BREVARD MUSIC CENTER | OVERTURE
FRIDAY, JULY 14 7:30 PM WHITTINGTON-PFOHL AUDITORIUM LENINGRAD SYMPHONY Gina Bachauer Memorial Concert Brevard Music Center Orchestra Keith Lockhart, conductor Kirill Gerstein, piano SHOSTAKOVICH (1906-1975)
Official piano of the Brevard Music Center
Piano Concerto No. 2 in F major, Op. 102 Allegro Andante Allegro Mr. Gerstein, piano
Symphony No. 7 in C major, Op. 60 "Leningrad"
DMITRI SHOSTAKOVICH (1906-1975) Piano Concerto No. 2 in F major, Op. 102 Premiered on May 10, 1957, in Moscow conducted by Nicolai Anosov with Shostakovich’s son Maxim as soloist (it was his 19th birthday). It must be nice to have somebody write a piano concerto just for you. It’s even nicer if that composer happens to be your father who knows your abilities and your temperament. And it seems too good to be true if that concerto was written specifically for your audition for the Moscow Conservatory. That was Maxim Shostakovich’s experience as a 19-year-old. Not surprisingly, he was accepted! Shostakovich’s Second Piano Concerto was composed in 1956—at a time when the composer was still adjusting to postStalin Russia and its shifting political landscape. At the time,
Allegretto Moderato (poco allegretto) Adagio Allegro non troppo
he was working on his Eleventh Symphony, subtitled “The Year 1905” (the year of the Russian Revolution). Not surprisingly, critics have drawn different conclusions about the content of this complex work. So, composing his Second Piano Concerto must have been a great joy, since for once he was just composing music without any political anything. All he had to worry about was that his son Maxim would sound great performing it. The work has a neo-classical character, composed in a classical, Haydnesque three-movement design. Shostakovich includes stylistic references to Bach two-part inventions (in place of a traditional cadenza toward the end of the first movement), to the tender expressiveness of Rachmaninoff (second movement writing for strings and soloist), and to the humor and mischief of Prokofiev (last movement). The pedagogical value of this approach is obvious. Add in a wide variety of technical challenges, and you have the perfect audition piece.