Program Notes
ToccatainEminor,BVW914…… J.S. Bach (1685-1750)
I. Prelude II. Adagio
Johann Sebastian Bach is responsible for many of the most beloved keyboard compositions of the Baroque period. Among his earlier compositions are his set of seven toccatas, which Bach wrote during his time as the court organist of Weimar. The Toccata in E minor, written for harpsichord, translates strikingly well to the modern piano. The Prelude opens with an improvisatory introduction, which meanders around with rising and falling lines, before fading away into the main theme. Rich contrapuntal lines demonstrate Bach’s harmonic prowess, and the modern piano adds warmth and depth to the Prelude. The Adagio bears a strong resemblance to an operatic recitative, which gently builds and falls before a climactic chordal finale.
Notturno , Op.54,No.4…… Edvard Grieg (1843-1907)
The Norwegian pianist composer Edvard Grieg is widely known for his wide breath of Romantic compositions, which includes works for keyboard, orchestra, and incidental music for theatrical performances. A champion of Norwegian musical culture, Grieg often injected folk elements into his works and worked to make Norwegian music known to the European sphere. Grieg’s Notturno, a part of his series of “Lyric Pieces” for the piano, begins with a serene, delicate theme. Constant polyrhythms between the pedal tone bass and the gentle melody blanket the entire main theme. Soft, high trills lead into the “piu mosso” that builds with a hemiola-like rhythm ostinato to a strong fortissimo that utilizes both extremes of the piano’s range. Grieg then expands upon the main theme, maneuvering chromatically through harmonies until the gentle trills return and carry us to the rich, chordal ending of the piece.
(1845-1924)
I. Andante quasi Allegretto
III. Andante moderato
The French pianist and composer Gabriel Fauré was a prominent figure in the Romantic Period, specifically in keyboard and vocal repertoire. His series “Romances Sans Paroles”, which literally translates to” songs without words”, follows Mendelssohn’s footsteps with three sweet, nostalgic character pieces. Fauré’s rhythmic motives in each movement stay very static, while the melody soars overhead. In the first movement, Andante quasi Allegretto, the bass echoes the treble melody, which offsets the rhythm of the line. A low, somber interjection eases into a brilliant reintroduction of the main theme, with high melodic octaves and arpeggiated bass chords. The final movement, Andante moderato, sounds the most Mendelssohnian of the set. The nocturne-like bassline remains stable throughout the entire movement and the simple melody of the main theme is easy to listen to and satisfying to play. Fauré utilizes echoing in the melodic line once more before the finale of the piece. This set remains a favorite for both players and listeners alike.
8BibleVignettes…… Nathaniel Dett (1882-1943)
VI. Martha Complained
Robert Nathaniel Dett was a Canadian American pianist and composer, known for his beautiful compositions as well as his passion for African American folk music, culture, and visibility in the classical industry. His 8 Bible Vignettes were his last public compositions before his death in 1943. The entire set feels like the culmination of Dett’s philosophy, equally in spirituality, emotion, and musicality. Each movement corresponds to a Biblical episode, four from the Old Testament and four from the New Testament. The sixth movement, Martha Complained, depicts a woman (the titular ‘Martha’) who is dissatisfied with the monotony and drudgery of work, represented by the ground bass and high-pitched bluesy melody. Martha’s feelings, along with the erratic melody, gradually become tenser until she cannot take it anymore. Martha shatters a plate, and this is represented with a swift, dissonant arpeggiated chord. What follows is a recitative, where Martha asks the Lord for help, and Jesus responds with a somber chordal recitative of his own. Martha returns to her work with a renewed outlook, indicated by the sweet, diatonic melody that changes from minor to major.