Cal Performances Presents Program Notes Sunday, November 2, 2008, 3pm Ludwig van Beethoven (1770–1827) except for a few very brief breaks. The music re- Hertz Hall Piano Sonata No. 23 in F minor, Op. 57, mains at a low dynamic for an extended period “Appassionata” (1804–1806) of time, making the moments of fortissimo more intense and meaningful. A faster coda brings in a Beethoven’s Sonata No. 23 in F minor, Op. 57, new theme which leads into an extended cadence Conrad Tao, piano colloquially known as the “Appassionata,” has back into the home key of F minor. The finale of long been regarded as one of the great sonatas of the “Appassionata” was unusual for Beethoven be- Beethoven’s middle period. It was begun in 1804 cause it ends on a tragic note, which seemingly had PROGRAM and completed in 1806. The “Appassionata” had a never happened before in Beethoven’s works in so- feverishly intense storminess unseen in Beethoven’s nata form. The “Appassionata” lives up to its name earlier works. In fact, the sonata was considered (which, admittedly, was not Beethoven’s at all but Ludwig van Beethoven (1770–1827) Piano Sonata No. 23 in F minor, Op. 57, Beethoven’s most intense work until the massive that of a publisher), with fiery passion and anger “Appassionata” (1804–1806) “Hammerklavier” Sonata of 1817–1818. During present in equal measure. the composition of the “Appassionata,” Beethoven Allegro assai came to grips with his progressing deafness, and Andante con moto the music reflects on that. John Corigliano (b. 1938) Allegro ma non troppo — Presto The first movement of the sonata begins with Etude Fantasy (1976) a mysterious first theme, which consists of de- Etude Fantasy Conrad Tao (b. 1994) Fantasy-Sonata (2008) (United States premiere) scending and ascending arpeggios in both hands The , written by John Corigliano separated by two octaves. The hauntingly simple in 1976 for pianist James Tocco, is, as the com- Moderato theme and the unusual separation of the hands cre- poser states, “a set of five studies combined into Intermezzo: Presto ate a sense of emptiness. Beethoven employs several the episodic form and character of a fantasy.” The Andante con moto sudden dynamic changes; the music constantly piece is striking and exciting from the first etude, Finale: Presto — Allegro switches between the two extremes of loud and which is written for the left hand alone. The main soft. Throughout the movement, Beethoven uses material that interconnects the five movements INTERMISSION the lowest F of the piano, which at the time was is introduced in this etude. Within the approxi- the lowest note available on the piano. The unusu- mately four-minute span of the etude are a variety ally long coda contains quasi-improvisational ar- of colors and characters, often appearing suddenly John Corigliano (b. 1938) Etude Fantasy (1976) peggios which span most of the early 19th-century with little warning; the ferocity and wide palette For the Left Hand Alone piano’s range, and Beethoven repeatedly uses the of sounds in the movement make practicing it very Legato low F of the piano before bringing the movement enjoyable. The second etude, a study in legato, con- Fifths to Thirds to a quiet close. sists of several descending voices in long, melodic Ornaments The second movement is a set of variations on lines. I have always thought that this movement Melody a remarkably simple theme consisting of common provides a sort of relief from the relentlessly vicious chords. There are four variations on this theme, quality of the first etude. each growing in rhythmic intensity until the The third etude emerges in a playful manner; I Serge Rachmaninoff (1873–1943) From Six Moments Musicaux, Op. 15 (1896) third variation, which consists of rapid embellish- treat it like a scherzo. It begins with much scamper- No. 1 in B-flat minor: Andantino ments in 32nd notes, with the two hands switch- ing, eventually forming a melody in the top voices. No. 4 in E minor: Presto ing parts. The final variation is a relaxed restate- A buildup leads to a “slithery” middle section that ment of the theme without repeats and with the is punctured by sudden outbursts, after which the phrases displaced in register. Beethoven ends the melody returns and the etude ends in the same vein Frédéric Chopin (1810–1849) Andante Spianato and Grande Polonaise second movement almost inexplicably, on a di- that it began. The opening material of the fantasy Brillante, Op. 22 (1834, 1831) minished seventh chord that is at once mysterious returns in the fourth etude, a study in ornamenta- and almost out of place. A second statement of the tion. Trills, grace notes, tremolos, glissandos and same chord appears, much louder, and leads into roulades adorn the opening six-note row, among This concert is part of the Koret Recital Series. the third movement, which begins with the exact other things, developing into a hysterical middle same chord repeated in rapid succession. The per- section where the four fingers of the left hand play Cal Performances’ 2008–2009 season is sponsored by Wells Fargo. petual motion of the third movement is constant a drum-like cluster of notes as the thumb alternates 12 CAL PERFORMANCES CAL PERFORMANCES 13 Program Notes Program Notes with the right hand in rapid barbaric thrusts. The in the left hand as the right hand plays a series of of B-flat minor, is a combination of a nocturne Frédéric Chopin (1810–1849) opening row returns again in a highly ornamented quick notes softly. The movement ends quietly. and a theme-and-variations format. It is divided Andante spianato and Grand Polonaise, fashion, giving way to a sonorous climax. This The second movement, an intermezzo, is brief into three distinct sections. The first introduces Op. 22 (1831, 1834) etude is remarkably exciting and loud, and is great and sarcastic; the pianist’s fingers scamper up and the main theme—a long, chromatic, and synco- fun to play—partly because it gives me a chance to down the keyboard like a rat—quickly and quietly. pated melody—in the style of a nocturne. The Chopin composed the Grand Polonaise in E-flat pound the piano and know that I am interpreting Sudden dynamic changes puncture the movement. second part, to be played con moto (with motion), major in 1831 for piano and orchestra, and the pre- the piece in the right way. The movement spins into a frenetically charged is a variation of the first theme in the unusual con- ceding “Andante spianato” was composed in 1834. The fifth movement is a study of melody, in section with hints of the opening theme from the figuration of seven quarter notes per measure. This The piece has been regarded since as one of the which the melodic line is surrounded by vari- first movement. A series of loud chords bring the provides a contrast to the first section, which is in a most brilliant polonaises ever written; however, the ous figures. The atmosphere is desolate and non- insanity to a halt before a final, significantly slower, standard meter of four quarters per measure. After piece is rarely heard with an orchestra, due to the climactic—I view it as the somber aftermath of section begins; the movement ends awkwardly. a cadenza, the third section, another variation on fact that the orchestra’s role in the piece is rather the frenetic energy in the fourth etude. The Etude The third movement is a quiet reprieve from the first theme, begins, back in the same meter as minor. Majority of the performances of the Grand Fantasy ends quietly with the opening six notes the rhythmic intensity of the outer movements. the first section. However, this section is in the Polonaise consist of simply a soloist. played backwards accompanying a mournful and A watery opening theme reminiscent of the first fastest tempo yet, marked Andantino con moto. The I have always been enthralled by the open- persistent two-note ostinato, which disappears movement is juxtaposed with short, jagged inter- piece ends with a slow coda that returns to the be- ing Andante—its ethereal quality is captivatingly into emptiness. ruptions that appear periodically. The theme re- ginning tempo and recalls portions of each of the beautiful. The left hand creates a smooth blanket turns three times, each one more intense than the three sections, concluding with a perfect cadence of sound as the right hand sings a melody. The one before. This leads into the fourth movement, a into the home key. piece continues in this vein for a while, adorned Conrad Tao (b. 1994) brisk finale that opens with a crashing chord before The fourthMoment is different from the first in often by ornamental passages in the piano, before Fantasy-Sonata (2008) leading into a rapidly changing development upon almost every possible way. It begins with a thunder- a mazurka-like middle section begins. This brief, material from earlier movements. The music is al- ous, chromatic figure in the left hand that persists lilting dance provides a slight contrast to the sing- I began writing the Fantasy-Sonata in late 2007 ternately confident and anxious, and eventually throughout the piece, similar to Chopin’s famous ing quality that appears earlier. The Andante ends and finished it in the spring of 2008. It consists quiets down and leads into the coda, a maestoso, or “Revolutionary” Etude. The main melody of the with the same texture as the beginning, giving way of four movements and was premiered in Mexico majestic, restatement of the main theme in retro- piece consists mostly of two rising notes.