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Home , Carol Rosenberger, Gerard Schwarz, Howard Hanson

Carol Rosenberger, piano A Collection , conductor

HANSON STRAUSS FALLA HAYDN

DE 3306 2-disc set DE 3306 1 0 13491 33062 4

ach concerto recording in this col- zy Court, where Haydn spent so many lection originally appeared as the years as Kapellmeister. Mozart said about Esolo turn on a symphonic album his friend Haydn’s music that “he alone conducted by Gerard Schwarz. Jerry and has the secret of making me smile and I both relished the chance to present pi- touching me to the bottom of my soul.” ano-and-orchestra repertoire that was These two keyboard , with their “right” for the symphonic program and in buoyant, sometimes humorous outer some cases under-served on recording. It movements and their lovely, poignant was some time after all six had appeared in slow movements, could not be better this context that I began to think of them described. In my cadenzas for the slow as a collection of piano concertos seldom movements, I took the liberty of restating found on the piano-and-orchestra circuit each movement’s major thematic materi- that might deserve an album of their own. al in its entirety, with freely varied orna- mentation, as it seemed to me that each Although not heard often on the modern theme could well stand another hearing piano, the keyboard concertos of Joseph before we left the movement. Haydn are a staple of harpsichord and fortepiano repertoire. This is true espe- Burleske by and Nights cially of the wonderful D Major Con- in the Gardens of Spain by Manuel de certo, which is also used frequently as a Falla each represents its ’s only study piece for piano students. I admit to work originally written for piano and or- having played it with great enthusiasm chestra (although Strauss did arrange for when I was 10, but hasten to say that I piano, left hand two of his other works, wrote my cadenzas and lead-ins upon and Falla did write a chamber concerto revisiting the concerto many years later! for harpsichord and five other instru- The G Major Concerto is rarely played ments that could be played on the piano). on any instrument, but once discovered, Burleske and Nights also have in common usually inspires love at first hearing. Both piano parts that are, to an unusual de- concertos can arouse a momentary envy gree, an integral part of the orchestration of those lucky residents of the Esterha- of each concerto.

2 As an avid Strauss opera fan, I’ve had a ornamental figures that distinguish the wonderful time playing a piece that re- popular music of Andalusia, though they minds me of some whimsical and lyrical are rarely used in their original forms.” moments in some of my favorite operas. Strauss wrote the delightful Burleske in As for the great American composer and 1885 when he was 21 and already re- educator , I fell in love vealing himself to be what musicologist first with his choral music, then with his Michael Kennedy called “the fantastic symphonic music, especially the first conjurer of the orchestra… juggling three , and only then discov- with pianist and orchestra as if they were ered the Fantasy Variations on a Theme featherweights.” Hans von Bülow, for of Youth and the Piano Concerto. De- whom the concerto was written, found it spite his powerful position during his awkward to play and refused to perform 40-year tenure at the Eastman School in it, so the premiere and the dedication on Rochester, much of his music was looked the score went to the pianist Eugene d’Al- upon as old-fashioned and out of step bert. during his lifetime, and was therefore ne- glected. I enjoy rereading his famous cre- For me, total immersion in Falla’s exot- do on romanticism, bearing in mind that ic and colorful Nights in the Gardens of his music had to wait through both neo- Spain has proven to be a memorable ad- classical and atonal trends to complete venture. These “symphonic impressions,” the cycle of acceptance for an unabashed as Falla subtitled the work, stem from romanticism such as his. “I recognize, of 1911-1915, and had their first perfor- course, that romanticism is, at the pres- mance at the Queen’s Hall in in ent time, the poor stepchild, without the 1921, with the composer at the piano. social standing of her elder sister, neo- Falla described how he evoked “certain classicism,” Hanson wrote. “Nevertheless, effects peculiar to the popular instru- I embrace her all the more fervently, be- ments” of Andalusia in his imaginative lieving, as I do, that romanticism will find orchestrations, and chose themes “based in this country rich soil for a new, young on the rhythms, modes, cadences and and vigorous youth.”

3 Hanson wrote the engaging Fantasy the rhythmic passages that begin with Variations in 1951, to commemorate a sense of grounded energy and evolve the 100th anniversary of the founding into celebration – it’s all here. If I had any of , where the complaints at all it might be that in the composer had studied and taught over gorgeous slow movement there are places three decades earlier. “It occurred to me where Hanson wanted ever more intense that it would be appropriate if I could single, slow melody tones, arousing this write a series of variations on a theme pianist’s secret fantasy of applying vibrato which I wrote when I was a young stu- to the piano keys and suddenly being able dent there,” Hanson explained. “Looking to produce a series of vibrating, miracu- through my student works I found one lously swelling notes. theme which seemed to be as fresh today as it was when it was written well over 30 When Jerry Schwarz and I performed years ago. It was the opening theme of a and recorded the Concerto we used an concerto da camera for piano and string orchestral score still in manuscript, com- orchestra and I determined to use it as paring the piano part in that score with the basis for my new work.” The Fanta- the published two-piano study version. sy’s premiere took place at Northwestern We were fascinated at the differences we University on February 16, 1951, with the found between the two versions of the composer . piano part. Evidently Hanson had told Rudolf Firkusny, who had played the If Hanson’s Fantasy Variations can be premiere, “Rudy, if you think something categorized as a rarity in concert per- sounds better your way, play it that way!” formance, then his Piano Concerto, I took my cue from this quote. written in 1948, would qualify for the endangered species list. To me this piece — is vintage Hanson – the sense of space; the sentimental, soaring melodies whose treatment brings to mind images like am- ber waves of grain or sea to shining sea;

4 American pianist Carol Rosenberger Variations on a Theme of Youth, with has attracted an international audience Gerard Schwarz and the for bringing her special blend of refined Chamber . Rosenberger and virtuosity and poetically compelling Schwarz followed this recording with interpretations to both traditional and the rarely heard Hanson Piano Concerto contemporary repertoire. “Eloquent and with the . Together with sensitive playing” wrote The Times of Constantine Orbelian and the Moscow London, while that city’s Daily Telegraph Chamber Orchestra, Carol has recorded commented: “Her playing was alive to the premiere of Frank Bridge’s Chamber every fleeting sense impression, yet intel- Concerto for Piano and String Orchestra lectually commanding. These were ideal (arr. C. Orbelian), an arrangement of the performances.” Quintet (1912).

Beginning with the debut tour that elic- Carol’s celebrated series of concept-re- ited such comment in New York, , cordings began with Water Music of the London, , Vienna, and oth- Impressionists, which was selected by Ste- er capitals, Carol’s distinguished recital reo Review as one of the 25 Best Classical programs and guest appearances with Compact Discs of all time, by Gramo- orchestras carried her to most major Eu- phone as a Recording of the Year, and by ropean and American cities. More recent Billboard as an All-time Great Recording. concert appearances include New York’s Night Moods was the successful sequel; Town Hall, Philharmonic Hall and the followed by Singing on the Water, which Great Hall of the Tchaikovsky Conserva- included Barcarolles written especial- tory in Moscow, and tours of Scandinavia ly for the album by Sir Richard Rodney and the U.S., with the Moscow Chamber Bennett and the American composer Da- Orchestra under Constantine Orbelian. vid Diamond.

Over 30 recordings on the Delos label Carol’s Perchance to Dream, Lullabys for include her Grammy-nominated per- Children and Adults, struck a responsive formance of Howard Hanson’s Fantasy chord with all ages. The American Record

5 Guide called it “a splendid disc, to be trea- Scottish Chamber Orchestra was called sured by young and old," and com- “the best recording of that work now mented that it is “the perfect gift among available,” by American Record Guide. recordings for introducing a child to the With the London Symphony, Rosen- intimacies and universality of music.” berger and Schwarz recorded the Falla Nights in the Gardens of Spain and the Together with label founder Amelia Hay- Beethoven Concerto No. 4; with the good, Carol co-produced the Delos Mu- Seattle Symphony they recorded the sic for Young People Series, working with Strauss Burleske, and with the Los Ange- such distinguished narrators as James les Chamber Orchestra the Shostakovich Earl Jones, Michael York and Natalia Ma- First Piano Concerto. karova. She also wrote the script for Ma- karova’s narrated version of Stravinsky’s Born in Detroit, Michigan, Carol stud- The Firebird, a recording that won the ied in the U.S. with Webster Aitken and American Library Association’s “Notable Katja Andy; in Paris with the legendary Recording” award. ; and in Vienna with harpsichordist/ Baroque scholar Eta Carol’s affinity for the late works of Bee- Harich-Schneider and Schenker theorist thoven and Schubert resulted in highly Franz Eibner. In 1976 she was chosen to acclaimed recordings of the Beethoven represent America’s women concert art- Sonatas Op. 111 and 57, and the Schubert ists by the President’s National Commis- Sonata in B-flat. Her contribution to the sion on the Observance of International performance of 20th Century music is Women’s Year. She has been the subject reflected in her recordings of the Hin- of articles in many of the nation’s lead- demith Four Temperaments with James ing newspapers and magazines, and has DePreist and the Royal Philharmonic, been on the faculties of the University of and a pioneering all-Szymanowski disc. Southern California and California State University Northridge. She has given The Schwarz/Rosenberger recording of performance workshops for young musi- the Haydn D Major Concerto with the cians on campuses nationwide.

6 Carol has given numerous benefit per- own response to the artist/person he formances for physical rehabilitation heard that night: “Her performances have programs, an effort motivated by her an unforced quality that has nothing to own experience. Her official debut was do with lack of energy. Rather her playing delayed ten years by an attack of para- draws on an inner calm. One hears this lytic polio at the outset of her career. She too when she talks about the problems spent those ten years of seclusion and of a woman pianist, or about the need rehabilitation partly in Vienna, studying for a more engaging concert format...she Baroque style and theory at the Academy, has retained her humanity; her name is and absorbing German lieder, opera, in- worth remembering.” strumental music and literature.

Upon Carol’s return to the concert stage, not even her management knew, at the Internationally recognized for his mov- beginning, about her long ordeal. As her ing performances, innovative program- story became known, she proved to be an ming and extensive catalog of recordings, inspiration to many, and has been writing American conductor Gerard Schwarz a book about her experiences. She feels serves as Music Director of the All-Star that her successful struggle to overcome Orchestra, an ensemble of top musi- the after-effects of polio taught her a cians from America’s leading orches- great deal that she has been able to pass tras featured in a television series airing on to others. She has taught workshops, throughout the on public at the University of Southern California television. The series appears on DVD and other universities, in the wide-rang- (Naxos) and has been awarded three ing area of physical and psychological Emmy Awards and an ASCAP Award. preparation for performance. Schwarz also serves as Music Director of the Eastern Music Festival in North In an enthusiastic review of a Rosenberg- Carolina and Conductor Laureate of the er recital at Carnegie Hall, Mark Kanny, Seattle Symphony. then Music Editor of FM Guide, had his With more than 300 world premieres Shostakovich as well as his orchestral to his credit, Schwarz has always felt works of , Richard Strauss strongly about commissioning and per- and Rimsky-Korsakov. More than 50 discs forming new music. A 2013 initiative featuring Gerard Schwarz and the Seattle with the Eastern Music Festival and the Symphony – with works by 54 Bonnie McElveen Hunter Commission- ranging from the Baroque to contempo- ing Project has enabled ten new world rary periods – were released between 2012 premieres from American composers and 2014. In addition to his numerous to the festival over a period of ten years. recordings with the Seattle Symphony, he Richard Danielpour’s A Prayer for Our has also recorded with the Berlin Radio Time was featured in summer of 2013 Symphony, , English and John Corigliano’s work for violin and Chamber Orchestra, Juilliard Orchestra, orchestra was performed in 2014. During London Symphony, Los Angeles Cham- Schwarz’s tenure with the festival, he has ber Symphony, New York Chamber Sym- expanded audiences to the largest in its phony, Orchestre National de France, history, incorporated a composer in res- , Royal Liverpool idence program, developed three new Philharmonic, Tokyo Philharmonic and concert series and increased the focus on Eastern Music Festival. new works with 15 world premieres over three seasons. A sought-after guest conductor, Schwarz has led many of the world’s greatest or- A prolific recording artist, Schwarz’s total chestras and Opera companies. He discography numbers nearly 350 on more has appeared with the Juilliard Opera, than 11 labels. His pioneering cycles of Kirov Opera, Mostly Mozart Festival, American symphonists such as William San Francisco Opera, Seattle Opera and Schuman, and Howard Washington National Opera and has led Hanson have received high critical praise, 21 productions with the Seattle Opera as have his acclaimed series of Stravin- in addition to appearing on the concert sky ballets, symphony cycles of Robert platforms of some of the world’s most Schumann, and Dmitri prestigious venues. A graduate of The , In his nearly five decades as a respect- Schwarz joined the New York Philhar- ed classical musician and conductor, monic in 1972 as co-principal trumpet, a Schwarz has received hundreds of hon- position he held until 1977. Schwarz’s nu- ors and accolades including four Emmy merous previous positions include Music Awards, 13 GRAMMY nominations, sev- Director of New York’s Mostly Mozart en ASCAP Awards and numerous Stereo Festival, Music Director of the Royal Liv- Review and Ovation Awards. He holds erpool Philharmonic and Music Director the Ditson Conductor’s Award from Co- of the Los Angeles Chamber Orchestra lumbia University, was the first American and New York Chamber Symphony. named Conductor of the Year by Musi- cal America and has received numerous Schwarz, a renowned interpreter of 19th honorary doctorates. Most recently, the century German, Austrian and Russian City of Seattle recognized his outstand- repertoire, in addition to his noted work ing achievements and named the street with contemporary American compos- alongside the Benaroya Hall “Gerard ers, completed his final season as music Schwarz Place,” and the State of Washing- director of the Seattle Symphony in 2011 ton gave him the honorary title of “Gen- after an acclaimed 26 years – a period of eral” for his extraordinary contributions dramatic artistic growth for the ensem- as an artist and citizen. ble. Maestro Schwarz was instrumental in the building of Benaroya Hall, amassed a critically acclaimed discography of more than 140 recordings; numerous televi- sion programs and concert broadcasts; implemented music education programs including new series and the successful Soundbridge Center and significantly in- creased audience attendance.

9 Executive Producer: Amelia S. Haygood

Recording Producers: Joanna Nickrenz (Haydn D Major); (Haydn G Major, Strauss, Hanson); Jody Schwarz (Falla)

Recording Engineers: Marc Aubort (Haydn D Major); John Eargle (Haydn G Major, Strauss, Hanson, Falla)

Recorded: Queen’s Hall, Edinburgh (Haydn); Seattle Opera House (Strauss, Hanson Concerto); BMG Studio A, (Fantasy Variations); St. John’s Hall, Smith Square, London (Falla)

Pianos: Boesendorfer Imperial Concert Grand (Haydn D Major, Hanson Fantasy Variations); Steinway Concert Grand (Haydn G Major, Hanson Concerto, Falla); Yamaha CF III Concert Grand (Strauss)

Mastering: Jeff Mee Photo of Carol Rosenberger: Ken Veeder Photo of Gerard Schwarz: Ben VanHouten

© 2015 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998 (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 [email protected] • www.delosmusic.com Made in USA

10 Also Available with Carol Rosenberger

DE 3027 DE 3021 BEETHOVEN SHOSTAKOVICH Concerto No. 4; Symphony No. 5 Concerto No. 1; Stravinsky; Prokofiev Gerard Schwarz, conductor Gerard Schwarz, conductor

DE 1006 DE 3263 HINDEMITH BRIDGE The Four Temperaments Chamber Concerto; Idylls; Four Pieces Constantine Orbelian, conductor James DePreist, conductor 11 A CONCERTO COLLECTION DISC ONE DISC TWO

FRANZ (1732-1809) HOWARD HANSON (1896 – 1981) Piano Concerto No. 2 in D Major (21:33) 1. Fantasy Variations on a Theme of 1. Vivace (8:29) Youth (11:53) 2. Un poco adagio (8:20) 3. Rondo all’Ungarese (Allegro molto) Piano Concerto in G Major, Op. 36 (4:44) (22:23) 2. Lento molto e molto tranquillo – Piano Concerto No. 5 in G Major Allegro deciso (9:17) (23:06) 3. Allegro feroce molto ritmico (2:38) 4. Allegro (9:14) 4. Andante molto espressivo (6:07) 5. Adagio (9:31) 5. Allegro giocoso (4:21) 6. Rondo – Finale: Presto (4:21) MANUEL DE FALLA (1876-1946) RICHARD STRAUSS (1864 – 1949) Nights in the Gardens of Spain (25:13) Burleske for Piano and Orchestra 6. At the Generalife (11:30) (22:21) 7. Distant Dance (4:56) Michael Crusoe, timpani 8. In the Gardens of the Sierra de Cordo- ba (8:47)

Total Playing Time – Disc One: 66:59 • Disc Two: 59:27

Carol Rosenberger, piano • Gerard Schwarz, conductor Scottish Chamber Orchestra (Haydn) • Seattle Symphony (Strauss, Hanson Con- certo) • New York Chamber Symphony (Hanson Fantasy Variations) • London Symphony Orchestra (Falla) 12