11/2/2021 Leonidas Kavakos, violin and Yuja Wang, piano Candler Concert Program

2021-2022

CANDLER CONCERT SERIES

LEONIDAS KAVAKOS, violin and YUJA WANG, piano Tuesday, November 2 at 8 p.m.

This concert is presented by the Schwartz Center for Performing Arts.

404.727.5050 | schwartz.emory.edu | boxoffice@emory.edu

Audience Information In Consideration Please turn off all electronic devices.

Face masks covering the nose and mouth are required at all times in the Schwartz Center.

Proof of vaccination or a negative COVID-19 test result is required for all patrons attending this event. Full details are available at schwartz.emory.edu/FAQ

Photographs and Recordings Digital capture or recording of this concert is not permitted.

Ushers The Schwartz Center welcomes a volunteer usher corps of approximately 60 members each year. Visit schwartz.emory.edu/volunteer or call 404.727.6640 for ushering opportunities.

Accessibility The Schwartz Center is committed to providing performances and facilities accessible to all. Please direct accommodation requests to the Schwartz Center Box Office at 404.727.5050, or by email at boxoffice@emory.edu.

Design and Photography Credits Cover Design: Nick Surbey | Program Design: Lisa Baron Yuja Wang Photos (front cover): Norbert Kniat, (opposite): Kirk Edwards Leonidas Kavakos Photos (front cover and opposite): Marco Borggreve Back Cover Photo: Mark Teague

Acknowledgment The Schwartz Center gratefully acknowledges the generous ongoing support of Donna and Marvin Schwartz.

This program is made possible by a generous gift from the late Flora Glenn Candler, a friend and patron of music at Emory University.

2021–2022

CANDLER CONCERT SERIES

Leonidas Kavakos, violin Yuja Wang, piano Tuesday, November 2, 2021, 8:00 p.m.

Emerson Concert Hall Schwartz Center for Performing Arts

Program Sonata No. 3 for Violin and Keyboard in E Major, BWV 1016 Adagio Allegro

Adagio ma non tanto Allegro

Johann Sebastian Bach (1685–1750)

Sonata No. 2 for Violin and Piano in E Minor, op. 36a Langsam Presto

Andante piuttosto grave

Ferruccio Busoni (1866–1924)

Sonata No. 1 for Violin and Keyboard in B Minor, BWV 1014 Adagio Allegro Andante Allegro Sonata for Violin and Piano in G Major, op. 134 Andante Allegretto Largo–Andante

Dmitri Shostakovich (1906–1975)

Program subject to change.

Leonidas Kavakos records exclusively for Sony Classical.

Yuja Wang records exclusively for Deutsche Grammophon.

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Bach

Program Notes Sonata No. 3 for Violin and Keyboard in E Major, BWV 1016 Johann Sebastian Bach’s Sonata in E Major for Violin and Harpsichord was composed sometime during his years as Kapellmeister at the court of Cöthen, between the late 1710s and early 1720s. It shows how well Bach absorbed the Italian sonata da chiesa tradition, and even better how well able he was to bend that tradition to his own creative will. The four movements of BWV 1016 follow the same basic pattern in the typical Corelli or Handel sonata da chiesa: slow–fast–slow–fast. The opening Adagio, with its very Italian style of ornamental melodic writing, is in two nearly equal sections. A slowly-pulsing bassline supports a shining, rising melody in the violin.

Sonata No. 2 for Violin and Piano in E Minor, op. 36a Ferruccio Busoni, an Italian-born piano virtuoso and composer, settled in Berlin. A friend and contemporary of Arnold Schoenberg, Busoni sought the same compositional liberation from tonality. It was in the second violin sonata that Busoni found his mature compositional voice.

The first movement, Langsam (slow), begins quietly in the mood of wistful sadness while the second theme is rhapsodic and more intense.

The middle movement, Presto, is a breathless tarantella. The third and final movement is a theme followed by several variations. The theme is taken from a Bach chorale, Wie wohl ist mir, and presented in a very moving fashion. The variations which follow are masterly and range widely in mood and tempo.

Sonata No. 1 for Violin and Keyboard in B Minor, BWV 1014 The instrumental sonatas J.S. Bach composed while living and working in Cöthen—particularly the six sonatas for violin and harpsichord, the three for viola da gamba and harpsichord, and two of the four flute sonatas— are especially and rightfully famous for one thing: writing out a full harpsichord part on two staves rather than merely writing a bass line and figured bass. This let Bach promote the harpsichord from mere continuo foundation to true equal of the solo instrument. Although not as famous as the six Sonatas and Partitas for solo violin, the above-mentioned sonatas for Violin and Harpsichord are among Bach’s most famous chamber pieces; it is possible, assuming that Bach in fact composed it before the other five, that the first of these sonatas, BWV 1014 in B minor, is in fact history’s very first modern duo sonata.

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Sonata for Violin and Piano in G Major, op. 134 In 1967 Dmitri Shostakovich presented his friend violinist David Oistrakh with a 60th birthday present: the Violin Concerto No. 2. Unfortunately the composer was premature by a year and felt obligated to write another composition for the violinist’s actual 60th birthday. The work he produced was this 1968 Sonata for Violin and Piano, op. 134.

The piece opens with an allusion to serial music: the piano presents a theme in octaves starting in the bass and rising to the upper register, playing all 12 notes of the chromatic scale before the violin enters. The tempo is Andante. The mood is grim, as is typical of the composer’s late works, especially the last several quartets. A second theme appears, marchlike and cynical. The two instruments exchange renditions of it, and then the main theme is reprised by the violin. Shortly thereafter another engaging idea is presented by the violin, seeming to glide eerily downward from its upper ranges, while the piano delivers chilling harmonies in both registers. There is also some ghostly sul ponticello playing in the latter pages. Not long after this work appeared, Soviet musicologists tried in vain to explain the mood of this bleak music as pastoral.

The second movement, marked Allegretto, begins with a heroicsounding theme. But the mood quickly turns anxious, as if the composer were expressing his irony under some considerable pressure. A waltz seems to promise relief from the unbounded energy and tension, but does not manage to break the rigid mood.

The finale, marked Largo, begins with a somber introduction. Then the violin, played pizzicato, presents the dark main theme, after which come 13 variations. The music shifts moods, going from pensive to playful, from sinister to simple. An outburst on the piano just past the middle of the movement leads to a climactic episode on the violin. The eerie music from the first movement returns, as does the march-like theme, and the work ends chillingly.

— Program notes by Debra Joyal

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Marco Borggreve

Leonidas Kavakos, violin Leonidas Kavakos is recognized across the world as a violinist and artist of rare quality, acclaimed for his matchless technique, his captivating artistry and superb musicianship, and the integrity of his playing. He works with the world’s greatest orchestras and conductors and plays as a recitalist in the world’s premier recital halls and festivals.

Kavakos has developed close relationships with major orchestras including the Boston Symphony Orchestra, Chicago Symphony O r c h e s t r a , S a n F r a n c i s c o S y m p h o n y, Vienna Philharmonic Orchestra, Philadelphia Orchestra, Berliner Philharmoniker, Royal Concertgebouw Orchestra, London Symphony Orchestra, and Gewandhausorchester Leipzig. He also works closely with the Dresden Staatskapelle, Bayerischer Rundfunk, Munich Philharmonic and Budapest Festival orchestras, Orchestre de Paris, Academia Nazionale di Santa Cecilia, and Orchestra Filarmonica della Scala.

In recent years, Kavakos has succeeded in building a strong profile as a conductor and has conducted the New York Philharmonic, Dallas Symphony, Houston Symphony, Gürzenich Orchester, Vienna Symphony, Orchestre Philharmonique de Radio France, Chamber Orchestra of Europe, Maggio Musicale Fiorentino, Filarmonica Teatro La Fenice, and the Danish National Symphony Orchestra.

Kavakos is an exclusive recording artist with Sony Classics. Recent releases from Beethoven’s 250th anniversary year include the Beethoven Violin Concerto, which he conducted and played with the Bavarian Radio Symphony, and the re-release of his 2007 recording of the complete Beethoven Sonatas with Enrico Pace, for which he was named Echo Klassik Instrumentalist of the year.

Born and brought up in a musical family in Athens, Kavakos curates an annual violin and chamber music master class in Athens, which attracts violinists and ensembles from all over the world. He plays the ‘Willemotte’ Stradivarius violin of 1734. For more on Leonidas Kavakos, visit leonidaskavakos.com and facebook.com/leonidas.kavakos.violin.

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Julia Wesely

Yuja Wang, piano Pianist Yuja Wang is celebrated for her charismatic artistry, emotional honesty, and captivating stage presence. She has performed with the world’s most venerated conductors, musicians, and ensembles, and is renowned not only for her virtuosity, but her spontaneous and lively performances, famously telling the New York Times “I firmly believe every program should have its own life, and be a representation of how I feel at the moment.” This skill and charisma was recently demonstrated in her performance of Shostakovich Piano Concerto No. 2 at Carnegie Hall’s Opening Night Gala in October 2021, following its historic 572 days of closure.

Yuja was born into a musical family in Beijing. After childhood piano studies in China, she received advanced training in Canada and at the Curtis Institute of Music under Gary Graffman. Her international breakthrough came in 2007, when she replaced Martha Argerich as soloist with the Boston Symphony Orchestra. Two years later, she signed an exclusive contract with Deutsche Grammophon and has since established her place among the world’s leading artists, with a succession of critically acclaimed performances and recordings. She was named Musical America’s Artist of the Year in 2017 and in 2021 received an Opus Klassik Award for her world-premiere recording of John Adams’s Must the Devil Have all the Good Tunes? with the Los Angeles Philharmonic under the baton of Gustavo Dudamel.

As a chamber musician, Yuja has developed long-lasting partnerships with several leading artists, notably violinist Leonidas Kavakos with whom she has recorded the complete Brahms violin sonatas and will be performing duo recitals in the United States this autumn. In 2022, Yuja embarks on a highly anticipated international recital tour, which sees her perform in world-class venues across North America, Europe, and Asia, astounding audiences once more with her flair, technical ability, and exceptional artistry in a wide-ranging program to include Bach, Beethoven, and Schoenberg.

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Schwartz Center Staff

Rachael Brightwell, Managing Director Terry Adams, Box Office Coordinator Lisa Baron, Communications Specialist Carrie Christie, Program Coordinator Kathryn Colegrove, Associate Director for Programming and Outreach Lewis Fuller, Associate Director for Production and Operations Jennifer Kimball, Assistant Stage Manager Jeff Lenhard, Operations Assistant Alan Strange, Box Office Manager Nicholas Surbey, Senior Graphic Designer Mark Teague, Stage Manager Nina Vestal, House Manager Matt Williamson, Multimedia Specialist The Schwartz Center gratefully acknowledges the generous ongoing support of Donna and Marvin Schwartz.

To support this program, visit schwartz.emory.edu/give.

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Upcoming Music Events Many fall music events at Emory will require free online registration or tickets. Visit music.emory.edu or schwartz.emory.edu to view upcoming music events and their attendance requirements. To register, visit tickets. arts.emory.edu or call the Schwartz Center Box Office at 404.727.5050.

Ticket prices are listed in the following order: Full price/Emory student price (unless otherwise noted as the price for all students).

Sunday, November 7, 4:00 p.m., Emory Chamber Ensembles, Schwartz Center, Emerson Concert Hall, free online registration required Friday, November 12, 8:00 p.m., Geneva Lewis, violin, Schwartz Artist in Residence, Schwartz Center, Emerson Concert Hall, $30/$10, tickets required Sunday, November 14, 7:00 p.m., Emory Collaborative Piano, Schwartz Center, Emerson Concert Hall, free online registration required Wednesday, November 17, 8:00 p.m., Emory Youth Symphony Orchestra, Schwartz Center, Emerson Concert Hall, free online registration required Friday, November 19, noon, Mozart at the Museum, ECMSA: Cooke Noontime Series, Michael C. Carlos Museum, free online registration required Saturday, November 20, 8:00 p.m., Emory University Symphony Orchestra, Emory Wind Ensemble, Composer’s Project, Schwartz Artist in Residence, Schwartz Center, Emerson Concert Hall, free online registration required Tuesday, November 30, 8:00 p.m., Emory Jazz Ensembles, Schwartz Center, Emerson Concert Hall, free online registration required Wednesday, December 1, 8:00 p.m., Fall Composition Showcase, Performing Arts Studio, 1804 N. Decatur Rd., free online registration required Thursday, December 2, 8:00 p.m., Emory Tango Ensemble, Performing Arts Studio, 1804 N. Decatur Rd., free online registration required Friday, December 3, noon, Rachelle McCabe, piano, ECMSA: Cooke Noontime Series, Michael C. Carlos Museum, free online registration required 10

WELCOME BACK to the SCHWARTZ CENTER! More Candler Concert Series Coming Soon schwartz.emory.edu Our Song, Our Story—The New Generation of Black Voices

Friday, January 28 at 8 p.m.

Created and directed by composer, conductor, and multi-genre musician Damien Sneed, Our Song, Our Story highlights some of the world’s most well-known operatic arias, art songs, and spirituals. Featuring Raehann Bryce-Davis, mezzo soprano, and Brandie Inez Sutton, soprano, with a string quartet and Sneed on piano.

An Evening with Branford Marsalis

Friday, February 18 at 8 p.m.

Branford Marsalis, musician, composer, and bandleader, returns to the Schwartz Center stage with his powerful jazz ensemble. Known for its deep book of original music and unrivaled spirit in performance, the Branford Marsalis Quartet has long been recognized as the standard to which other ensembles of its kind must be measured.

Kittel & Co. Friday, March 18 at 8 p.m.

Grammy-nominated violinist and composer Jeremy Kittel’s music inhabits the space between classical and acoustic roots, Celtic and bluegrass aesthetics, and folk and jazz sensibilities. His quintet makes its Schwartz Center debut with a program ranging from Bach to bluegrass.

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CANDLER CONCERT SERIES

Welcome back! The Flora Glenn Candler Concert Series brings internationally-renowned artists to Emory University's Schwartz Center for Performing Arts—to the Emerson Concert Hall or the virtual stage. The artists come from a variety of musical genres—traditional classical ensembles including the Royal Philharmonic Orchestra, and contemporary artists like Kronos Quartet.

The series is made possible by a generous gift from the late Flora Glenn Candler, a friend and patron of music at Emory University.