Program: Christopher O'Riley and the New York Chamber Soloists

CHRISTOPHER O’RILEY AND THE NEW YORK CHAMBER SOLOISTS

at UC San Diego Thursday, April 21, 2016, at 8 pm

Department of Music’s Conrad Prebys Concert Hall

Thank You to Our Performance Sponsors Joan Jordan Bernstein and Alexa Hirsch

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CHRISTOPHER O’RILEY AND THE NEW YORK CHAMBER SOLOISTS Thursday, April 21, 2016, at 8 pm Department of Music’s Conrad Prebys Concert Hall Christopher O’Riley, piano Curtis Macomber, violin Peter Seidenberg, cello Allen Blustine, clarinet

Program Trio in B-flat Major Ludwig van Beethoven (1770–1827) for Clarinet, Cello, and Piano, Opus 11 (1797)

Allegro con brio Adagio

Allegretto (Tema: Pria ch’io l’impegno)

Suite from L’histoire du soldat (1918–19)

Igor Stravinsky (1882–1971)

The Soldier’s March

The Soldier’s Violin

A Little Concert Tango-Waltz-Ragtime

The Devil’s Dance

Sonata for Piano (1926)

Béla Bartók (1881–1945)

Allegro moderato Sostenuto e pesante Allegro molto

INTERMISSION Sonata for Violin and Cello (1897)

Maurice Ravel (1875–1937)

Allegro

Très vif Lent

Vif, avec entrain

Contrasts for Clarinet, Violin, and Piano, Sz.111 (1938)

Verbunkos (Recruiting Dance) Pihenö (Relaxation) Sebes (Fast Dance)

Bartók

ABOUT THE PROGRAM Trio in B-flat Major for Clarinet, Cello, and Piano, Opus 11 Ludwig van Beethoven Born December 16, 1770, Bonn Died March 26, 1827, Vienna Beethoven wrote this gentle trio in 1798, during his first years in Vienna. Much of his early chamber music included piano, perhaps to give Beethoven more opportunities to perform in his adopted city. This particular combination of instruments is unusual, and Beethoven may have written it with the Austrian clarinet virtuoso Joseph Beer in mind (almost exactly a century later, Brahms would write a trio using these same three instruments for the German clarinetist Richard Mühlfeld). Aware that this combination of instruments might mean infrequent performances, Beethoven also prepared a version in which violin replaces the clarinet.

The Allegro con brio opens with a jaunty unison statement four octaves deep. The music seems so innocent and straightforward that it is easy to overlook Beethoven’s harmonic surprises: when the second theme arrives, it is in the unexpected key of D major, which sounds striking after the F major cadence that preceded it. The Adagio is based on one central idea, heard immediately in the cello and marked con espressione. This song-like melody is quickly picked up by the clarinet and embellished as the movement proceeds.

Beethoven must have had a particular fondness for this theme, for he used it—in slightly altered form—in his Septet of 1800 and his Piano Sonata in G Major, Opus 49, No. 2, written in 1795.

The finale, marked Allegretto and titled Tema: Pria ch’io l’impegno, is a set of variations on a theme announced at the beginning by the piano. This sprightly tune was originally a vocal trio in the opera L’amor marinaro (also known as Il Corsaro, or The Corsair) by the Austrian composer Joseph Weigl, and that title translates: “Before I begin work, I must have something to eat.” The opera had something of a vogue in Vienna at the time (it was premiered there on October 15, 1797), and Hummel and Paganini later wrote variations of their own on this same theme. Beethoven’s movement consists of the theme, nine variations, and a coda. The first variation is for piano alone, but the second is for clarinet and cello duet, virtually the only time in the entire trio when the piano is silent. Subsequent variations alternate between major and minor keys, and a coda based on Weigl’s theme brings the trio to a quick-paced conclusion.

Suite from L’histoire du soldat Igor Stravinsky Born June 17, 1882, Oranienbaum Died April 6, 1971, New York City Stravinsky spent the period of World War I in Switzerland. These were difficult years for the composer, then in his thirties. The war prevented productions of his music, halting his income, and the Russian Revolution of 1917 cut him off from his homeland. At this moment of discouragement, Stravinsky became friends with the Swiss novelist C.F. Ramuz and suggested that they create a theater piece based on two Russian folktales about the devil and a soldier. One story told of a soldier who got the devil drunk, fed him shot by telling him it was caviar, and killed him. In the other story, the devil tricks a deserter into giving up his soul. The version that Ramuz and Stravinsky prepared become L’histoire du soldat— 4

Program

The Soldier’s Tale—and it was completed in 1918. L’histoire du soldat reeks with the angry disillusion generated by the First World War: the soldier—it does not matter which country or army he is from—battles the devil and even wins a few rounds, but the ultimate triumph must belong to the devil.

Stravinsky wrote L’histoire for an ensemble of seven players and three actors (and—in the original version—a dancer). The reason for using such a small musical ensemble was pragmatic: the war made it difficult to find large performing groups, and Stravinsky hoped that with such a small number of performers, L’histoire could be taken on tour and performed in villages. Stravinsky chose two instruments from each instrumental family, trying to achieve the widest tonal range possible: violin and double bass, clarinet and bassoon, and trumpet and trombone; he added a percussionist responsible for a number of instruments. Many have noted the similarity between this ensemble and American jazz groups of the same period, and in fact at some places L’histoire du soldat is influenced by jazz, but this music shows many influences beyond jazz—Stravinsky was consciously trying to set his earlier “Russian” music behind him and create a more international style. At its first performance, on September 28, 1918, just a few weeks before the armistice that ended the war, L’histoire was a great success, though Stravinsky’s hopes for financial success from a tour were quickly dashed. The epidemic of Spanish flu that swept the world in 1918 hit Switzerland at this point, affecting several of the performers, and the tour had to be abandoned.

Stravinsky drew two suites from this score. The first, called Concert Suite, consists of eight purely instrumental movements, and this version—in the original instrumentation—is performed fairly often. The other arrangement proceeded from purely personal reasons.

The first performance of L’histoire had taken place only because of a generous gift from Dr. Werner Reinhart of Winterthur; Stravinsky noted that Rinehart “paid for everybody and everything, and finally even commissioned my music.” Rinehart was a very good amateur clarinetist, and Stravinsky—deeply grateful—looked for a way to thank him musically. In 1919, he wrote two works for Rinehart: Three Pieces for Clarinet and a transcription of a set of movements from L’histoire for an ensemble of clarinet, violin, and piano which he called—simply—Suite.

Any transcription of a piece of music for smaller forces inevitably involves some trade-offs.

This Suite loses Stravinsky’s nicely judged contrasts between instrumental families and timbres, and there is some rounding down of the original score’s acerbic edges, particularly in the loss of the brass and percussion. There are benefits, however: these include the creation of a version of L’histoire that can be performed without the full complement of seven virtuoso players, and this version retains much of the original clarinet and violin parts.

The Suite is in five movements. The Soldier’s March, from the very beginning of L’histoire, introduces the soldier on his way home on leave. This sturdy little march, enlivened by occasional military flourishes, spices up its basic duple meter with odd measures of 3/8 and 3/4. The Soldier’s Violin is the music the soldier plays when, while resting by a brook, he pulls an old violin from his pack and tunes it up; this propulsive interlude is full of tricky doublestops for the violinist. A Little Concert, from much later in the piece, had prominent parts for violin and clarinet in the original, and they are preserved here. The Tango-Waltz-Ragtime sequence is what the soldier plays in his successful attempt to cure the sick princess: she rises from her bed and dances to the sound of his violin as he plays these three dances. The Devil’s Dance comes from near the end. The soldier appears to have resisted temptation, and here he takes up his violin and forces the devil to dance this furious dance for him.

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Sonata for Piano Béla Bartók Born March 25, 1881, Nagyszentmiklos, Hungary Died September 26, 1945, New York City As a virtuoso pianist, Bartók knew and loved (and performed) the Sonata in B Minor of his fellow Hungarian Franz Liszt, but—as a composer—his own sonata is quite different.

Where Liszt’s is massive, stretching out a full half-hour, Bartók’s is extremely concise: its three movements span a total of only twelve minutes. Where Liszt revels in the grand piano sonority we associate with nineteenth-century keyboard music, Bartók creates an entirely different sound. Bartók’s Piano Sonata speaks with a bristling, assaultive harmonic language that would have startled Liszt, but—curiously—his sonata is formally much more traditional than Liszt’s.

In 1926, at age 45, Bartók decided to resume his career as a virtuoso pianist. He needed more of his own music to include on his programs, and in June 1926 he began to write music for the piano. Over the next several months he completed his Piano Sonata, First Piano Concerto, Nine Little Piano Pieces, and a suite of five movements that he titled Out of Doors.

These pieces would form the core of his programs over the next few seasons, and Bartók gave the first public performance of the Piano Sonata at a recital in Budapest on December 8, 1926.

In these years, Bartók had become interested in the piano as a percussion instrument–one that produces its sound as a hammer strikes a key—and his Piano Sonata is remarkable for its percussive, pounding sonority. This can be difficult music for audiences, and it demands fresh ears from those audiences, for Bartók challenges our standard notions of a piano sonata. Throughout, the writing is linear, chordal, almost consciously aggressive. And the harmonic language is at times quite dissonant—many of the chords here are built on the abrasive intervals of seconds and ninths. Further, Bartók refuses to write themes built on melodies, choosing instead to create thematic material made up of fragments, repeated notes, and repeated intervals. Even the slow movement, where we might expect lyrical ideas to emerge, remains resolutely unsentimental. All of this makes Bartók’s Piano Sonata sound formidable, and in many ways it is. But it is also exhilarating music—powerful, exciting, and extremely concentrated.

The Allegro moderato leaps to life with a swagger, pounding along its steady chordal writing— this pulse of eighth-notes will continue almost without pause throughout the movement, though Bartók enlivens its progress with powerful chords, shifting meters, and off-the-beat accents. This movement is in traditional sonata form, with two other distinct theme-groups.

A long recapitulation leads to a Più mosso coda that accelerates to the movement’s sudden close on a brusque upward glissando.

The middle movement is marked Sostenuto e pesante—even at a slower pace, a percussive pulse continues here. The dissonance level is high here, as well—in the opening measure, an E in the left hand is flat, natural in the right. The middle section of this ternary-form movement is muted at first but then rises to a climax before falling away to the quiet close.

The finale, Allegro molto, is once again in traditional forms, though Bartók adroitly combines rondo and variation-form here. The jaunty main theme, built on constantly shifting meters, seems to have its roots in folk material. As we expect in rondo form, this theme returns constantly, but what we do not expect is that Bartók will vary the theme on each reappearance.

The writing here is extremely difficult—not only is the pace very fast, but much of the writing is in octaves. A Vivacissimo coda hurtles the sonata to its powerful ending.

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Program

Sonata for Violin and Cello Maurice Ravel Born March 7, 1875, Ciboure, Basses-Pyrenees Died December 28, 1937, Paris The composition of the Sonata for Violin and Cello was difficult for Ravel, and he worked on this brief piece for two years before completing it in 1922. This was a bleak period emotionally for the composer: he had just gone through the torment of the First World War (in which he had served as an ambulance driver) and suffered the death of his mother in 1917. This spare work is dedicated to the memory of Debussy, who had died in 1918.

Writing for two linear instruments without the harmonic foundation and richness of piano accompaniment brings special problems. Ravel himself noted his solution: “Economy of means is here carried to its extreme limits; there are no harmonies to please the ear, but a pronounced reaction in favor of melody.” Listeners accustomed to the sometimes lush and exotic harmonies of Ravel’s music for orchestra and for piano will find this sonata lean and ingenious, more striking for its brilliance than its emotional content.

The brief sonata is in four movements. The Allegro requires the two instruments to play in different keys, and the resulting clash, often on the interval of major and minor thirds, provides much of this movement’s harmonic pungency. The cello’s opening theme is taken up by the violin and developed with much energy by both instruments.

The brilliant Très vif—the sonata’s scherzo—is notable for its instrumental effects, particularly the pizzicato ostinato played at times by both instruments. It has been said— incorrectly—that this movement lacks melodic content: the first distinct theme is played by the pizzicato violin. But it is true that this movement is made distinctive more by its sounds—the snapping pizzicatos, buzzing trills, and eerie harmonics—than by its melodies.

The Lent is the Sonata’s most immediately attractive movement: the cello’s soulful opening melody is soon taken up by the violin, and their extended duet sings gracefully. An agitated middle section gives way to the return of the opening material. The finale—Vif, avec entrain (Lively, with spirit)—is a sort of rondo based on the cello’s spiccato opening theme which the violin takes over in turn. Several brief episodes interrupt the rondo theme before this brilliant, energetic movement comes to its sudden close on a pizzicato chord.

Contrasts for Clarinet, Violin, and Piano, Sz.111 Béla Bartók Born March 25, 1881, Nagyszentmiklos, Hungary Died September 26, 1945, New York City Bartók wrote Contrasts during the late summer of 1938 on a commission from clarinetist Benny Goodman that had been facilitated by Bartók’s good friend and frequent recitalpartner, violinist Joseph Szigeti. Szigeti had long been interested in jazz, and Goodman was a classical musician as well as a jazz band leader (he commissioned the clarinet concertos of Copland and Hindemith). Bartók was somewhat familiar with American jazz, and Szigeti sent him several records of Goodman’s band before he began work on Contrasts, but this music shows the influence of jazz—if it does at all—only in the springy bounce of its final pages. One of the stipulations of the commission had been that the piece be short enough to fit on the two sides of a 78-rpm record (each of which could hold about five minutes of music), but Bartók went beyond that limit–as completed, Contrasts spans about a quarterhour.

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When it was composed in 1938, Contrasts had only two sections—the present first and third movements—but even before the first performance of that version in January 1939 Bartók had decided that it needed a central slow movement and composed the Pihenö. Bartók, Szigeti, and Goodman gave the premiere of the final version in Carnegie Hall on April 21, 1940, and recorded the piece the following month, a recording now available on CD. There are several charming photographs from the recording session: Szigeti looks elegant in a white rehearsal jacket, while Goodman—in shirtsleeves and suspenders and sitting with his legs crossed—is more informal. Bartók would relax only far enough to remove the coat of his three-piece suit, and he sits severely at the piano in white shirt, tie, and black vest.

Listeners unfamiliar with this music might best approach it through its incredible sonorities.

Contrasts is the only one of Bartók’s chamber works that includes a wind instrument, and— as the title implies—he was interested in contrasting the smooth sound of the clarinet, the resonant sound of the violin, and the percussive sound of the piano. And though he was a virtuoso pianist, Bartók gives the piano a somewhat lower profile than the other two instruments, each of which has its own cadenza.

The first movement is titled Verbunkos, which means “Recruiting Dance” and refers to an old Hungarian army ceremonial dance on the induction of recruits. The clarinet has the opening melody here, while the violin presents the syncopated second theme. Near the end, the clarinet has an elaborate cadenza, and the movement closes quietly. Pihenö (Relaxation) is a slow movement full of night-music, a Bartók specialty. The violin has the principal idea, but what makes this movement so distinctive are its eerie, spooky swirls of sound. The writing for piano—with its deep growls, turns, and trills—is particularly effective.

Sebes (“Fast”) is built on dance rhythms and requires extra instruments. The clarinet part is written for clarinet in A, but the middle section of this movement calls for B-flat clarinet, and Bartók asks that for the first thirty bars the violinist use an extra violin tuned G#-D-AEb. The malevolent sound of the violin’s resulting open-string tritones makes the beginning of this movement sound like the opening of Saint-Saëns’ Danse Macabre, which also calls for a re-tuned violin. This wonderful last movement, with its dance rhythms and gypsy-like melodies, blazes with vitality. A calmer middle section for clarinet in 8+5/8 time leads to a brilliant violin cadenza. The other instruments return, and Contrasts swirls and dances its way to one of the happiest conclusions Bartók ever wrote.

Program notes by Eric Bromberger

About the Artists Christopher O’Riley, piano Acclaimed for his engaging and deeply committed performances, the pianist Christopher O’Riley is known to millions as the host of NPR’s From the Top. Now in his fifteenth year on air, O’Riley introduces the next generation of classical-music stars to almost a million listeners each week. He performs around the world and has garnered widespread praise for his untiring efforts to reach new audiences.

Christopher O’Riley has performed as a soloist with virtually all of the major American orchestras—including the New York Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, Chicago Symphony, National Symphony, and San Francisco Symphony—and has also performed recitals throughout North America, Europe, and Australia.

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Living by the Duke Ellington adage “There are only two kinds of music, good music and bad,” O’Riley—a proponent of the former in all of its guises—has received the prestigious Avery Fisher Career Grant and an equally coveted four-star review from Rolling Stone magazine.

New York Chamber Soloists Acclaimed as an outstanding ensemble of distinguished virtuosi, performing widely diverse repertoire in creatively programmed concerts, the New York Chamber Soloists have maintained a unique niche in the chamber music world for over five decades. This twelvemember ensemble of strings, winds, and keyboard can increase to as many as twenty with the addition of guest artists, giving it the flexibility to offer many works that are seldom heard due to the unusual instrumental combinations for which they were written.

With more than 250 works in their repertoire, the Chamber Soloists have made a valuable contribution to the musical life of this country, and have helped to expand the audience for chamber music. Their programming innovations have included Bach’s complete Brandenburg Concerti in a single concert; “Paris in the ’20s”; an American Classics program; the complete Mozart horn concerti; and song cycles, cantatas, and operas from Monteverdi to Aitken.

They have added substantially to the catalog of 20th-century chamber works, with the more than 25 compositions written for them by such significant composers as Gunther Schuller, Mario Davidovsky, Ezra Laderman, and Mel Powell. The group has also commissioned works for children, including Ferdinand the Bull from noted American composer Hugh Aitken, and compositions based on Alice’s Adventures in Wonderland by Gerald Fried and Tania French.

The ensemble has compiled an impressive record of repeat engagements in North America and abroad, including eleven European tours, six Latin American tours, and numerous tours of the Far East and South Pacific.

In the United States, the Chamber Soloists have appeared frequently in New York City at the Metropolitan Museum of Art and Lincoln Center, in Washington at the Library of Congress, the National Academy of Sciences, the Kennedy Center, and the National Gallery of Art, at major universities across the country from Boston to Berkeley, and at the Mostly Mozart, Sun Valley, and Caramoor Festivals. Recent performances include two at the Casals Festival, as well as the debut of the Chamber Soloists’ new initiative, a large-scale orchestral program featuring luminaries such as Richard Stoltzman, Menahem Pressler, and Anton Kuerti.

These programs have been huge successes at venues including the Metropolitan Museum of Art, the Kravis Center, UCLA, and the University of Arizona. The New York Chamber Soloists were in residence at the Vermont Mozart Festival every summer from its inception in 1974 through its last year in 2010.

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FILMATIC FESTIVAL

Saturday, May 7, 2016 Calit2 at Qualcomm Institute Filmatic Festival is the future of filmgoing! Explore NextGen filmgoing through the worlds of virtual reality and immersive experiences. Program and more information online at artpower.ucsd.edu/filmatic. global music / UKRAINE

DAKHABRAKHA

Wednesday, May 11, 2016, at 8 pm

COMING UP NEXT

“. . . it’s the live shows that take DakhaBrakha beyond mere curiosity to utter brilliance.”—NPR DakhaBrakha possesses an incredible stage presence that transcends its eclectic repertoire and instrumentation. Reflecting fundamental elements of sound and soul, this Ukrainian “ethno choas” band creates a world of unexpected new music. jazz / U.S.A.

alicia olatuja

Thursday, May 12, 2016, at 8 pm St. Louis native Alicia Olatuja burst onto the national scene with her performance at President Obama’s second inauguration, but she has been honing her craft for many years, playing alongside giants like Chaka Khan, Christian McBride, and Bebe Winans. Blending elements of classical, jazz, gospel, and pop, her unique and soulful musical style creates a world of unexpected new music. dance / israel

idan cohen dance company gender bender Friday, May 20, 2016, at 8 pm

Idan Cohen’s new creation is an autobiographical fantasy that returns to Cohen’s early years growing up in the ‘80s and incorporate images that reflect personal and social identities of masculinity, femininity, and all that lies between.

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