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ABOUT TONIGHT’S PROGRAM NOVEMBER 10, 2015
SCHUBERT: STRING QUARTET IN C MINOR, D. 703 “QUARTETTSATZ” Being a composer in the post-Beethoven era could not have been easy. After all, this towering giant singlehandedly revolutionized western music so profoundly that to many it seemed as though little could be said that he hadn’t said already. It was Beethoven’s Quartet, Op. 131 that Schubert requested to hear on his deathbed, and it is said that upon listening to it for the very first time his response was, “After this, what is left for us to write?” I find this humility inspiring and fascinating coming from a composer whose prolific output was not only tremendously abundant but, more importantly, entirely original. Schubert’s admiration of Beethoven was indisputable. Yet it is the link to Mozart in Schubert’s work to which my attention has always been drawn. They both possessed an unparalleled mastery of pacing. The subtlety in which they manipulated the flow of time is one of the most difficult challenges a performer faces when interpreting their works. No one can match these two geniuses in the effortlessness in which they produced the most divine tunes, the complexity and intricacy of which are only surpassed by their organic simplicity. And with no others as with these two forever young composers do we wonder what riches they could have bestowed upon us had they lived past their tragically short days. It is not only Schubert’s premature death that raises a question about his lost potential. Numerous works of his were left unfinished during his lifetime. Two striking examples are the Unfinished Symphony, and the Quartet in C Minor, known as the Quartet Movement - Quartettsatz, having only one complete movement out of the traditional four. Quartettsatz, unnoticed for some time even after the composer’s death, is now an inseparable part of the quartet literature thanks, to a large degree, to Johannes Brahms who obtained the manuscript, arranged
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it for a premiere and subsequently for publication. It is now widely regarded as the first of Schubert’s late quartets, followed by Quartet in A Minor - Rosamunde, Quartet in D Minor - Death and the Maiden, and finally the last “Great” Quartet in G Major. Schubert’s ongoing preoccupation with storytelling (not surprising for a composer who wrote over 600 art songs) extended also to works without an accompanying narrative like Death and the Maiden. The dramatic setting is so clear that it doesn’t require explicit imagery. To this end, one of Schubert’s main narrative drivers was the dramatic juxtaposition of the major and minor modes. Schubert was one of the first to establish the reign of the minor key that would govern so much of 19th-century literature. Moreover, he was able to redefine, especially in his later works, the emotional meaning we attribute to both the major and minor, freeing them from their traditional conceptual chains of positive vs. negative, or bold vs. frail, etc. The slow movement of the Cello Quintet, for example, in the introspective key of E major, is one of the most transcendent moments in music literature. It is, however, also profoundly sad, no less than the opening theme of the A minor Rosamunde, and no less emotionally tormented than the F-sharp minor slow movement of Piano Sonata D. 959. The sublime second theme of Quartettsatz, written in A-flat major, shows signs of this emotional complexity, while also serving as a great example of Franz’s Mozartian ease in producing a tune that effortlessly soars to unimaginable beauty. And yet, it is not all “major”... One can’t help but wonder—in awe of such perfection presented in this magical tune—how did he do it? It is seemingly so simple, almost nonchalant! Like a ripe fruit readily hanging off of a branch, yet, one that most of us mortals will never see. It is when we look closer at the root of the tree—the carefully designed scheme behind this deceptive simplicity—that we clearly see the parallel with Mozart. The curtain opens over Quartettsatz with a series of highly chromatic canonic entrances, establishing the home key of C minor in its darkest and eeriest qualities. All 12 chromatic pitches are equally
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represented, with the loud exception of one—the D-flat—thus building up an unconscious expectation for the lost member. This quickly gains momentum and erupts in a frantic D-flat outburst, only to quickly restart yet another wave of D-flat abstinence, longer this time, rhythmically and harmonically more complex, thus accumulating enormous tension and yearning for the ever-so-lacking note. The latter creeps in quietly with the cello, and finally blooms in full glory with the second violin (excerpt left), not only to atone for its absence until now, but to reveal its true purpose from the beginning: to be the connective tissue between the dramatic buildup in the turmoiled C minor and its pending resolution in the heavenly second theme in A-flat major.1 In other words, the gorgeous simplicity of the emerging tune is not only perceived in contrast to the preceding complexity, but is rather an inevitable result from it2 and, in part, why it is so profoundly satisfying. The classical style Schubert inherited has evolved to maximize musical drama by juxtaposing contrasts: major-minor, fast-slow, loud-soft, public music (e.g. symphony, opera) vs. private (e.g. sonata), etc. Schubert continued to build on this tradition. Yet quietly, in his humble way and perhaps unintentionally, he began breaking apart from these constraints, revealing a personal and emotionally complex voice in which a piano sonata can be as affirming and monumental as a symphony; a symphony as fragile and intimate as a Lied; a soft rumbling trill may resonate deafeningly loud and the resignation to a major key might, in fact, reflect the deepest sorrow. - Notes by Gershon Gerchikov 1 This note alone is reason enough for the two fiddle players to fight over the second violin part! 2 Incidentally, one cannot ignore the striking parallel to the opening of Mozart’s Quartet K. 428 we performed at this season’s opening concert. It also utilizes the same kind of “pitch deprivation.” CCM 3
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SHOSTAKOVICH: STRING QUARTET NO. 8, OP. 110 Composed in 1960, Shostakovich’s String Quartet No. 8 is without a doubt a masterpiece of the string quartet literature, but in a broader view, it can also be perceived as a first hand testimony of some of the tragic events of the first half of the twentieth century. This period is a dark patch in Russian history, and particularly the Stalinist regime from 1927 until his death in 1953. These challenging times affected every individual, but even more so, those in the arts or the literary scene. If we close our eyes, we can imagine a world in which propaganda promises everyone the brightest future but the reality points to the contrary. One does not feel safe, even at home. The neighbor could be watching or listening to your phone conversations through the wall and reporting to the condominium administration. At work it would matter less how competent or how productive one is, but more whether he fulfilled his civic duty by signing petitions accusing coworkers or even strangers of crimes they probably didn’t commit. From all directions there is pressure to conform, to be happy and partake in social activities. The alternative was to be fired, or worse, denounced as an enemy of the state, a traitor or an international spy, and to be deported to labor camps on the far east of Russia, where the chances of survival were very slim. That was the atmosphere that haunted Russia for much of Shostakovich’s life. Throughout his entire professional career, he rose to the top ranks, fell out of favor and rose again numerous times. He was criticized in the leading newspaper Pravda for writing “muddle instead of music” (about his opera Lady Macbeth), writing pessimistic music when the victory of WWII was in sight (8th symphony), but was praised for writing movie scores and music that glorified Stalin and the regime (such as the oratorio, The Song of the Forests). Shostakovich always remained torn between trying to consolidate his artistic truth and the requirements of the state, and as a result, much of his music carries hints of double meaning, a personality split that was essential for survival. Shostakovich wrote his eighth string quartet during a three-day period in Dresden, where he was sent to write a score to the film Five Days, CCM 4
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Five Nights, which was a joint collaboration of the USSR and East Germany about the horrible destruction of the city. The quartet bears the dedication, “In Memory of the Victims of Fascism and the War,” which seems to capture his impressions of the devastation. However, the message is deeply personal, in fact, autobiographical. It is a musical testimony to his own struggles and suffering under the Soviet regime. Shostakovich structures the piece around his own monogram, D-S-C-H, a four-note motive (D, E-flat, C and B in German notation) and it includes numerous quotations from his own compositions as well as allusions to Wagner and Tchaikovsky. The first movement, Largo, begins as a fugue, where the four-note motive (D-S-C-H) is introduced first by the cello and then repeated in turn by each instrument as they join in. The entrances follow one another in a slow, inevitable rhythm, as if it were a death march. There are few fleeting bright moments that shine through the overall dark setting of the movement; however, these are short lived, swallowed up each time by the inevitable D-S-C-H that gains strength with each repetition. The second movement, Allegro molto, is a perpetuum-mobile, spinning like a hurtling machine. Written in the dynamic level of constant fortissimo, the movement is overwhelming to the senses, and leaves the listener (and certainly the performers) breathless. The movement reaches its highpoint with a wild dance inspired by Jewish tunes, which is a direct quote from Shostakovich’s Trio No. 2. The third movement, Allegretto, is a sarcastic, distorted version of a waltz, that with all its effort to be charming, seems weird and anxious. The main theme is an accelerated version of the four-note motto, which in this context takes on a wicked character. Shostakovich seamlessly incorporates a brief quote from his Cello Concerto No. 1 played by the first violin and finishes the movement by repeating a condensed version of itself with all four instruments muted, as if choked. The movement then finishes open-ended on a single note in the first violin that will carry on to the next movement and become an omnipresent drone. The following Largo interrupts with three brutal chords, a motive that CCM 5
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will dominate the entire movement. There are several images that come to mind: the KGB knocking on the door at night, or maybe the sounds of the air raid on Dresden. The movement finishes with two quotes, the first from an old revolutionary song, Tormented by Harsh Captivity, and the final from Shostakovich’s own ill-fated opera Lady Macbeth. These two fragments share associations of loneliness, loss and betrayal. The fifth and final movement, Largo, comes full circle to the very beginning. The inevitable D-S-C-H is back, and after a final attempt to escape this vicious cycle the piece ends with a muted version of the fugue, as if a shadow of itself, and eventually fades away into the silence. In the composer’s own words, “I reflected that if I die some day then it’s hardly likely anyone will write a work dedicated to my memory. So I decided to write one myself. You could even write on the cover: ‘Dedicated to the memory of the composer of this quartet.’” - Notes by Alexandra Kazovsky
DVORÁK: PIANO QUINTET NO. 2, OP. 81 Dvorák’s ability to integrate the sense of authentic folk music in classical music has always been one of the most fascinating facets of his compositional craftsmanship to me. Of course all of us are familiar with works such as his Slavonic Dances, to me just as magical as Brahms’ Hungarian version. However, in some of his pieces, such as tonight’s piano quintet, folk elements are intertwined so seamlessly and naturally, that colorful pictures and landscapes simply appear and take our imagination by storm. Earlier on in his career, Dvorák had already composed his Piano Quintet in A Major, Op. 5, a score he deemed unworthy and destroyed soon after the initial performance of the work. Fifteen years later and light-years ahead in terms of public recognition and fame, he explored a possible CCM 6
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revision of the premature work, yet quickly turned to composing an entirely new piano quintet. This time around it turned out a masterpiece that should claim its rightful place in the all-time Chamber Music Hall of Fame (which I wish actually existed). The first movement opens with one of the most touching and innocent musical gestures ever written, provoking stark contrast to the boisterously vivid character of the main Allegro. Iron-willed, uncompromising defiance alternates with uncertain, melancholic passages as well as heroic and joy filled triumph, ultimately almost headover-heels plowing into a feverishly euphoric coda. Undisputedly the emotional heart of the piece, the dumka instantly unfolds a mystical and evocative power reminding us strongly of its roots, the Ukrainian duma. Originally an epic song, explicitly a psalm or lament of captive people, the duma developed into a non-strophic form of contemplative, character boasting cheerful sections along the way. This movement’s elaborate A–B–A–C–A–B–A form exhibits bittersweet nostalgic memories (B) along with a folksy and rhythmically gripping Vivace (C). The ensuing Scherzo is searching for its identity by constantly shifting from jolly but rather well behaved waltz-like territory to frisky Bohemian fierceness, thereby accounting for Dvorák’s graphic subtitle Furiant (a type of energetic Bohemian folk dance). A welcome contrast to this playfulness delivers the soothing, virtually lullaby-resembling Trio. Nevertheless, and perhaps unsurprisingly, this quiet is deceiving and the gusty character of the main movement refuses to keep its feet still for longer than necessary. Spirited and light-hearted, the Finale takes off with a rhythmical twinkle in the eye, including distinctive Polka-like elements as well as a learned fugue. A blissfully simple and secular choral section precedes the coda, which Dvorák in turn then supplies with the wild relief both listener and performer crave and deserve at the close of this epic journey. - Notes by Jan Grüning
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PROFILE ABOUT AWADAGIN PRATT
Among his generation of concert artists, pianist Awadagin Pratt is acclaimed for his musical insight and intensely involving performances in recital and with symphony orchestras. Born in Pittsburgh, Pratt began studying piano at the age of six. Three years later he also began studying violin. At the age of 16 he entered the University of Illinois where he studied piano, violin and conducting. He subsequently enrolled at the Peabody Conservatory of Music where he became the first student in the school’s history to receive diplomas in three performance areas: piano, violin and conducting. In recognition of this achievement and for his work in the field of classical music, Pratt recently received the Distinguished Alumni Award from Johns Hopkins. In 1992 Pratt won the Naumburg International Piano Competition and two years later was awarded an Avery Fisher Career Grant. Since then, he has played numerous recitals throughout the US including performances at Lincoln Center, Kennedy Center, Dorothy Chandler Pavilion in Los Angeles and Chicago’s Orchestra Hall. His many orchestral performances include appearances with the New York Philharmonic, Minnesota Orchestra and the Pittsburgh, Atlanta, Baltimore, St. Louis, National, Detroit and New Jersey symphonies, among many others. Summer festival engagements include Ravinia, Blossom, Wolf Trap, Caramoor and Aspen, along with the Hollywood Bowl and the Mostly Mozart Festival in Tokyo. Recent and upcoming appearances include recital engagements at the New Jersey Performing Arts Center in Newark and in Baltimore, La Jolla, Los Angeles, Pittsburgh and at Duke University, as well as appearances with the orchestras of Cincinnati, Indianapolis, Seattle, Colorado, Portland ME, Utah, Richmond, Grand Rapids, Winston-Salem, Allentown and Springfield, OH. He played a recital in Carnegie Hall for the Naumburg Foundation in November 2010 and appeared at the 2012 Ravinia Festival in a duo recital with cellist Zuill Bailey. As a conductor, Pratt participated in the American Symphony Orchestra League and Conductor’s Guild workshops and the National Conducting Institute, where he worked closely with Leonard Slatkin and conducted the National Symphony at the Kennedy Center. He has also conducted the Toledo, New Mexico, Vancouver WA, Winston-Salem, Santa Fe and Prince George County symphonies, the Northwest Sinfonietta, the Concertante di Chicago and several orchestras in Japan. Internationally, Pratt has toured Japan four times and performed in Germany, Italy, Switzerland, Poland, Israel, Colombia and South Africa. Pratt has been the subject of numerous articles in the national press, including Newsweek, People Magazine and New York Newsday. He was named one of the 50 Leaders of Tomorrow in Ebony Magazine’s special 50th anniversary issue and has been featured on National Public Radio’s Performance Today, St. Paul Sunday Morning and Weekend Edition. On television, Pratt has performed on the Today Show, Good Morning America and Sesame Street, been profiled on CBS Sunday Morning and was one of the featured soloists on PBS’s “Live from the Kennedy Center - A Salute to Slava.” In November 2009, Pratt was one of four artists selected to perform at a White House classical music event that included student workshops hosted by the First Lady, Michelle Obama, and performing in concert for guests including President Obama. He has performed two other times at the White House, both at the invitation of President and Mrs. Clinton. Pratt is currently Professor of Piano and Artist-in-Residence at CCM. He is the artistic director of the Cincinnati World Piano Competition as well as the artistic director of the Art of the Piano Festival at CCM. Pratt is a Yamaha artist.
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