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Program
Partita No. 2 in C Minor, BWV 826
Sinfonia
Allemande
Courante
Sarabande
Rondeaux
Capriccio
Ballade No. 2 in F Major, Op. 38
Johann Sebastian Bach
(1685-1750)
Frédéric Chopin
(1810-1849)
Intermission
Fantasy in C, Op. 17
Robert Schumann
(1810-1856)
Durchaus phantastisch und leidenschaftlich vorzutragen
Durchaus energisch
Langsam getragen: Durchweg leise zu halten
The Partita (or Suite) No. 2 in C Minor was written between the years of 1727 and 1730 and
was assembled for publication by its composer Johann Sebastian Bach with six other
keyboard suites in 1731. These six partitas were Bach’s first attempt at publishing his music.
What is curious is that at the time, this volume was designated as his Opus 1 (an indication
stating that this was his first work). Having already composed the greater part of his
surviving works, including the two and three part Inventions, the first book of the WellTempered Clavier, the organ works, the chamber music, the violin concertos, the orchestral
suites, the Brandenburg Concertos, cantatas and two Choral/Instrumental Passions, this use
of the term ‘Opus 1’ seems ridiculous. However, the custom of the time was to give opus
numbers only to printed works, and among printed works only to instrumental music. His
music has since then been re-catalogued with the Bach Werke Verzeichnis (BWV), or the
Bach Works Catalogue system.
Written in the C Minor tonality, this partita sounds with a dark, brooding feeling behind it. As
is typical in many of Bach’s instrumental suites, it does not open with a dance movement but
rather with an instrumental influenced Sinfonia, an announcement with dotted rhythms—
much like a French overture—signaling that an event is about to take place. Bach does not
disappoint. As the Sinfonia ends, Bach leaves both listener and performer breathless with his
fugal, or layering of voices, compositional ability. The following dance movements, the
Allemande, Courante, Sarabande, Rondeaux and Capriccio are all relatively close in tempo
in this keyboard suite and do not contrast each other in relationship to speed. However, the
distinct, overall distinctiveness of each movement follows the tradition of the German
(Allemande), French (Courante and Rondeaux), Italian (Capriccio) and Spanish (Sarabande)
influenced dances. Each movement is in bi-partite form (║: A :║: B :║) with each section
being repeated and ornamented as directed by performance practices from the Baroque Era
(1600-1750). (Parts of these program notes based on the preface of the Wiener Urtext,
Schott/Universal edition).
Published in 1840, Frédéric Chopin’s Op. 38 in F Major was the second of four large single
movement works which he called Ballades. Not to be confused or compared to the old
poetical ballad made up of three strophes followed by a refrain, these ballades are thought to
have been indirectly influenced by the Polish poet Adam Mickiewicz, whose narrative poems
tell of legendary or fantastic subjects. This piece was dedicated to Robert Schumann and
opens with a charmingly beautiful theme, followed by a second contrasting theme full of
dramatic energy. After a developmental section of the first theme, the repeated second theme
(this time being altered) leads to a furious coda section, and finally ends impassioned
emotions with a haunting and tragic whisper of the opening.
Robert Schumann had great expectations of his Fantasy, Op. 17 which perhaps left a deep
spiritual impact on the composer. Schumann’s diary contains the following entry in December
1836, “Work: Sonata for Beethoven (the initial title of the work). Except for minor details,
completed at the beginning of December…Plans, tears, dreams, work, collapse, awakening,
much affection from less familiar ones.” Initially he wanted the work to be published by
Friedrich Kistner of Leipzig as a dedication in Beethoven’s honor. A monument had been
planned in Bonn for the great Beethoven as early as 1835, but the actual unveiling ceremony
did not take place until 1845. Schumann’s work did not wait for the unveiling – it was
published in 1839 by a different publisher, Breitkopf and Härtel, with the title as Fantasy, Op.
17. In 1838, Schumann wrote to his bride to be, Clara Wieck, “…the work is perhaps the most
passionate of all I have ever composed – a deep yearning for you.” The first movement is
marked with the note “To be played fantastically and passionately throughout,” and Schumann
also included the following poem by Schlegel on the score of the first movement:
Furch alle Töne tönet
Among all the sounds
Im bunten Erdentraum
In the bright dream of earthly life
Ein leiser Ton gezogen
There is emitted a soft tone
Für den der Heimlich lauschet For him who listens in secret
Although this work has been compared to a large scale sonata with three movements,
its overall form does not comply. The second movement entitled Durchaus energisch (to be
played energetically) is unusual to the sonata form in that it is the virtuosic movement of the
entire work, with sentiments of grandeur as well as playfulness as heard in the skipping
rhythms that permeate. In this amazing display of pianistic writing, one can truly hear the
elements of compositional style we so strongly associate with Schumann’s early piano works:
an ever-present specialized approach to lyrical phrasing while at the same time using
rhythmically altered accompanimental figures, accents on the off beats, and contrasting
characters representing Schumann’s altered personalities named Florestan (extrovert) and
Eusebius (introvert). As most sonatas end with a lively and exciting movement, Schumann has
reserved the last movement for a slow and stately, almost sacred sentiment in which he asks the
performer to hold without exception, a feeling of quietness and safekeeping. It is for this last
movement that our performer tonight has chosen to study this work.
(Program notes based in part on the preface of the Henle edition).