Theme& Variations Beethoven Sonata Op. 109 Schubert Impromptu Op. 142#3 Mozart Sonata K. 331 Carol Rosenberger, piano DE 3452 1 0 13491 34522 2 Ludwig van Beethoven (1770-1827): Sonata in E, Op. 109 (22:58) 1. Vivace, ma non troppo (4:04) 2. Prestissimo (2:42) 3. Andante molto cantabile ed espressivo (16:12) 4. Franz Schubert (1797-1828): Impromptu in B-Flat, Op. 142 No. 3 (13:10) Wolfgang Amadeus Mozart (1756-1791): Sonata in A, K. 331 (25:56) 5. Andante grazioso (15:10) 6. Menuetto (7:12) 7. Alla Turca (3:34) Total Playing Time: 62:04 Carol Rosenberger, piano Recorded May, 1997, First Congregational Church, Los Angeles, California Executive Producer: Amelia Haygood Recording Producer: Andrew Keener Recording Engineers: John Eargle, Jeff Mee Editing: Peter S. Myles, Ramiro Belgardt Production Assistants: Phyllis Bernard, Catharine Jaap Cover Photo: Ken Veeder; Design and Layout: Lonnie Kunkel Boesendorfer Imperial Concert Grand Piano Piano Technician: Richard Davenport © 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 2 recorded this program in 1997, Now, some 17 years a$er the release of as a “Companion Disc” for a chil- “…such Stuff as Dreams…” it has been dren’s album entitled “…such Stuff suggested to me that it is time for the I " as Dreams…” e children’s CD itself “Companion Disc” to have its own iden- was a sequel to the earlier “Perchance to tity as an all-ages CD. In the three sets Dream,” which had been the beginning of variations, the themes have a master- of the Delos Young People’s Series a few ful simplicity about them. "e Schubert years earlier. "e repertoire for both chil- theme seems to take your hand and guide dren’s programs was chosen very careful- you into a beautiful natural landscape; ly. I wanted each track to contain a mas- the Beethoven theme, in its encompass- terpiece — serene, innocent, simple and ing warmth, enables you to fuse your of course melodious throughout. inner being with the universe, somehow. Both the Schubert and the Mozart melo- For “…such Stuff…” I was tempted to in- dies bring joy and pleasure. Mozart’s el- clude three wonderful themes from some egantly simple theme is perfection itself, of my favorite theme-and-variations mas- and gently finds its way into your heart. terpieces by Mozart, Schubert and Beetho- ven. "ey had all of the desired qualities My Mozart roots go back to early child- mentioned above, but I hesitated about hood, as do those of most pianists, and extracting them from their musical con- include long and happy associations texts. "en Delos founder Amelia Haygood with a number of his incomparable pia- and I hit upon the idea of letting the lovely no works, especially the concerti, in my themes be part of the children’s disc, and touring years. A longtime bond with the during the same sessions, I would also re- Sonata in A Major, K. 331 began when cord the entire works built on these themes I played the third movement at around for a second “Companion Disc.” We hoped age seven. In my sheet music it was called that some of the young people, or adults by its English title, Turkish March. It was encountering this music for the first time, fun then, and it’s fun now as the Alla would want to take the leap and become Turca. A few years a$er my first Turkish acquainted with the complete works. March experience, I became acquainted 3 with the sonata’s other two movements, tas in B-Flat, D. 960, and in A, D. 959). and played the work on an early recital During student years I spent in Vienna, program. !is sonata has stayed with me there were countless opportunities to ever since: the touching simplicity of the immerse myself in Schubert’s wonderful first movement’s theme; the first gentle, Lieder, deepening the connection with and slightly questioning variation, with his unique musical spirit. “No other mu- its affirmative finish to each section; the sic speaks of the Austrian landscape, re- cheery variation with running triplets; flects the Austrian sky to such a degree,” the gliding minor variation; the magical German writer Annette Kolb said of variation with thirds soaring gently in Schubert. Pianist Arthur Schnabel, who the treble; the aria-like variation, almost brought many of Schubert’s piano works a movement on its own; and of course the to the public a%er a century of neglect, bright, cheery last variation. I’ve always called them “a safe supply of happiness.” heard hints of the “Turkish” element also !e great teacher Nadia Boulanger ob- suggested in that wonderfully inventive served that a Schubert melody was a su- first movement, and even extended to the preme example of genius, of that magic Menuetto second movement. In the Men- one cannot define, “so simple that there’s uetto, I have long imagined an 18th cen- nothing to it, just innocence and an ir- tury gilded ballroom filled with dancers resistibly spontaneous movement that in period costumes, whose varied subtle makes it a masterpiece.” personal emotions and communications weave throughout the dance. Schubert’s melody lines are always vocal, and therefore human; his settings o%en !e Schubert Impromptu in B-Flat, Op. suggestive of a benign outdoor environ- 142, No. 3 represents another treasured ment. In our fast-paced era, in which part of my piano-playing life. I have loved peaceful places and quiet moments be- and toured with various combinations of come increasingly rare, such music is his eight Impromptus (the four Op. 90 perhaps even more precious. It invites us and four Op. 142), and with some of his to live a musical phrase that suggests the glorious sonatas (especially the Sona- luminous ideal, but is within the human 4 context. Schubert could take us — or would have chuckled at the commotion go with us — anywhere, and make any the instrument’s rich bass could cause in day a more beautiful one. Music such as the Alla Turca third movement, which is, this Impromptu allows us to draw a long a%er all, humorous. breath while we put daily cares into per- spective. !ere is lovely serenity in the Beethoven, in particular, might have en- theme, and an increasingly joyous lilt in joyed the sound of his masterpieces on the variations that follow; the wistful mi- the Boesendorfer Imperial. He was dis- nor variation brings a cloud or two that satisfied with the pianos of his time, and give the entire experience greater depth; always pushing piano makers towards a variation in G-flat affirms contentment; new developments in the piano’s dynam- the final variation, back to B-flat, is cas- ic range, strength of tone and resonance. cading joy; the rich chordal return of the He surely wished for a fuller and richer theme is quiet reassurance. It is indeed a sound. He brought his innovative genius beautiful example of that “safe supply of to full utilization of each new develop- happiness.” ment in the instrument during his life- time, and yet he wrote, not only for the I like to imagine how the three great piano he knew, but far beyond it. One can composers represented on this album be reasonably certain that what he heard might respond to hearing their music in his immense imagination would have on a Boesendorfer Imperial grand. Per- had as its ideal something unfettered by haps Schubert, the master of the Lied, or limitations of the then-current instru- German art song, would have loved its ment. singing quality in expressing his incom- parable melodies, including the theme of My personal history with Beethoven’s the Impromptu in B-flat Major. Mozart Sonata in E, Op. 109 goes back to an might also have liked that singing qual- almost-10-year period, beginning in my ity, especially appropriate in the lovely, early 20s, when I was prevented by illness inventive theme-and-variations move- from playing the piano at all. During that ment of his A Major Sonata. He probably difficult period I found Op.109, along 5 with its two “brethren,” the Op. 110 and reflective moments, but never broken. Its Op. 111 sonatas, to be endlessly reward- tonal architecture is strong and grand in ing to “live inside.” I studied them in an scope, while remaining intimate, and cre- analytic manner with Nadia Boulanger ates a world of its own just in those very in Paris, and a!er moving to Vienna, im- few minutes. $en the Prestissimo second mersed myself in the fascinating Schen- movement says “Ah, but there’s this side ker analysis of Beethoven’s unsurpassed too!” – its vigor and sudden robustness musical architecture. But mostly, I kept adding exhilaration to the soulful emo- thinking my way through these three tions. wonderful creations, hearing them in my mind’s ear, and feeling comforted, By the time the sublime third movement inspired and buoyed by them. Not only comes along, we are ready to welcome did they reassure me about the world it. $e theme’s simplicity is infused with in general, but they also allowed me to warmth and generosity, along with an entertain the hope of being able to play expansiveness that makes it feel open to them some day. all of our joint human experience and po- tential. Beethoven asks that it be played in When I was able to return to the concert a manner that is “Gesangvoll, mit innig- stage, I sometimes played those last three ster Empfindung” (songful, with deepest Beethoven sonatas as a complete recital.