MARC-ANDRÉ HAMELIN · 2018-08-21 · FRANZ LISZT Hungarian Rhapsody No. 13 in A Minor, S.244/13 (1811-1886) LISZT Bénédiction de Dieu dans la solitude, S.173 (from Harmonies poétiques

FRANZ LISZT Hungarian Rhapsody No. 13 in A Minor, S.244/13(1811-1886) LISZT Bénédiction de Dieu dans la solitude, S.173 (from Harmonies poétiques et religieuses)

LISZT Fantasy and Fugue on the Theme B.A.C.H., S.529ii

INTERMISSION

SAMUEL FEINBERG Sonata No. 4 in E-flat Minor, Op. 6(1890-1962)

CL AUDE DEBUSSY Images, Book I(1862-1918) Reflets dans l’eau Hommage à Rameau Mouvement

DEBUSSY Selections from Préludes, Book II La Puerta del Vino: Mouvement de Habanera Les fées sont d’exquises danseuses: Rapide et léger Les tierces alternées: Modérément animé Feux d’artifice: Modérément animé

Join us for a talk-back with Mr. Hamelin immediately following tonight's performance.

MARC-ANDRÉ HAMELIN

PIANOMARCH 14 , 2018

D E N V E R

MARC- ANDRÉ HAMELIN piano

MARC-ANDRÉ HAMELINPianist Marc-André Hamelin is known worldwide for his unrivaled blend of consummate musicianship and brilliant technique in the great works of the established repertoire, as well as for his intrepid exploration of the rarities of the 19th, 20th, and 21st centuries – in concert and on disc.

A feature of his 2017-18 season is a return to Carnegie Hall on the Keyboard Virtuosos series as well as recitals at the Savannah Music Festival and internationally at the Concertgebouw in Amsterdam and the Heidelberger Frühling in Heidelberg. Orchestra appearances include the Orchestre de Paris, the Toronto Symphony, the St. Louis Symphony, the Seattle Symphony, the Tokyo Symphony, the Moscow Philharmonic, Symphony Nova Scotia, and the Royal Liverpool Philharmonic.

He was a distinguished member of the jury of the 15th Van Cliburn Competition in 2017 where each of the 30 competitors in the preliminary round were required to perform Hamelin’s “L’Homme armé” which marked the first time the composer of the commissioned work was also a member of the jury. Although primarily a performer, Mr. Hamelin has composed music throughout his career; his works are published by Edition Peters.

Mr. Hamelin records exclusively for Hyperion Records. His most recent releases are Morton Feldman's For Bunita Marcus, the Medtner Piano Concerto No. 2 and Rachmaninov Piano Concerto No. 3 with the

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London Philharmonic Orchestra and Vladimir Jurowski, and Stravinsky’s The Rite of Spring and other works for two pianos four hands, with fellow pianist and frequent collaborator Leif Ove Andsnes. His Hyperion discography of 57 recordings includes concertos and works for solo piano by such composers as Alkan, Godowsky, and Medtner, as well as brilliantly received performances of Brahms, Chopin, Liszt, Schumann, and Shostakovich.

He was honored with the 2014 ECHO Klassik Instrumentalist of Year (Piano) and Disc of the Year by Diapason magazine and Classica magazine for his three-disc set of the late piano music of Busoni. An album of Hamelin's own compositions, Études, received a 2010 Grammy nomination (his ninth) and a first prize from the German Record Critics’ Association.

Mr. Hamelin makes his home in the Boston area with his wife, Cathy Fuller. Born in Montréal, Marc-André Hamelin is the recipient of a lifetime achievement award from the German Record Critic’s Association. He is an Officer of the Order of Canada, a Chevalier de l’Ordre du Québec, and a member of the Royal Society of Canada.

Marc-André Hamelin is represented by Colbert Artist Management.

IN BRIEFB O R N : October 22, 1811, Raiding, Austria

D I E D : July 31, 1886, Bayreuth, Germany

F C M P E R F O R M A N C E H I S T O RY: Tonight marks the first performance of this work on our series.

E S T I M AT E D D U R AT I O N : 9 minutes

Franz Liszt’s father was an official in the service of Prince Nikolaus Esterházy. A talented musician who played cello professionally, the father became the son’s first piano teacher. In 1821 the family moved to Vienna, where Franz studied piano with the celebrated composers and pedagogues, Carl Czerny and Antonio Salieri. In 1824, Liszt performed in Paris to sensational reviews, and his career as a virtuoso pianist-composer took off. He toured

NOTESProgram Notes © Elizabeth Bergman

LISZT: HUNGARIAN RHAPSODY NO. 13 IN A MINOR, S.244/13

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throughout Europe at a time when virtuosity was especially prized.

Born in the Kingdom of Hungary within the Austro-Hungarian Empire, Liszt has long been considered a cosmopolitan, rather than nationalist, composer. His successor and compatriot, Béla Bartók, denied the influence of Liszt on his own music in an attempt to claim the mantle of the preeminent, “authentic” Hungarian composer. But Liszt, too, embraced the Hungarian idiom, specifically the verbunkos style of the Roma, or gypsies, as a way to modernize European Romantic music.

In 1839, on a trip to Hungary, Liszt enjoyed listening to Roma bands play the music he remembered from childhood. The tunes he heard then inspired the composition, decades later, of a set of Hungarian Rhapsodies—nineteen in all. Of the first set of fifteen, composed in 1850-51, Liszt recalled the process of transcribing the melodies, then composing the rhapsodies, which together formed a coherent whole, “a Bohemian Epic”:

After I had submitted a fair number of these pieces to the process of transcription it began to dawn on me that I should never finish. … A mountain of material was before me. I had to compare, select, eliminate, elucidate. I gradually acquired the conviction that in reality these detached pieces were parts of one great whole—parts disseminated, scattered, and broken up, but lending themselves to the construction of one harmonious ensemble…. Such a compendium might fairly be regarded as a National Epic—a Bohemian Epic—and the strange tongue in which its strains would be delivered would be no stranger than anything else done by the people from whom it emanated.

The Rhapsody No. 13 is one of the most familiar and celebrated of the set. It adapts two Hungarian folk tunes which emerge after a slow, sinuous introduction. The Rhapsody falls into two distinct parts: the first lyrical, with rippling arpeggios and passionate, yet ruminative, melodies that sound almost improvised. (Indeed, Liszt himself did

Program NotesContinued


improvise whenever he performed his own music.) The second, faster section moves to a bright A major as the folk song transforms into a breathtakingly virtuosic dance.



Liszt’s extensive concertizing sorely tested his health, and he hoped to abandon performing for the priesthood; however, his mother dissuaded him. In 1847, Liszt performed in Kiev and there became involved with the Polish-born Princess Carolyne zu Sayn-Wittgenstein, an arts patroness who convinced him to quit his concert career and devote himself to composition. Married at the time, she appealed to the Russian czar for a divorce, but was refused.

While vacationing in Ukraine with Princess Carolyne, Liszt resumed work on a set of pieces inspired by the poet Alphonse de Lamartine’s Harmonies poétiques et religieuses. The masterpiece of the group is Bénédiction de Dieu dans la solitude, prefaced by a quote from Lamartine: “Whence comes to me, O my God, this peace that overwhelms me? Whence comes this faith in which my heart abounds?” Both poem and music trace the path of a troubled soul who finds strength in faith. The outer sections of the large ABA form capture the sense of restless searching, whereas the central Andante evokes a quiet moment of religious contemplation. The conclusion then takes on the character of the title: a benediction, a blessing to carry forward.

Liszt retired from full-time performing when he accepted a conducting appointment at the Weimar court. He and the Princess set up house, but their relationship left him ostracized, and he resigned the post. The couple ended up in Rome, where he devoted himself to composing religious music while still traveling back to Weimar to teach. He died in 1886, followed by Carolyne the next year.

LISZT: BÉNÉDICTION DE DIEU DANS LA SOLITUDE (FROM HARMONIES POÉTIQUES ET RELIGIEUSES, S.173)


FEINBERG: SONATA NO. 4 IN E-FLAT MINOR, OP. 6

LISZT: FANTASY AND FUGUE ON THE THEME B.A.C.H., S.529II


F I R S T P E R F O R M E D : May 13, 1856



Beginning in the 1830s, thanks in large part to the efforts of composer and conductor Felix Mendelssohn, a great Bach revival swept Europe. Composers from Chopin to Schumann to Liszt studied Bach’s counterpoint, turning to works like The Well-Tempered Clavier for inspiration. Living in Weimar (where Bach himself had lived and worked over a hundred years before) in 1855, Liszt labored on his own edition of Bach’s organ music while also composing two significant works following Bach’s example, including the Fantasy and Fugue on B.A.C.H.

In the German system of naming notes, “B” is for English-speaking musician B-flat and “H” is B-natural (just below C). Thus BACH can be spelled out on the keyboard as a knotty, chromatic grouping of four notes: B-flat, A, C, and B-natural. Originally composed for organ, Liszt revised the Fantasy and Fugue for piano in 1870. Thanks to his extraordinary virtuosity and technical prowess, the transcription retains the full range and sonority of the organ.

IN BRIEFB O R N : May 26, 1890, Odessa, Ukraine

D I E D : October 22, 1962, Moscow, Russia



Composer and pianist Samuel Feinberg, a contemporary of Sergei Prokofiev, made a name for himself as a young performer of earlier music (he was the first pianist in Russia to program Bach’s Well-Tempered Clavier in its entirety, for example, and championed Beethoven) as well as more modern compositions by the likes of Alexander Scriabin. His own works for piano found favor in the international new music scene of the years surrounding World War I. When the war began, Feinberg was sent


DEBUSSY: IMAGES, BOOK I (1905)

to the Polish front, but he returned to Moscow after contracting typhus and remained there for the duration. While recuperating, he penned the first three of his twelve piano sonatas. Sonata No. 4 was composed in 1918, after World War I and the tumultuous coups d’etat of February and October 1917.

The sonata falls in a single movement and recalls, in its roiling chromaticism, the music of Scriabin as well as Nikolai Miaskovsky, to whom the work is dedicated. The sonata embraces conflict: descending and ascending forces, above and below, work against each other. Chords clash with arpeggios. Jumps in register shout back and forth at each other across the keyboard. Moments of repose are fleeting. The first major climax arrives three or four minutes into the work, ushering in a stunning cascade of downward arpeggios that alternate with pounding chords. The rising tension only slackens, never weakens, and the quiet ending comes as a complete surprise as the sonata ends not with a bang, but a whisper.

IN BRIEFB O R N : August 22, 1862, Saint-Germain-en-Laye, France

D I E D : March 25, 1918, Paris, France

F I R S T P E F O R M E D : February 6, 1906, Salle des Agriculteurs, Paris, Ricardo Viñes, piano

F C M P E R F O R M A N C E H I S T O RY: 2003 Emanuel Ax (complete set); 2016 Jean-Efflam Bavouzet (Reflets dans l’eau)


Claude Debussy entered the Paris Conservatoire in 1872 at ten years old to study piano and musical theory. He began to compose in 1879—writing songs, piano music, and a piano trio—while making his living as an accompanist. In 1884, he won the coveted Prix de Rome, which funded two years of study in Rome at the Villa Medici. Afterward he took a job with Nadezhda von Meck, a patron of the arts who had inherited a railroad fortune (and who supported Tchaikovsky throughout his mature career), playing in a trio at her home in Moscow.

Returning to Paris in 1887, he fell in with the literary crowd of Symbolists, admired the Javanese gamelan at the 1889 Universal Exposition, wrestled with the influence



of Richard Wagner’s music, and made his debut in the Parisian musical world with his String Quartet in 1893. The following year he produced his first masterwork, the Prélude to the Afternoon of a Faun, based on a poem by Stephane Mallarmé.

Debussy had strong ties to the Symbolist writers in France, but is often mistakenly labeled an Impressionist, which was originally a derogatory description of Claude Monet’s painting Impression: Sunrise, exhibited in 1872. Monet was criticized for having sloppy technique, when of course the intent was to capture the transitory qualities of light and shadow. The term was first applied to Debussy in 1887 to describe a preference for instrumental texture and timbre over form. But whereas Impressionism seeks to capture the fleeting effect of a single moment, Symbolism is concerned with expanses of time, with how the mind forms associations between moments and shapes them into a resonant experience.

Associations and experiences are inspired by the titles of individual pieces in Debussy’s collections Images (Book I, 1905) and Préludes (Book II, 1913). These titles, however, should be considered less descriptive than evocative. “Reflets dans l’eau” (Reflections in the Water) truly does sound liquid; the opening is almost always compared to raindrops in a pond sending ripples outward (or here, upward and downward across the keyboard). The homage to 18th-century French composer Jean-Phillipe Rameau fittingly takes the form of a sarabande, a solemn and stately French dance. “Mouvement” reveals how abstraction can still convey content: Here, the music moves, breathes, dances, and swirls in a perpetuum mobile that engulfs the clanging of church bells at the climax.


IN BRIEFF I R S T P E R F O R M E D : June 12, 1913, Aeolian Hall, London

F C M P E R F O R M A N C E H I S T O RY: 2012 Pierre-Laurent Aimard (complete set); 2016 Jean-Efflam Bavouzet (La Puerta del Vino); 2014 Lise de la Salle ( Les fées sont d’exquises danseuses)


“La Puerta del Vino” from Debussy’s second book of Préludes takes its title from a postcard that composer Manuel de Falla sent, depicting the actual gateway to the Alhambra Palace in Granada, Spain. The ostinato in the left hand features the rhythmic pattern of the Cuban habanera. “Les fées sont d’exquises danseuses” (The Fairies are Exquisite Dancers”) was inspired by an illustration of the same name appearing in an edition of J.M. Barrie’s Peter Pan in Kensington Garden that the composer’s beloved daughter, Chou-Chou, received as a Christmas present. The drawing depicts fairies traipsing across a spiderweb tight-rope, and Debussy’s music whizzes and buzzes. These fairies are not akin to flowers (as described by Barrie) but are rather more like dragonflies. “Les tierces alternées” (Alternating Thirds) seems almost a prosaic title, but it aptly describes the technical challenge of this étude-like prelude. ( Just a few fourths also sneak in among the thirds, briefly enlivening the harmonies.) “Feux d’artifice” (Fireworks) captures the sparkling aftermath of various explosions that produce many different patterns. Debussy announces the occasion for the celebration: the barest hint of “La Marseillaise,” the French national anthem, reveals that it is Bastille Day.

DEBUSSY: SELECTIONS FROM PRÉLUDES, BOOK II

Pre-Concert Happy Hours at the Pioneer!Join us prior to each concert for tacos, margaritas, and conversation at the Pioneer Bar, 2401 S. University Blvd., just around the corner from the Newman Center. We will have an

area reserved for Friends of Chamber Music to gather for food and drinks beginning at 5:30 p.m. Whether you are a new subscriber or a longtime supporter, we hope you will stop by for a chance to get to know your fellow concert-goers.


MUSIC IN THE GALLERIESFor a third year, the Clyfford Still Museum is partnering with Friends of Chamber Music and Swallow Hill Music to offer a new way to encounter the work of Clyfford Still, the great American abstractionist. Music is free with admission to the galleries. FCM patrons can purchase $5 half price tickets (if purchased in advance) to enter the museum on performance days. Link (with discount code) is available on our website. Note: Seating is limited and available on a first-come, first-served basis.

All concerts will be held on Sundays at the Clyfford Still Museum, 1250 Bannock Street, Denver.

MAY 13, 2018, 1:00 and 2:00 PM

Patterson/Sutton Duo

Featuring Kim Patterson on cello and Patrick Sutton on guitar. The program will feature Hector Villa-Lobos's Aria from Bachianas Brasileiras No. 5, Ricardo Iznaola's Musique de Salon, and a new work by Welsh composer, Stephen Goss, inspired by the work of Clyfford Still.

Due to the high attendance at the "Music in the Galleries" concerts we have added a second performance. Please join us for one of two identical performances at 1:00 or 2:00 PM.

BOARD OF DIRECTORS

Alix Corboy, PresidentMary Park, Vice PresidentWalter Torres, SecretarySue Damour, Treasurer

BOARD MEMBERS

Lisa BainLydia GarmaierJohn LebsackKathy NewmanAnna PsitosMyra RichChet SternEli WaldAnne WattenbergAndrew Yarosh

PROJECT ADMINISTRATOR

Desiree Parrott-AlcornEMERITUS BOARD MEMBERS

Rosemarie MuraneSuzanne Ryan


MUSIC WITH FRIENDSFeaturing the Altius Quartet

Thursday, March 22, 20186:30 – 7:30 PM

Syntax Physic Opera554 S. Broadway, Denver

Join Friends of Chamber Music and the Altius Quartet for our next “Music with Friends” concert at Syntax Physic Opera on Thursday, March 22, 2018, 6:30 – 7:30 PM. The Altius will present a “Shuffle” concert – an interactive experience where audience participation is a must. Choosing from a wide-ranging “menu” of pieces— from Haydn and Beethoven to Led Zeppelin and A-Ha — audience members will select what they want the quartet to play. Release your inner DJ as you create a set list with your friends!

The Altius Quartet has performed in recitals and festivals throughout the world and strives to communicate the art of chamber music to a more diverse audience through com-munity engagement and innovative repertoire. Join us for a night of great music!

Concert is free to the public. Seating is limited – come early to grab a seat and enjoy some great happy hour food and drink specials. Questions? Call 303-388-9839 or email [email protected].


BRINGING MUSIC TO LIFE2018 Instrument Drive, March 5-17

Learning to play an instrument can have a profound, positive impact on a child, teaching valuable life skills and boosting confidence and self-esteem. And that instrument you have at home can help make it happen.

From March 5 - 17, Bringing Music to Life will hold the 2018 Instrument Drive, collecting donations of gently-used band and orchestra instruments that will be repaired and awarded to deserving music programs throughout the state.

Last year more than 630 instruments were given to 53 elementary, middle and high schools in Colorado. However, many more children want to learn to play who cannot afford to rent or buy an instrument. If you have an instrument you can donate, please do so beginning March 5th.

Even if you don’t have an instrument, you can help by contributing to Bringing Music to Life’s repair fund. $150 is all it takes to repair a donated instrument and put it in the hands of a child. Complete information about the upcoming drive is available at www.bringmusic.org.

PRE-CONCERT TALK WITH EIGHTH BLACKBIRD

APRIL 23, 2018, 6:30 - 7:00 PM

On April 23, Friends of Chamber Music presents Grammy Award-winning Eighth Blackbird, perform-

ing "Hand Eye.” Join us in the hall at 6:30 p.m. for a lively pre-concert discussion of this innovative program featuring the works of six living composers.

The six pieces, inspired by works of art in the private collection of Maxine and Stuart Frankel (visit our website for a link to see images of these works), include: a Soul-studded jam session (By-By Huey by Ted Hearne); the buzzing contagion of an internet meme (Mine, Mime, Meme by Andrew Norman); a high-velocity adventure-ride (Conduit by Robert Holstein); a shimmering yet blinding landscape (South Catalina by Christopher Cerrone); the flickering and pulsing of ink on paper (Checkered Shade by Timo Andres); and a warm but tattered beauty (Cast by Jacob Cooper).

Worried about seating? Patrons attending the pre-concert talk will be allowed to stay in the hall and move to their favorite seats immediately following the talk.


St. Lawrence String Quartet and Inon Barnatan, piano Wednesday, September 12, 2018

William Hagen, violin and Orion Weiss, piano Monday, October 1, 2018

Calidore String Quartet Wednesday, November 7, 2018

Mark Padmore, tenor and Paul Lewis, piano Wednesday, January 16, 2019

Tafelmusik Wednesday, March 6, 2019

Tetzlaff-Tetzlaff-Vogt Trio Tuesday, April 30, 2019

Emerson String Quartet Wednesday, May 15, 2019

PIANO SERIES

Anna Polonsky and Orion Weiss Wednesday, December 5, 2018

Sir András Schiff Wednesday, February 20, 2019

Piotr Anderszewski, piano Tuesday, April 9, 2019

FRIENDS OF CHAMBER MUSICANNOUNCES OUR 2018-19 SEASON!

Renewal envelopes will be mailed later this week. If you would like one tonight, visit our ticket table in the lobby.

All concerts held in Gates Hall, Newman Center for the Performing Arts

For further information, please visit www.friendsofchambermusic.com.

TAFELMUSIK

CALIDORE STRING QUARTET

PIOTR ANDERSZEWSKI

EMERSON STRING QUARTET

SIR ANDRÁS SC HIFF

INON BARNATAN

PAUL LEWIS

POLONSKY-WEISS PIANO DUO

TETZL AFF -TETZL AFF - VOGT TRIO

ST. L AWRENCE STRING QUARTET

C HAMBER SERIES

MARK PADMORE

WILLIAM HAGEN

THE FOLLOWING FRIENDS have made gifts in the last 12 months. Your generous support is invaluable in assuring our continued standard of excellence. Thank you!

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* Gift made to FCM Endowmentfriendsofchambermusic.com 13

UPCOMING CONCERTS

SPECIAL THANKS

Gates Concert Hall • Newman Center for the Performing Arts • University of Denverfriendsofchambermusic.com

C HAMBER SERIES

Eighth Blackbird Monday, April 23, 2018Jordi Savall Hespèrion XXI Monday, May 7, 2018

SPECIAL EVENTS

"Music with Friends"Syntax Physic Opera544 S. Broadway, Denver Altius Quartet

March 22, 2018, 6:30 PM

“Music in the Galleries”Clyfford Still Museum 1250 Bannock St., Denver

Patterson/Sutton DuoMay 13, 2018, 1:00 & 2:00 PM

SCIENTIFIC AND CULTURAL FACILITIES DISTRICT (TIER III)for supporting FCM’s outreach efforts through school residencies and master classes

COLORADO PUBLIC RADIO (KVOD 88.1 FM)for broadcasting FCM concerts on its “Colorado Spotlight” programs

BONFILS-STANTON FOUNDATIONfor sponsorship of FCM’s Piano Series and audience development programs in memory of Lewis Story

ESTATE OF JOSEPH DEHEER ESTATE OF SUE JOSHELfor providing lead gifts to the FCM Endowment Fund

Documents

MARC-ANDRÉ HAMELIN · 2018-08-21 · FRANZ LISZT Hungarian Rhapsody No. 13 in A Minor, S.244/13 (1811-1886) LISZT Bénédiction de Dieu dans la solitude, S.173 (from Harmonies poétiques