth Reimann Maynard Orme Helen D. Christians Vince & Robin Power In memory of Bill Vanderheide Susan DeWitt Smith Ina Hammon Cameron & Carey Wiley

portlandpiano.org | 5 highlights include a complete Beethoven concerto cycle in Marseilles; performances of Copland’s Piano Concerto with the San Francisco Symphony and Michael Tilson Thomas in San Francisco and at Carnegie Hall; and a U.S. tour with the Academy of St. Martin in the Fields, playing and conducting Mozart and Shostakovich from the keyboard and premiering a newly commissioned concerto by Alasdair Nicolson. With the Minnesota Orchestra and Osmo Vänskä, Barnatan played Tchaikovsky’s First Piano Concerto on New Year’s Eve, followed by a Midwest tour that culminated in Chicago, and a return to the BBC Proms in summer 2018.

Barnatan is the recipient of both a prestigious 2009 Avery Fisher Career Grant and Lincoln Center’s 2015 Martin E. Segal Award, which recognizes “young artists of exceptional accomplishment.” A sought-after chamber musician, he was MEET THE ARTIST a member of the Chamber Music Society of Lincoln Center’s INON BARNATAN CMS Two program from 2006 to 2009, and continues to make regular CMS appearances in New York and on tour. His passion for contemporary music sees him commission and perform many works by living composers, including premieres of pieces by “One of the most admired pianists of his generation” (New Thomas Adès, Sebastian Currier, Avner Dorman, Alan Fletcher, York Times), Inon Barnatan is celebrated for his poetic sensibility, Joseph Hallman, Alasdair Nicolson, Andrew Norman, Matthias musical intelligence, and consummate artistry. He inaugurates Pintscher, and others. his tenure as Music Director of California’s La Jolla Music Society Barnatan’s most recent album release is a live recording of Summerfest in July 2019. The coming season brings the release Messiaen’s 90-minute masterpiece Des canyons aux étoiles of a two-volume set of Beethoven’s complete piano concertos, (“From the Canyons to the Stars”), in which he played the which he recorded for Pentatone with Alan Gilbert and London’s exceptionally challenging solo piano part at the Santa Fe Academy of St. Martin in the Fields. Barnatan’s upcoming Chamber Music Festival. In 2015 he released Rachmaninov & concerto collaborations include Mozart’s Piano Concerto No. 23 Chopin: Cello Sonatas on Decca Classics with Alisa Weilerstein, with Nicholas McGegan and the Los Angeles Philharmonic at earning rave reviews on both sides of the Atlantic. His most the Hollywood Bowl, Gershwin’s Rhapsody in Blue and Ravel’s recent solo recording, of Schubert’s late piano sonatas, was G-major Concerto with the Chicago Symphony, Rachmaninov’s released by Avie in September 2013, winning praise from Third Concerto with Gilbert and the Royal Stockholm Symphony, such publications as Gramophone and BBC Music, while his Clara Schumann’s Concerto with the New Jersey Symphony, account of the great A-major Sonata (D. 959) was chosen by and a recreation of Beethoven’s legendary 1808 concert, which BBC Radio 3 as one of the all-time best recordings of the piece. featured the world premieres of his Fourth Piano Concerto, His 2012 album, Darknesse Visible, debuted in the Top 25 on Choral Fantasy, and Fifth and Sixth Symphonies, with Louis the Billboard Traditional Classical chart and received universal Langrée and the Cincinnati Symphony. Barnatan also plays critical acclaim, being named BBC Music’s “Instrumentalist CD Mendelssohn, Gershwin, and Thomas Adès for his solo recital of the Month” and winning a coveted place on the New York debut at Carnegie’s Zankel Hall, returns to Alice Tully Hall with Times’ “Best of 2012” list. He made his solo recording debut Chamber Music Society of Lincoln Center, and reunites with his with a Schubert album, released by Bridge Records in 2006, frequent recital partner, cellist Alisa Weilerstein, for tours on both that prompted Gramophone to hail him as “a born Schubertian” sides of the Atlantic. The first takes them to London’s Wigmore and London’s Evening Standard to call him “a true poet of the Hall, the Netherlands and for Brahms and Shostakovich, keyboard: refined, searching, unfailingly communicative.” while the second sees them celebrate Beethoven’s 250th anniversary with performances of his complete cello sonatas in Born in Tel Aviv in 1979, Inon Barnatan started playing the piano San Francisco and other U.S. cities. at the age of three, when his parents discovered his perfect pitch, and made his orchestral debut at eleven. His musical A regular performer with many of the world’s foremost education connects him to some of the 20th century’s most orchestras and conductors, Barnatan served from 2014-17 as the illustrious pianists and teachers: he studied first with Professor inaugural Artist-in-Association of the New York Philharmonic. Victor Derevianko, a student of the Russian master Heinrich In summer 2017, he made his BBC Proms debut with the BBC Neuhaus, before moving to London in 1997 to study at the Royal Symphony at London’s Royal Albert Hall and gave the Aspen Academy of Music with Christopher Elton and Maria Curcio, world premiere of a new piano concerto by Alan Fletcher, a student of the legendary . has which he went on to reprise with the Atlanta Symphony and in also been an influential teacher and mentor. Barnatan currently a season-opening concert with the Los Angeles Philharmonic resides in New York City. For more information, visit www. at the Hollywood Bowl. Recent orchestral debuts include inonbarnatan.com. the Chicago, Baltimore, Fort Worth, Indianapolis, Nashville,

San Diego, and Seattle Symphony Orchestras, as well as the Leipzig Gewandhaus Orchestra and the London, Helsinki, PLEASE JOIN US IN THE LOBBY AFTER THE Hong Kong, and Royal Stockholm Philharmonics. Other recent PERFORMANCE. MR. BARNATAN WILL BE ON COVER PHOTO AND PAGE 6 PHOTO CREDIT: MARCO BORGGREVE HAND TO SIGN CDS AND AUTOGRAPHS.

6 | Portland Piano International ARTIST SPONSOR INON JON & YOKO GREENEY BARNATAN

THE FOCUS, THE POWER, THE PASSION, THE SKILL TO BRING YOU TWO DAYS WITH TWO UNIQUE PROGRAMS

LINCOLN HALL AT PORTLAND STATE UNIVERSITY

NOV 16, 2019 / 4PM NOV 17, 2019 / 4PM "SONGS WITHOUT WORDS" "VARIATIONS ON A THEME" FELIX MENDELSSOHN Time Traveler's Suite: SONGS WITHOUT WORDS JOHANN SEBASTIAN BACH Op. 19b, No.3, A Major “Hunting Song” TOCCATA IN E MINOR, BWV 914 Op. 67, No. 2, F-sharp minor Op. 30, No. 4, B minor “The Shepherd’s Lament” GEORGE FRIEDERICH HANDEL Op. 67, No. 5, B minor Op. 62, No. 1, G Major FROM SUITE IN E MAJOR, HWV 430: ALLEMANDE Op. 62, No. 3, E minor “Funereal March” Op. 19b, No.1, E Major JEAN-PHILLIPE RAMEAU Op. 67, No. 4, C Major “Spinning Song” FROM SUITE IN A MINOR: COURANTE Op. 19b, No. 6, G minor “Gondolier Song” Op. 85, No. 4, D Major “Elegy” FRANÇOIS COUPERIN Op. 62, No. 2, B-flat Major L’ATALANTE (12EME ORDRE) RONALD STEVENSON MAURICE RAVEL PETER GRIMES FANTASY FROM LE TOMBEAU DE COUPERIN: RIGAUDON THOMAS ADÈS GEORGE GERSHWIN BLANCA VARIATIONS PRELUDE NO. 2 I GOT RHYTHM (ARR. EARL WILD) GYÖRGI LIGETI MUSICA RICERCATA, NO. 11 & 10 - INTERMISSION - SAMUEL BARBER FRANZ SCHUBERT FROM SONATA IN E-FLAT MINOR: FUGUE SONATA IN A MAJOR, D. 959 Allegro Andantino - INTERMISSION - Scherzo: Allegro vivace Allegretto JOHANNES BRAHMS VARIATIONS AND FUGUE ON A THEME BY HANDEL, OP. 24

Food, beverages, cameras and recording devices are not permitted in Lincoln Performance Hall. Smoking is not permitted in the Performance Hall or in the building. Please silence all cell phones.

INON BARNATAN APPEARS COURTESY OF OPUS 3 ARTISTS portlandpiano.org | 7 CONCERT-AT-CHRISTMAS: DANCE PARTY THURSDAY, DECEMBER 26, 2019 | 7:30 PM ARLENE SCHNITZER CONCERT HALL Aaron Copland: Danzón Cubano John Williams: Yoda’s Theme from “The Empire Strikes Back” Tickets start at $10 at portlandyouthphil.org/concerts

ONGOING SERIES WHITSELL AUDITORIUM Essential Cinema Familiar and rediscovered classics — regularly screened on original celluloid formats and via new restorations.

NWFILM.ORG

8 | Portland Piano International PROGRAM NOTES: SAT / NOV 16 held Mendelssohn as a “favorite,” loved these short, evocative pieces, Melodies for the Pianoforte, the later and had him to play them for her volumes used the title Songs Without Words often, privately and in company, and By Bill Crane, Director of Audience 26 minutes even played some of them herself. Engagement, Portland Piano ESTIMATED DURATION: But, it is probably most valuable to International “People often complain that acknowledge, first, that these “Songs music is too uncertain in its without Words” initiated a style of "Songs Without Words" meaning, that what they should composing emulated by many later be thinking as they hear it is This program is about words. Well, composers, including Edvard Grieg, unclear, whereas everyone Anton Rubenstein and even his sister, maybe not exactly about words, but it understands words. With me it certainly reflects a strong inspiration Fanny, among them, giving wonderful is exactly the reverse, and not stuff to the canon of the piano, and from the realm of music with words. Or, only in the context of an entire of course, music specificallywithout that, second, there is nothing wrong speech, but also with individual with parlor music when it’s this good! words. (See Mendelssohn, below.) words. These, too, seem to me Perhaps it would be better to say that so uncertain, so vague, so easily In each of these “songs,” and in their it is derived from music that seeks misunderstood in comparison groupings by four different opus to express specific meaning. In any to genuine music that fills the numbers, not to mention the whole case, it is a remarkable juxtaposition soul with a thousand things mess of them, over two hours in of pieces that, I think, will, by the end, better than words. The thoughts duration, we are treated to splendid add up to more than the sum of its expressed to me by the music aural “imagery” and exceptional tone parts. I love are not too indefinite to painting. One can easily imagine texts That juxtaposition, indeed, and the be put into words, but on the and tales that could be associated with resulting effect, seems to be of contrary, too definite.” each. Many poets and admirers, both prime importance to Mr. Barnatan. – F. M. (Mendelssohn’s own italics) wise and foolish, have often tried to do just that. Mendelssohn objected, “A program is a chance to put things “My birthday was celebrated together that interact with each other though, particularly when his friend very nicely ... Felix has given Marc-André Souchay tried to turn them and when you hear them next to each me a 'song without words' for other, it makes more of an impact.” into literal songs by adding texts. I’ll my album (he has lately written put no quotations here. We are here There is a lot of impact, indeed, to several beautiful ones). – Fanny be heard in these assembled pieces. just to listen to them as written, pure Mendelssohn in an 1828 letter. and simple. Welcome to Inon’s personal concept (Felix, in fact, wrote the score out for what a piano recital can convey. entirely in his own hand in her By the middle part of the 19th century, music album.)” the time of these compositions, – Fanny Mendelssohn in an 1828 letter the piano had become a very FELIX (Felix, in fact, wrote the score out entirely popular instrument, one that was in his own hand in her music album.) increasingly common in middle class MENDELSSOHN European homes. Of course, owners Mendelssohn wrote these songs for SONGS WITHOUT WORDS of these instruments sought out a number of purposes, one of which, pleasant, useful music for their own COMPOSER: February 3, 1809 in Hamburg, nobly, in my opinion, was to give entertainment and for that of friends. Germany; died November 4, 1847 in Leipzig pianists of moderate and better skill Mendelssohn’s piano songs were quite WORK COMPOSED: composed between “useful” pieces that could be fine popular almost instantly and remain 1820 and 1840; the first set published by material for concerts in homes and his most well-remembered and most- Novello in London in 1832 as Original even fancier settings. Too, scholars played works in our own time. tell us that Queen Victoria, who

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Dutch Prince William III dances in Sir Roger De Coverly publishes George Friederich Handel is premiere of “Ballet of Peace” on the “Virginia Reel” in England; born February 23 in Halle (Saale), February 7; François Couperin is J.S. Bach is born on March 21 in Germany; Henry Purcell composes born November 10 in Eisenach, Germany “A song for the Duke of Gloucester's Birthday” portlandpiano.org | 9 Some of the songs, of course, bear with fellow adventurers in pianism significant musical ideas to a wider titles, but Mendelssohn ascribed only and composition (Busoni, Grainger, audience.) a few of them. The others were added and Paderewski were among his Here is Stevenson on his own work: by his publishers after his death. Some idols.) Too, he had a profound social “Peter Grimes is the living conflict. are sticky sweet: “Consolation” and and political conscience and was His pride, ambition, and urge for “Sweet Remembrance” and so on. outspoken in many admirable ways. independence fight with his need for Others (“Spinning Song,” “Gondolier’s Movie-star good looking, and with love: his self-love battles against his Song”) give us a few nice mnemonics a flair for dressing well, he was self-hate . . . .” Thus, into the morning by which to remember them. omnivorous in his explorations of fog we depart for this exceptional unorthodox inspirations for composing. Melody, as we immediately hear from reflection of Britten’s austere, bleak Some critics called him post-modern, the first measures, is supreme here. tale. and that may be just. Most of all, By “omitting” texts, as Mendelssohn’s though, one should observe his biographer R. Larry Todd wrote, these rigorous compositional processes brief works “broached in a different married to vivid post-Romantic GEORGE way the ability of music to convey emotion. Particularly in the piano extramusical ideas.” What a fine tour GERSHWIN music, requiring exceptional virtuosity of imagined things we get to take to play, we can hear his respect for the PRELUDE NO. 2 in listening to this carefully chosen musical past and his striving toward a collection of favorites from Inon! COMPOSER: born Jacob Bruskin new aesthetic. His music seems always Gershowitz September 26, 1898 in to reveal his passion for celebrating all Brooklyn; died July 11, 1937 in Los Angeles of human experience. RONALD WORK COMPOSED: 1926, published in This “piece of music in love with a 1927 STEVENSON piece of music,” as I often say about ESTIMATED DURATION: 5 minutes PETER GRIMES FANTASY transcriptions, variations, and the like, We seem, happily, to get a little incorporates a fugue on two subjects COMPOSER: born March 6, 1928 in Gershwin just about every year in and strives, quite successfully I think, Blackburn, Lancashire; died March 28, 2015 one of the recitals on this series and to give the listener a remarkably in West Linton, Scotland it is good to have some again today. profound acquaintance with the most (“Fascinating Rhythm” was the offering WORK COMPOSED: 1971, for the pianist important stuff of Britten’s opera in Graham Johnson last year.) The two works joined here very compressed time. In the Fantasy, show us all the hallmarks for which ESTIMATED DURATION: 7 minutes quotations of storm music and the we love Gershwin: clear influence Dawn Interlude that reflects Grimes’s from jazz, the ease by which they The name of composer Ronald drowning at sea are juxtaposed, Stevenson may be new to many in seem right for any setting from a making it, in a way, a microcosm of the dive to something after dinner with today’s audience, as it was to me, entire opera. In crafting it, Stevenson and this Fantasy, based on themes friends at home to a concert hall. He used techniques and tricks that would is one of our very greatest American from ’s opera, Peter have been admired by Liszt. Britten Grimes, may send us all looking into composers, a real treasure in our approved of it and it is easy to imagine musical patrimony. more of his music. Stevenson was that he quite admired its compelling, actually quite prolific and even a quick forward power. (Britten himself That jazz flavor is amply evident in search of his music on YouTube will arranged parts of the opera score the Prelude No. 2 (of a set of three.) yield one many fine things, in multiple as independent pieces, too, among Beginning with a veiled melody over genres, to listen to. them the Four Sea Interludes and the a confident bass line, it proceeds by His was an astonishing musical life, Passacaglia. Such transcriptions have harmonies reminiscent of the stuff 87 years of it, full of fascination always been useful for promulgating by which blues music is made. In the

1717 1750 1797

On March 2 The Loves of Mars On May 1 George Friederich Handel Franz Schubert is born January and Venus becomes the first inaugurates benefit performances 31 in Vienna; Italian dancer, ballet performed in England; of his oratorio Messiah for the choreographer and dance François Couperin composes Foundling Hospital in London; J.S. theoretician Carlo Blasis is born on L'Atalante Bach dies on July 28 in Leipzig November 4 in 10 | Portland Piano International middle, the key, tempo, and theme all change; only the style holds them Hank Willis Thomas: together. The first material returns in WI All Things Being Equal… the final section, a bit abbreviated, The Portland Art Museum then ends sort of smoking its way up LL presents the first the keyboard. Of it, Gershwin himself major survey for the said that he thought of it as “a sort of IS Brooklyn-based artist. blues lullaby.” HA GERSHWIN, ARR. TH BY EARL WILD OM I GOT RHYTHM AS ARRANGER: born November 26, 1915 in NKOCT. Pittsburgh; died January 23, 2010 in Palm 12 Springs 2019 ALL WORK COMPOSED: Gershwin’s original was published in 1930; Wild’s “Virtuoso — Etudes after Gershwin” were composed in THINGS 1954 and 1973 JAN. ESTIMATED DURATION: 5 minutes 12 The American crazy-virtuoso pianist 2020 portlandartmuseum.org BEING

Earl Wild, pal of Eleanor Roosevelt, Hank Willis Thomas (American, born 1976), Promise, 2016. Fiberglass and chameleon auto paint, Private Collection, Image courtesy of the artist and Jack Shainman Gallery, first performer ofRhapsody in Blue, New York. © Hank Willis Thomas. concert artist for six Presidents in EQUAL... the White House, etc., undertook to make crazy-virtuoso arrangements of steps in the lobby at intermission for this one is the middle of the three. In many of Gershwin’s songs (to limited having heard this, I would think that contrast to the other two, the mood triumph, in my opinion). In doing so, just exactly the right reaction! of the A-Major Sonata is not primarily he fused the traditions of 19th-century tragic. Schubert certainly knew he transcribing (think of Liszt again) with was peering at his own mortality, but the thoroughly modern material that he saw brightness in the distance we so admire in original form. He FRANZ SCHUBERT as well as somber things. As a set turned a great sleight of hand here SONATA IN A MAJOR, D. 959 (which, actually, they are not), they are and by rendering this and the other COMPOSER: born January 31, 1797 in markedly different from one another songs into show pieces worthy of Vienna; died November 19, 1828 in Vienna in character and effect. This sonata, the concert hall, yet retaining their like its two siblings, so reflects his jazziness, he did a great service WORK COMPOSED: composed shortly last years of suffering, a time of great to Gershwin, who so wanted to be before his death in 1828 and published in 1837-38 despair and deprivation. It is, to my considered a “serious” composer. ears, a testament of exceptionally But, maybe it’s best just to forget all ESTIMATED DURATION: 38 minutes personal revelation coming from a that sort of musicological talk and just “The moment is supreme.” composer who, with few peers, so revel in the fun, the joy, that gushes – F.S. endlessly revealed his own heart in from Gershwin’s wonderful tune. If you Schubert wrote three piano sonatas myriad works. feel that you just have to dance a few at the end of his all-too brief life and

1809 1820 1832

Felix Mendelssohn is born on “Hail to the Chief” is published – The first set of Mendelssohn's February 3; Beethoven composes words by Sir Walter Scott and music Songs without Words is published; his Six variations on an original by James Sanderson; Mendelssohn E. A. Théleur writes Letters on theme (the “Turkish March” from begins composing Songs without Dancing about ballet, but also a The Ruins of Athens) in D Major, Words section on social dancing Op. 76 portlandpiano.org | 11 an exceptional lyricism floating on a sea of triplet figures. A second theme THE is full of repose and simplicity. These SHARING LIGHT ideas spin together for quite some with the choirs of time to marvelous effect. Congregation Beth Israel, Trinity Episcopal Cathedral & A three-part structure is easily Pacific Youth Choir along with Portland Chamber Orchestra perceptible in the slow movement. A hypnotic, rocking theme unspools Saturday, December 21, 7 pm / at Trinity Cathedral languorously in f-sharp minor, then featuring G.F. Handel Messiah (Christmas portion) gives way to a middle section marked by sharp dissonances, chromatic Sunday, December 22, 4 pm / at Congregation Beth Israel scales, fluttering trills, and a bass line featuring G.F. Handel Judas Maccabeus (excerpts) that rumbles below it all.

The light-hearted mood of the succeeding scherzo is a welcome delight after the seriousness of the prior movements. The latter part of the scherzo seems to face off serenity and violence, or even reason and madness, against each other.

The finale in rondo form (main theme/refrain-idea-refrain-next idea-refrain-third idea-refrain-etc.) TICKETS: Available now at trinity-episcopal.org/music-series lets us see, I think, most clearly the congenial, sincere man that all his contemporaries thought him to be. Vast in its dimensions (cranky sorts expressive harmonies, rhythmic vitality, It is all too easy for any of us to put will talk of it being “discursive” or “too charming changes of key, emotion- “the greats” in a mental museum, if full of repeats” or will reveal their own charged shifts from major to minor, not a mental mausoleum, because attention deficit disorder somehow), figuration that is almost always fresh they can seem removed from our own it unfolds in a noble way. There will and personal (with an occasional time, so it strikes me as terrific that be a stormy, minor key episode in tendency to ramble), and great we are invited especially today to the middle, as is true in so much of freedom in the handling of classical listen even more closely to this ultra- Schubert’s music. The writer Joseph form.” personal pouring forth of “self” from Machlis had this to say about the The sonatas were not published the composer who so easily can also sonatas altogether: Schubert “was before Schubert died. The famous be considered to be a friend. not the master builder Beethoven publisher Diabelli put them out was. Inevitably he loosened the form, “All three of the last sonatas are ten years later, in 1838, adding introducing into its flexible architecture works in which meditation, charm, a dedication to Schumann, an the elements of caprice and whimsy, wistfulness, sadness, and joy are appropriate thing to do because of his improvisation and inspired lyricism. housed in noble structures.” enthusiasm for Schubert’s music. His sonatas are spacious, fantasy- – George R. Marek, 20th-century like compositions that display all the A grand, majestic subject opens this music executive and biographer of characteristics of the Schubertian sonata and then gracefully moves into manycomposers style – spontaneous melody, richly

1840 1861 1875

“Tippecanoe and Tyler Too” Lola Montez, the famous “Spanish Maurice Ravel is born on March comes out of the campaign of of dancer” and mistress of King 7 in Ciboure, France; in the US President William Henry Harrison; Ludwig I Bavaria, dies on January the popular song “Carve Dat Felix Mendelssohn completes his 17; Brahms composes Variations Possum” is published by Sam Songs without Words and Fugue on a Theme by Handel, Lucas & Herbert Hershy 12 | Portland Piano International Op. 24 PROGRAM NOTES: SUN / NOV 17 of a keyboard suite, the last movement and composer Dietrich Buxtehude of which gives it the nickname “The Harmonious Blacksmith.” It is normal for concert artists ESTIMATED DURATION: 8 minutes appearing in this series to “invite” Most old-time suites (Bach, Handel, us on a “journey” musiically. In this Rameau, et al) typically begin with a JEAN-PHILIPPE program, though, it seems to me prelude, usually free-wheeling and that Inon Barnatan will do that with attention-getting before the dance bits RAMEAU a special kind of charm and, in the begin, and Bach’s wonderful e-minor COURANTE FROM SUITE IN first half, with a conciseness and Toccata stands in for that function. A A MINOR thoroughness that is really exceptional. wonderful weaving together of florid COMPOSER: born September 23, 1683 in In choosing to craft a “suite” of flights of virtuosity, adagio moments, Dijon; died September 12, 1764 in Paris and sparkling fugues, it is, indeed a seemingly disparate pieces – and, WORK COMPOSED: 1726-27, included in yes, he has been quite observant of fine “invitation to the dance.” One of Nouvelles suites de pièces de clavecin the traditions of dance inspiration that the seven Toccatas Bach composed ESTIMATED DURATION: 4.5 minutes define a suite – he will take us on a fairly early in his life (all were heard fantastic ride of sharply contrasting on this series last May), this is just the “We must have recourse to the compositional approaches. But, it right music to set the stage, as it were, rules of music when our genius and coheres remarkably and, I predict, will for the movements yet to come. our ear seem to deny what we are be of very moving impact. seeking.” – J-P.R. To our modern eyes and ears, much The compositional organization of GEORGE of the 18th-century French aesthetic a “suite” began in the 17th century can seem “merely” all perfumed and, while fading for a time in the FRIEDERICH and curlicued and lacy, but a closer 19th, it then enjoyed robust revival HANDEL examination reveals that, from the in the 20th. It is still popular with best composers and artists, there is contemporary composers. ALLEMANDE FROM SUITE IN E MAJOR, HWV 430 an underlying solidity, an orderliness So, why shouldn’t an artist select that renders all that ornamentation not COMPOSER: born February 23, 1695 in pieces that fulfill the tradition of Halle (Saale), Germany; died April 14, 1759 at all frivolous, but, rather, necessary slow-fast-slow-fast-dances-with-a- in London and thrilling. In this Courante, one can prelude-etc., and take it a step further hear melodic and harmonic sequences WORK COMPOSED: prior to 1720 to challenge and engage the ear and (repetitions of small ideas in heart of the listener in new ways? ESTIMATED DURATION: 1.5 minutes modulating and very pleasing ways) as Barnatan, I think, in this program As piano students and fanatics all intriguing as can be; think of parallels, selection has done this brilliantly. know, of course, the Allemande is the for example, in the Rococo decoration first of four “required” movements in of an organ case of the same period. a suite. Originally a dance in duple For added fun, note how Rameau JOHANN meter of moderate tempo, in early takes the left hand zooming around SEBASTIAN BACH usage, it characteristically featured a in the bass notes two octaves and “double-knocking” upbeat of one or more below middle-C, an extra sonic TOCCATA IN E MINOR, BWV sometimes three sixteenth notes. But opportunity for the grand piano! 914 such musicological detail may be Too COMPOSER: born March 21, 1685 in Much Information! We can enjoy this Eisenach; died July 28, 1750 in Leipzig Allemande for its easily accessible FRANÇOIS WORK COMPOSED: after Bach’s trip to melody and form and can smile on COUPERIN Lubeck in 1705 to hear the great organist remembering that it is the beginning

1897 1910 1915

On February 27 Marian Samuel Barber is born March 9, “I Love a Piano” by Irving Berlin Anderson, American contralto in West Chester, PA; Kansas City is published; Earl Wild is born and celebrated singer, is born in bans the animal-inspired dance November 26 in Pittsburgh Philadelphia; Johannes Brahms “The Grizzly Bear” on September dies on April 3 in Vienna 30 portlandpiano.org | 13 MAURICE RAVEL Janina Fialkowska, piano RIGAUDON FROM LE March 11, 2020 TOMBEAU DE COUPERIN COMPOSER: born March 7, 1875 in Ciboure, France; died December 28, 1937 in Paris

WORK COMPOSED: between 1914 and 1917 ESTIMATED DURATION: 3 minutes

“We should always remember that sensitiveness and emotion constitute the real content of a work of art.” – M.R. Ravel, like many of his contemporaries, Vincent d’Indy in the lead among them, took a great interest in French music of his predecessors, particularly Jan. 29, 2020 the grand keyboard tradition of the Theo Bleckmann, vocal 18th-century clavecinistes, two of whose music we will have just heard. In the early part of his maturity as a 2019–20 Grace Goudy composer, he undertook to write a Music Distinguished Artists Series “French Suite” in homage, in a sense, TICKETS: willamette.edu/go/goudy to that tradition and its practitioners. 503-370-6255 | [email protected] 900 State Street, Salem But, this was the time of World War I and that music, like Ravel’s life, would be greatly changed by the tragedies keyboard tradition, we get our next L’ATALANTE (12EME ORDRE) of that conflict. The music, of course, dance from the Twelfth “Order” COMPOSER: born November 10, 1668 in honors Couperin but, more important, of Couperin’s Second Book of Paris; died September 11, 1733 in Paris became a set of six movements Harpsichord Pieces, that being the reflective of and memorializing six of WORK COMPOSED: 1717 term he used to connote a suite. Ravel’s friends killed in battle. (The ESTIMATED DURATION: 1.5 minutes Some of the movements in his Ordres whole Tombeau was heard on this are titled with the dance terms and “Experience has taught me that series last year.) hands that are strong and capable others, like today’s L’Atalante, have of executing that which is fastest deliberately ambiguous titles. No mind Ravel strove, successfully, I think, and lightest are not always those – here is a fine flurry of notes in just to revive the grandeur of that prior which succeed in the tender and two voices that sails along, hardly ever musical tradition, the Baroque dance sentimental pieces, and I would taking a breath. Scholars puzzle over suite, with snappy rhythms and acknowledge in good faith that I like which Atalante the title refers to, the abundant ornamentation, but with better what touches me than what mythological, fierce Greek huntress decidedly 20th-century chromatic surprises me.” – F.C. in his preface to or the sorcerer Atalante of the late- harmony and a kind of neoclassicism. medieval Orlando tradition. the Pièces de clavecin (Paris, 1713) The 18th-century Provencale rigaudon Staying in the splendid French that Ravel “borrowed” as a framework

1923 1937 1953

Composer/pianist James P. Johnson George Gershwin dies on July 11, Disney releases the short film composes "The Charleston", which in Los Angeles; Fred Astaire's hit How to Dance starring Goofy popularizes the dance by the same "They Can't Take That Away From learning the basics of ballroom name; Györgi Ligeti is born on May Me" spends 11 weeks on the top of dancing; Györgi Ligeti composes 28 in Târnăveni, Romania the musical charts Musica Ricercata

14 | Portland Piano International for his Rigaudon was a quick, courtly Competition. Adès chose a folk tune some of the more radical directions social dance and he retained its from the Spanish Sephardic Jewish Ligeti would take in composing down enthusiastic rhythmic character, but tradition, Lavaba la blanca nina, sung the road a piece. inflected it with bright colors that in Ladino dialect, and of it said that it Eleven movements comprise the sound fresh every time one hears displays “an unassuageable harmonic Musica Ricercata and with today’s them. A contrasting quiet section in structure very typical of longing and selection of the last two movements, in the middle lends a reflective moment bereavement.” reversed order, we are introduced to in the swoosh of this fine dance. Five variations after the poignant his compositional practice of limiting theme explore emotional depths the number of pitches allowed. Two THOMAS ADÈS that many of us are shy to visit. With appear in the first movement, another wildly ornamented melodic lines and is added in the next, and so on until all BLANCA VARIATIONS rhythms reminiscent of the flamenco twelve pitches of our normal chromatic COMPOSER: born March 1, 1971 in London tradition, we are confronted with a octave appear in the last movement. character (the theme) of unparalleled (The tenth contains everything except WORK COMPOSED: 2015 force of will, but, in the variations, must C-natural.) ESTIMATED DURATION: 5 minutes equally meet moments of tragedy and The eleventh piece is an homage to unbearable pain. The final variation, Girolami Frescobaldi, the 16th and “In every work of genius we filled with crazy, delirious ornaments 17th-century composer who was long recognize our own rejected and trills is unsurpassed pathos. thoughts.” – critic Alex Ross reflecting on organist of St. Peter’s Basilica in Rome. Thomas Adès’s compositions A master of the toccata (see above!) GYÖRGI LIGETI and the ricercare, he, too, was an “ ... There was a bit of attraction and experimenter with sequences of notes, a bit of repulsion in that these sour MUSICA RICERCATA going further afield chromatically (that notes made me wince, but I really COMPOSER: born May 28, 1923 in is, notes beyond the “legal” scale of a wanted to go back to them and find Târnăveni, Romania; died June 12, 2006 in piece) in melodies and being quite the out why they hurt me so much.” –T.A. Vienna, Austria innovator. Ligeti’s ricercare here uses Many in today’s audience will know all 12 notes of the chromatic scale in WORK COMPOSED: 1953 the name and music of Thomas Adès various intervals in the main theme because, happily, several of his great ESTIMATED DURATION: 5.5 minutes and a descending scale for the second works have been played by the subject. In 1953, he published an “Once, in London, the BBC asked me Oregon Symphony in recent time. organ version of this movement, titling what was my favorite English book. I Too, Adès’s opera, The Exterminating it Ricercare per organo – Omaggio a said Alice in Wonderland.” – G.L. Angel, based on a film by Luis Bunuel, Girolamo Frescobaldi. was one of the recent selections for Surprise! Actually, not a surprise . . . The tenth movement (without high-definition live broadcast into there is a double meaning in Ligeti’s C-natural!) could be described as movie theatres by the Metropolitan title, Musica Ricercata. He refers a frantic dash of close, dissonant Opera. Perhaps a few lucky folks first to thericercare , a 17th-century scales and arpeggios, egged on by among us got to see it live in New predecessor of the Baroque-period startling rhythms. Near the conclusion, York. I envy them. fugue, but also to his own life-long striving to create a compositional big tone-clusters are to be played Today’s work, the Blanca Variations, process and style “out of nothing,” “spitefully” and “like a madman,” but appear in that opera in the first act, entirely his own. That is, we could then we get a curious, gentle slide in but were originally commissioned as translate that Latin title as “Researched arpeggios right down to the left end a stand-alone composition for the Music” or “Sought-Out Music.” All that of the piano. Maybe Ligeti was just 2016 Clara Haskil International Piano said, in this we get a heads-up about teasing us?

1971 2006 2015

"Joy to the World" by Three Dog On June 12, Györgi Ligeti dies Ronald Stevenson dies on March Night topped the charts; Ronald in Vienna; the following week 28in West Linton, Scotland; on Stevenson composed Peter Natasha Bedingfield's "The One April 10, the San Francisco Ballet Grimes Fantasy That Got Away" topped the US premieres Swimmer, a ballet dance single charts choreographed by Yuri Possokhov

portlandpiano.org | 15 over climax with a cadenza like no finale of his fourth and final symphony, SAMUEL BARBER other and sounds crashing all over for example, contains a passacaglia, SONATA IN E-FLAT MINOR: the keyboard like a big house afire, that mountain of music made over an FUGUE leading to one of the most thrilling and oft-repeated bass line. In choosing a deeply pleasing conclusions in the theme for this set of variations (there COMPOSER: born March 9, 1910 in West whole of 20th-century music. are other sets, of course), he chose a Chester, PA; died January 23, 1981 in NYC composer from more than a century WORK COMPOSED: 1947 JOHANNES prior to his own time. ESTIMATED DURATION: 5 minutes Taken from Handel’s Suite in B-flat BRAHMS Major, HWV 435, of 1733, the theme “I have always believed that I need a is a best example of precisely circumference of silence. As to what VARIATIONS AND FUGUE ON A THEME BY HANDEL, OP. 24 those “antique” characteristics that happens when I compose, I really Brahms loved and admired. (Brahms haven’t the faintest idea." – S.B. COMPOSER: born May 7, 1833 in Hamburg, was a passionate bibliophile and Some years ago, I wrote that that there Germany; died April 3, 1897 in Vienna owned a first edition of the Handel should be a statue of Samuel Barber original.) With its two balanced WORK COMPOSED: 1861 somewhere in America. I still feel halves, each repeated, and the lovely that way. My 50-year acquaintance ESTIMATED DURATION: 27 minutes ornamentation that makes it all the with his music has only increased my more engaging, we have the departure “In a theme for a [set of] variations, belief that he was one of our nation’s point for two-dozen-plus-one it is almost only the bass that greatest composers. This sonata, from variations that range from the poetic to has any meaning for me. But which we will hear the final movement nearly unbridled exuberance. this is sacred to me, it is the firm to conclude Inon’s happily contrived foundation on which I then build my Much of his proceedings could be suite, is evidence of that genius and stories. What I do with a melody is considered traditional, staying, as generosity. Commissioned in 1947 by only playing around ... If I vary only he did, with honored genres of the Irving Berlin and Richard Rogers to the melody, then I cannot easily be musical past: we hear a siciliana, a celebrate the 25th anniversary of the more than clever or graceful, or, canon, a musette, and so on, not to League of Composers, the booster indeed, [if] full of feeling, deepen a mention the towering fugue of the end. club for American music, this sonata pretty thought. On the given bass, But, Brahms was no stick in the mud. was originally conceived to be of three I invent something actually new, We hear multiple rhythms in two of movements. Vladimir Horowitz, chosen I discover new melodies in it, I the variations, hefty chords and grand for the premiere, convinced Barber create.” – J.B. sonorities in others, even “Gypsy violin that it needed a big finale and he gave sixths” right in the variation in the Horowitz that and more. Any audience member this afternoon middle. How he did this is, of course, who has come to these recitals for important, but even more important, I This is a FUGUE in all capital letters, some time (New people! – Keep would claim, is how it grows in majesty meaning that Barber utilized every coming! It’s great every time!) will as the variations unroll. One might well compositional device that generations have had the experience of “finally” be ready to stand and salute by the of composers ever did, sometimes by hearing not merely a favorite work, end of the last variation. “the rules,” to render a marvel out of but one that has alternately inspired a plain theme, repeated and slightly and tortured one with its beauty and But, wait! He’s not done with us yet. altered by various voices conversing in siren-like calling to listen deeper A fugue subject of seemingly mincing radical agreement. (All fugues do this. and deeper to it. Such is the case for steps right at the beginning evolves, Some succeed more than others.) An me today with this masterwork from via that masterful contrapuntal skill he American, jazzy accent is perceptible Brahms. I bet I’m not the only one to had, into an aurally, intellectually, and in the proceedings, all to its benefit, feel that way. I like to imagine that heart-wise beguiling homage to the but it bows, too, to the great Russian we will all leave this evening slightly theme. It grows and grows and then piano tradition of vivid tone coloration better people for having heard it, comes a spine-straightening moment and huge sound borne out by especially from Inon. of “pedal-point,” a sort of rock- formidable technique. Horowitz must solid harmonic grounding while the have been thrilled. We will be, too. Brahms, as we know, quite admired fireworks start exploding. The finale is the musical achievements of prior simply heroic. There is a fine moment of calm in musical eras, particularly the Baroque, the middle and you might take the with its counterpoint, balance, Brahms was 28 years old when he memorable tune home with you, but elegance of proportion, and so on. The played this piece at his own debut then there is this busting-out-all-

16 | Portland Piano International concert in Vienna in 1862. Along with other significant THANK YOU TO OUR GENEROUS SPONSORS works, this, too, is dedicated to his “beloved friend” Clara BOARD OF DIRECTORS Schumann, a gift on her birthday in 1861. Scores of writers Maryellen McCulloch, Chair and nosy people have speculated about what really was the relationship among Johannes, Clara, and Robert. I prefer to Lauren Canfield,Treasurer reflect on the fulsome admiration they had for one another Brendan O’Scannlain, Secretary and how very kind and devoted they were, particularly after Dean Alterman, Immediate Past Chair Robert’s mental illness and death. Susan Franklin So very monumental, to my ears, is this music, so redolent Yoko Greeney of devoted love of many years’ duration, that I will close Judy Hummelt these remarks with a poem from the Pulitzer Prize-winning Carol Ihlenburg poet, Lisel Mueller so that you might have a little extra bit of Susan DeWitt Smith inspiration for close listening to one of Brahms’s best things. Nancy Stephens Johannes Brahms and Clara Schumann Larry Vollum The modern biographers worry Marc-André Hamelin “how far it went,” their tender friendship. 2019 / 2020 Guest Curator They wonder just what it means Harold Gray when he writes he thinks of her constantly, Artistic Director Emeritus his guardian angel, beloved friend. The modern biographers ask the rude, irrelevant question STAFF of our age, as if the event Ellen Bergstone Wasil of two bodies meshing together Executive Director [email protected] establishes the degree of love, forgetting how softly Eros walked This activity is supported in part by a grant Bill Crane from the Oregon Arts Commission and the in the nineteenth-century, how a hand National Endowment for the Arts. Director of Audience Engagement [email protected] held overlong or a gaze anchored in someone’s eyes could unseat a heart, Robin Power and nuances of address not known Associate Director [email protected] in our egalitarian language could make the redolent air Dan Wasil tremble and shimmer with the heat Director of Advancement [email protected] of possibility. Each time I hear the Intermezzi, sad and lavish in their tenderness, I imagine the two of them CONSULTANTS Mary Schwendemann sitting in a garden Piano Technician among late-blooming roses Adam Lansky and dark cascades of leaves, Recording Engineer letting the landscape speak for them, Jonathan Eifert leaving us nothing to overhear. Social Media Marketing ABOUT PORTLAND PIANO INTERNATIONAL

Since 1978 Portland Piano International has presented more than 250 CONNECT world-class pianists in solo recitals. Visionary Harold Gray founded Portland Piano International the series and guided its success for 35 years. In 2012, international concert pianist Arnaldo Cohen succeeded him. Harold Gray returned PO Box 6469 to curate the 2018 / 2019 season and Marc-André Hamelin agreed to Portland, OR 97228 be the first Guest Curator, both performing and selecting the other 503.228.1388 five artists. Each year a new guest curator will share his/her artistic [email protected] choices. Stay tuned! Portland Piano International remains committed portlandpiano.org to its artistic and educational mission creating opportunities for @portlandpiano young up-and-coming performers, commissioning new compositions Portland Piano International for solo piano and reaching new audiences across the region. FAST BECOMING THE NUMBER ONE CHOICE OF WORLD COMPETITION WINNERS 2014 RUBENSTEIN COMPETITION – TEL AVIV, ISRAEL 2015 CHOPIN COMPETITION – MIAMI, FLORIDA 2016 SYDNEY INTERNATIONAL PIANO COMPETITION 2017 SCOTTISH INTERNATIONAL PIANO COMPETITION

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18 | Portland Piano International