ŠLars Gundersen
NCH International Concert Series 2018/2019
Nikolaj Szeps-Znaider Robert Kulek piano Thursday 14 February 2019
violin
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International Concert Series 2018/2019
Welcome/Fáilte Welcome to this evening’s recital given as part of the NCH International Concert Series 2018/19. We are delighted to welcome back the distinguished duo of Danish violinist Nikolaj Szeps-Znaider and American pianist Robert Kulek, following their acclaimed first appearance in the series in 2015. In parallel to his busy career as one of the world’s most sought after violinists, Szeps-Znaider is much in demand as a conductor and he appeared in both roles with the RTÉ National Symphony Orchestra here last season. A consummate chamber music collaborator, Robert Kulek has worked with many of today’s finest violinists including Arabella Steinbacher, Kyung-Wha Chung, Gil Shaham, Julia Fischer and Julian Rachlin as well as cellists Daniel Müller-Schott and Alisa Weilerstein and the Jerusalem, Vogler and Aviv Quartets. This evening's programme showcases three sonatas from the core violin and piano repertoire, by Beethoven and Brahms in the first half and by Prokofiev to conclude an all-Russian second half that also features Dmitri Tsyganov’s arrangements of some of the piano preludes by Shostakovich - versions which the composer enthusiastically endorsed. Our thanks as always to The Irish Times for its support as print media partners for the International Concert Series and I hope we see you back for the next concert in the series on March 23rd when Sir András Schiff performs Schumann and Brahms with the Orchestra of the Age of Enlightenment.
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International Concert Series 2018/2019
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International Concert Series 2018/2019
Programme Beethoven
Sonata No. 1 in D major, Op. 12
Brahms
Sonata No. 1 in G major, Op. 78
INTERVAL Shostakovich Arr. Tsyganov
Preludes Nos. 10, 15, 16, & 24, Op. 34
Prokofiev
Sonata No. 2 in D major, Op. 94a
REMINDERS Mobile Devices Please ensure all mobile devices are switched off during the performance. Camera, Video and Recording Equipment Camera, video and recording equipment are NOT permitted in the auditorium. Intervals and Timings Interval will be 20 minutes. Latecomers will not be admitted until there is a suitable break in the performance. 3
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Nikolaj Szeps-Znaider violin
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ŠCai Leilei
"possibly among the most exquisite violin sound ever captured on disc."
International Concert Series 2018/2019
Cementing his reputation as a conductor of rare musicality and panache, the 17/18 season saw Nikolaj Szeps-Znaider give acclaimed performances at the helms of the Chicago Symphony, New York Philharmonic, London Symphony, Detroit Symphony, and Cleveland orchestras. This season and next, he returns to the Orchestre National de Lyon, Detroit Symphony, Montreal Symphony, City of Birmingham Symphony, Chicago Symphony, Cleveland Orchestra, and Luxembourg Philharmonic, and expands the list of Opera houses he appears in by making debuts with the Semperoper Dresden and the Hamburg Opera. He also continues his Nielsen project with the Odense Symphony Orchestra conducting and recording the complete symphonies. Also a virtuoso violinist of distinction, he features as Artist in Residence with the Vienna Symphony Orchestra, both performing with and conducting the orchestra in a series of concerts across the 18/19 season, including his conducting debut at the Musikverein and a European tour with Philippe Jordan. Szeps-Znaider has a particularly strong relationship with the London Symphony Orchestra; an orchestra he conducts and performs with as soloist every season, and with whom he has recently recorded the complete Mozart Violin Concertos, directed from the violin. The first album comprising Concertos 4 and 5 was released on the LSO Live label in March 2018 with The Strad extolling Szeps-Znaider’s playing as ‘possibly among the most exquisite violin sound ever captured on disc’. Concertos 1, 2 and 3 follow in November 2018. His extensive discography also includes the Nielsen Concerto with Alan Gilbert and the New York Philharmonic, Elgar Concerto in B minor with the late Sir Colin Davis and the Staatskapelle Dresden, award-winning recordings of the Brahms and Korngold concertos with Valery Gergiev and the Vienna Philharmonic, the Beethoven and Mendelssohn concertos with Zubin Mehta and the Israel Philharmonic, the Prokofiev Concerto No. 2 and Glazunov Concerto with
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©Lars Gundersen
"Szeps-Znaider, an artist of uncommon insight and faultless technique..." San Jose Mercury News
Mariss Jansons and the Bavarian Radio Symphony, and the Mendelssohn Concerto on DVD with Riccardo Chailly and the Gewandhaus Orchestra. Szeps-Znaider has also recorded the complete works of Brahms for violin and piano with Yefim Bronfman. Szeps-Znaider is passionate about supporting the next generation of musical talent and spent ten years as Founder and Artistic Director of the annual Nordic Music Academy summer school. He is now President of the Nielsen Competition, which takes place every three years in Odense, Denmark. Szeps-Znaider plays the “Kreisler” Guarnerius “del Gesu” 1741 on extended loan to him by The Royal Danish Theater through the generosity of the VELUX Foundations, the Villum Fonden and the Knud Højgaard Foundation.
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Robert Kulek piano
"Kulek’s playing was remarkable in its intensity." The Guardian
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Thanks to his versatility as a collaborative pianist, Robert Kulek regularly performs with some of the foremost instrumentalists of today, including Nikolaj Szeps-Znaider, Arabella Steinbacher, Daniel Mueller-Schott, Augustin Hadelich and Simone Lamsma. He has also worked with such distinguished musicians as Kyung-Wha Chung, Gil Shaham, Julia Fischer, Julian Rachlin, Viviane Hagner, Shmuel Ashkenazi and Alisa Weilerstein, as well as the Jerusalem, Vogler and Aviv Quartets. His repertoire ranges from Bach to Ligeti and includes over 120 works for duo, trio, quartet and quintet. He has performed extensively in most of the renowned concert venues throughout Europe, North America and Far East. He has recorded for the Deutsche Grammophon, EMI, Orfeo, Pentatone,Challenge Classics, Avie and Tudor labels. Robert Kulek has always had a great passion for teaching and since 2012 is a faculty member at the Music Conservatory in Cologne, Germany, where he teaches Chamber Music. He has also given Masterclasses at The Royal Irish Academy of Music in Dublin, Guildhall School of Music and Drama in London and Zeister Muziekdagen in the Netherlands. Robert Kulek is an American of Latvian origin. He began his musical education at Mannes College of Music in New York with Elena Leonova, then studied at the Guildhall School of Music and Drama in London with Joan Havill, and subsequently went on to Yale University in New Haven, studying with Boris Berman and Claude Frank. He has also worked with Richard Goode and Maria Curcio. Robert Kulek lives in the Netherlands.
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Ludwig Van Beethoven (1770-1827) Sonata for Violin and Piano in D major Op. 12 No. 1 Allegro con brio Tema con variazioni (Andante con moto) Rondo: Allegro Following his arrival in Vienna from Bonn in 1792 Beethoven studied with the Imperial Kapellmeister Antonio Salieri. The young man really wanted advice on vocal composition as fame and fortune centred on Italian opera, then quite popular in the Austrian capital. The lessons, which took place at very irregular intervals, usually consisted of Beethoven bringing an Italian text he had set for Salieri’s criticism. Nothing much came from the sessions, as Beethoven’s career was to take a completely different path, but the two composers remained on friendly terms for many years. It may not be surprising then to find Beethoven dedicating something to Salieri but it is odd that this show of endearment should take the form of three violin sonatas published early in 1799 as Op. 12. However, at the time the musical style of the violin sonata was intended largely for home music-making with a tunefulness that might appeal to the leading Italian composer in Vienna. As it happened, the Op. 12 Sonatas were not that well received. One critic found them, ‘over-laden with unusual difficulties’ and advised the composer to ‘write naturally and refrain from trying to be so individual’. This idea probably arose from the contrapuntal character of the opening movement of the D major Sonata where, at one point, three different ideas run simultaneously - on the violin and in the pianist’s left and right hands. Another critic thought them to be ‘strange and unnatural, although perhaps of interest to those in search of musical perversities’.
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Despite their Salieri dedication, the Op. 12 Sonatas are deeply rooted in the tradition of Haydn and Mozart even if Beethoven is here developing his own particular style. The D major dates from the early part of 1798 and, in all probability, its first performance took place in Vienna on 29 March that year with Beethoven’s violinist friend Ignaz Schuppanzigh and the composer at the piano. The work is mainly in a spirited mould although by 1798 the first signs of Beethoven’s deafness were beginning to manifest themselves. Its opening suggests a fanfare with violin and piano concurrently using the same ideas. This leads to an emotionally more intimate melody heard first on the violin and then repeated on the piano. Something more exciting happens next before Beethoven calls for a brief respite to allow matters calm to down. The piano announces a gentler melody before continuing to a set of regal chords. These advance to a change of key - F major - before the concise development section with its marching momentum giving the impression of military bearing. Following this, Beethoven recapitulates his opening theme and, with an element of triumph, brings the movement to its close. The second movement presents a set of variations on an A major theme. This has two divisions, each introduced by the piano, with the violin in an accompanying position. There are four variations with the first played entirely on the piano while the violin offers decorative support. The second reverses this idea as the violin has the melodic line above the piano. Variation three finds both instruments equally balanced in A minor and brings a more passionate element into play. The fourth variation returns to the major key and seems to give the movement its sense of achievement. The Hungarian violinist Joseph Szigeti (1892-1973) considered this final variation as ‘passing into the world of silent dreams’.
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The three-themed rondo Finale is in a jovially animated 6/8 time with a series of sforzandi in its principal subject. As in the opening movement, the central third-theme-section is also in F major. Violin and piano exchange their ideas with a sense of playful conversational amusement and the movement runs its course with ‘irresistible rush’. Johannes Brahms (1833-1897) Sonata for Violin & Piano No. 1 in G Major Op. 78 Vivace ma non troppo Adagio Allegro molto moderato Between 1877 and 1879 Brahms took his holidays in the then out-of-the-way village of Pörtschach on the Wörthersee not far from Klagenfurt in Austria’s Carinthia province. ‘It is delightful here’, he wrote to his friend and publisher Fritz Simrock on 17 June 1877. ‘You surely cannot find the same comfort and friendliness on your trip’ (on the Rhine). Brahms completed his Second Symphony there and when another of his friends – the doctor and musician Theodore Billroth – played it through he exclaimed, ‘It is all rippling streams, blue sky, sunshine and cool green shadows. How beautiful it must be at Pörtschach!’ But besides the place, Brahms also found society there to his liking especially those who gathered of an evening at Werzer’s Hotel. The genial atmosphere seemed to turn the rather gruff and often sarcastic artist into a ‘charming gentleman’ as the postmistress Christine Werzer called him. Brahms’s Violin Concerto owes some of its inspirational development to Pörtschach, as do several of his later piano pieces and, of course, the First Violin Sonata. It seems lakeside environments affected Brahms temperament for the better.
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The G major Sonata followed in the wake of the Violin Concerto and is the first of his three violin sonatas to be published. There were three others but none survived as Brahms’s ruthless self-criticism consigned them to the dustbin. The mood of the Sonata reflects that of some of the piano pieces and, like them, can be pensive and poignant. Brahms considered the Sonata something of a personal document and thereby deemed it unsuitable for public performance. However, virtuoso violinist Joseph Joachim convinced him otherwise and the two of them played it together at a number of recital venues. But there is an additionally touching element attached to this Sonata that is closely related to the Schumann family. Brahms may have been considering it initially as a sonatina for his poet godson Felix Schumann. He had been studying law but, through Joachim’s encouragement, was also taking violin lessons. Felix was the last of the Schumanns’ eight children and born after his father’s final hospitalization. He had developed tuberculosis in his teens and, alas, died in February 1879 aged twenty-four. In a letter to Clara during Felix’s final illness Brahms quotes an early version of the theme of the Sonata’s central Adagio. He said it expressed his feelings for her and Felix better than words. The music also bears a close relationship to the theme of his Op. 23 Schumann Variations for piano duet. The Sonata’s first movement begins softly with the violin intoning a delicate, almost improvisatory, theme over sustained chords on the piano. This idea is considerably developed but avoiding George Bernard Shaw’s polemic Brahms being a ‘leviathan maunderer’. The writing here is subtle and sensitive where the piano, besides its chords, moves in rippling quavers and sometimes provides rhythmic cross-currents to the violin part. The contrasted second subject is a haunting waltz. Somewhat more animated and assured, it still gives the impression of restrained sweetness and tender yearning.
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The slow movement is based on the broad and beautifully harmonised melody initially heard on the piano. This is then given espressivo treatment on the violin but supported by the piano with lovingly embroidered accompaniment. Brahms slows down his earlier waltz rhythm for his second subject giving it a feeling of funereal dignity. As Schubert did in a number of his works, Brahms bases the gently flowing melody of his Finale on one of his own songs – the Op. 59/3 Regenlied (Rain song) of 1873. The air also appears in the Op. 59/4 Nachklang (A distant echo) – both are settings of the German poet Klaus Groth. Brahms would also build the Finale of his Second Sonata Op. 100 on another of his songs. The words of Regenlied tell of how the pattern of raindrops brings memories of childhood. It may be summarised as ‘Fall, rain, fall, and bring back my childhood dreams, when the water foamed in the sand…. how I love to hear the sweet pattering of the raindrops and have my soul restored with the thrill of childhood’s innocence’. But the movement is actually in rondo form where two further ideas are separated by the principal Regenlied motif. The second of these is a reworking of the Adagio’s theme that had its origins in the earlier Vivace. The atmosphere is melancholic and impassive and when Brahms sent a copy of the Sonata to Clara Schumann, then in her seventies, she expressed the hope that the music would accompany her on her journey to the next world. INTERVAL
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Dmitri Shostakovich (1906-1975) arr Dmitri Tsyganov (1903-1992) Four Preludes from Twenty-four Piano Preludes Op. 34 arranged for Violin & Piano No 10 in C sharp minor – Moderato non troppo No 15 in D flat major – Allegretto No 16 in B flat minor – Andantino No 24 in D minor – Allegretto As well as being one of the most significant composers of the last century, Shostakovich was also a very fine pianist. He studied the instrument at home with his mother, Sofiya Vasilyevna, and then at the Petrograd Conservatory. In the rigorous post-Revolution era of the 1920s he supplemented the family income by improvising piano accompaniments to silent films in the movie theatres. Despite that activity, his legacy of piano music from the period is relatively limited. There is a striking piano part in his First Symphony of 1925, a somewhat astringent Piano Sonata of the following year and his ten Aphorisms of 1927. Shostakovich then moved into opera with The Nose and Lady Macbeth of the Mtsensk District occupying him in the later 1920s and early 1930s. He returned to the piano in the winter months of 1932/33 producing his set of 24 short Preludes between 30th December and 2nd March – almost a prelude a day. Taking Chopin as their model, the Preludes also recapture elements of other composers, but each of them is well defined in both mood and character. It has been said, ‘they distil his genius into the shortest time span’. Soon after the composer gave the first performance in Moscow on 24th May 1933, his violinist friend Dmitri Mikhailovich Tsyganov suggested that, with the composer’s approval, he would arrange some of the Preludes for violin and piano. Initially he decided on numbers 10, 15, 16 and 24 with the end result bringing Shostakovich’s comment, ‘when I heard the transcriptions, I forgot that I actually composed the Preludes for piano. They sounded so violinistic’. 15
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Tsyganov, who came for Saratov on the Volga, later arranged a further fifteen of the Preludes, but avoided numbers 4, 9, 14, 17 and 23 on the grounds of them being ‘too pianistic’. Tsyganov was leader of the esteemed Beethoven Quartet for over fifty years from 1923 with the ensemble giving the premières of thirteen of the Shostakovich’s fifteen string quartets as well as his Piano Quintet. Russian-born American composer Lera Auerbach (b. 1973) eventually transcribed the remaining Preludes for violin and piano in the year 2000. More related to John Field than Chopin, the C sharp minor tenth Prelude is a nocturne, but with a rather grotesque ending. Light and playful, No 15 in D flat major has been described as a ‘scène de ballet’ and is also a kind of parody on a waltz. No 16 is a satirical march. Marked Andantino and vaguely related to Schubert, it is in B flat minor and has an eerie quality about it. The final Prelude – No 24 in D minor – is more gavotte than march. Zany and witty, the ending is not quite as expected. SERGEY PROKOFIEV (1891-1953) Sonata No. 2 for Violin and Piano in D major Op. 94a Moderato Scherzo: Presto Andante Allegro con brio Prokofiev’s Second Violin Sonata Op. 94a actually began life in 1943 as his Flute Sonata Op. 94. The composer had long been attracted to the wind instrument and felt a little aggrieved that little use had been made of its potential in music literature. He said he wanted his Sonata to have a classically clear and transparent sonority and he succeeded so well that David Oistrakh convinced him to arrange it for violin and piano. Indeed, it is this revised version that is now most often performed. Oistrakh recalled: ‘When I first heard his Sonata for Flute, shortly after it was written, it occurred to me that it would sound very well on the violin. I felt that this beautiful piece 16
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of music ought to live a fuller and richer life on the concert stage. I approached the composer with the suggestion that he write a violin version of it. Prokofiev was interested and we arranged to meet and talk the matter over. It was the first time I had seen Prokofiev at work and it was a revelation to me: I had never believed it possible to work with such speed and efficiency. He asked me to make two or three versions of each passage in the score that required editing, numbering each one carefully. As I submitted the pages to him, he marked the version considered suitable and made a few pencil corrections here and there. Thus, in no time the violin version of the Sonata was ready.’ The opening Allegro is in sonata form with two principal subjects. The first is a wistfully expansive melody; the second an arresting march tune. The fanfare-like idea that begins the development makes its presence felt throughout this section and, following a recapitulation and exposition, the concluding coda muses, in a tranquil sequence, on the march tune. The Scherzo is a sparkling Presto with an incessant rhythmic drive. A lyrical Trio in a slower tempo interrupts this. A linking solo piano phrase returns the Scherzo theme. Lyricism is again the predominant feature of the Andante. It is in binary form with the violin enjoying the attractive opening melody. Both instruments trace gossamer threads in the central section and the piano later re-announces the first theme but with the key now in D flat rather than F. The violin is satisfied to delicately embroider the melody. The Finale combines rondo and sonata form and presents both instruments with demanding virtuoso writing. The main theme is a vigorous, if somewhat capricious, march with the piano having agitated chords to the violin’s accompaniment. A meno mosso idea, announced by the piano and soon taken up by the violin, brings a relaxing mood but, later, this slips into an expressive, and almost serious, violin theme. An exhilarating change brings the movement’s coda and offers a dramatic and brilliant end to one of Prokofiev’s most endearing chamber works. Programme notes Pat O’Kelly 2019 17
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International Concert Series 2018/2019 Saturday 23 March 2019, 8pm
Friday 26 April 2019, 8pm
Tuesday 21 May 2019, 8pm
Orchestra of the Age of Enlightenment Sir András Schiff piano/conductor
Tara Erraught mezzo-soprano John O’Conor piano
Boston Symphony Chamber Players
Programme to include works by Schumann and Brahms Saturday 30 March 2019, 8pm Royal Philharmonic Orchestra Pinchas Zukerman violin/conductor Programme to include works by Vaughan Williams and Mozart
Programme to include works by Strauss, Mahler and Rossini Thursday 9 May 2019, 8pm Marc-André Hamelin piano Programme to include works by Schumann, Fauré and Chopin
Programme to include works by Françaix, Mozart and Gandolfi Friday 14 June 2019, 8pm London Symphony Orchestra Gianandrea Noseda conductor Daniil Trifonov piano Philip Cobb trumpet Antoine Tamestit viola Programme to include works by Beethoven, Shostakovich and Berlioz
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