Hill Auditorium, Ann Arbor, Michigan
The University Musical Society
Sunday Afternoon, April 20, 1975, at 4:00 Hill Auditorium, Ann Arbor, Michigan
Sonata in Fsharp minor, Op. 26, No. 2......Muzio Clementi
Piuttosto allegro, con espressione Lento e patetico Presto
This sonata demonstrates how Clementi was able to retain his admirable "Italian" elegance, even during the most touching moments of the work.
From beginning to the end of the three movements, we find those elements of unquiet, feverish sadness which are present in all of those works of dementi's in a minor key--always accompanied by a singularly pure and melodic inventiveness, with themes which will be found again later, as also almost always found in the great romantic sonatas of Beethoven. As a matter of fact, the friend and biographer of Beethoven, Schindler, tells us that this sonata was one of those most admired by the German master.
This sonata was composed about 1786, when Clementi, who was born in 1752, was about thirtyfour years old. Mozart was four years younger and Beethoven was a lad of sixteen. Clementi composed about sixty sonatas for the piano, of which only twentyfour or twentyfive were printed.
Scenes from Childhood (Kinderscenen) Op. 15 ... Robert Schumann
Of Strange Lands and Peoples At the Fireside
A Curious Story Knight of the Hobby Horse
Blind Man's Buff Almost Too Serious
Pleading Child Frightening
Perfect Happiness Child Falling Asleep
An Important Event The Poet Speaks
In a letter dated April 13, 1838, Robert Schumann tells his wife Clara, that "the Kinderscenen will probably be finished by the time you arrive; I am very fond of them and make a great impression when I play them, especially upon myself." Following his usual custom, Schumann named the individual pieces after he had composed them. The Tniumerei (No. 7 in this set) may well be the most popular single piece that Schumann ever composed.
Despite the emotional simplicity of the Kinderscenen, they are craftily laid out for the keyboard, subtly and with immense craftsmanship. They are one of the first things a student pianist tackles, but only a great artist can make them sound as Schumann intended. To play them well, one has to have worldly experience--and still believe in fairy tales.
Sonata No. 5, Op. S3 (1907).......Alexander Scriabin
(In one movement)
I call you to life, O' hidden yearnings You who are submerged in the obscure depths of the creative spirit, You who are fearful and halfalive; I bring you daring.
(from "The Poem of Ecstasy," by Alexander Scriabin)
Introduction and Rondo in Eflat major, Op. 16 . . . Frederic Chopin
The Introduction and Rondo has aristocratic elegance. In our time we could use a touch of elegance and grace. The piece is perhaps more classic than romantic. After a little stormy introduction, the Rondo begins. Chopin wished to create a piece that would glitter and scintillate. And that is just what he did--and with what beautiful taste!
Two Mazurkas............Frederic Chopin
Op. 30, No. 4 Op. 17, No. 4
(Played without interruption)
The mazurkas are not to be considered primarily as "dance" music, but rather examples of Chopin's most poetic evocations. They should be considered as poems of extraordinary imagination and feeling.
Ballade in G minor, Op. 23, No. 1.......Frederic Chopin
This first of Chopin's ballades is so well known that little comment need be made. Inspired by the nature of the musical material and by the imaginative conception of the composer, the music unfolds and progresses from the prophetic first theme through the lyrical moments to the gathering storm and ensuing tempest that sweeps all before it.
Robert Schumann named this Ballade one of Chopin's "wildest and most original compositions."
Stcinway piano Columbia, RCA, and Seraphim Records
This is the tenth performance of Mr. Horowitz in Hill Auditorium
Representative for Mr. Horowitz: Harold Shaw, Shaw Concerts, Inc.
The taking of photographs and the use of recording equipment are not allowed.
Special Concert Complete Programs 3943
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