Richard Goode Concert Program

RICHARD GOODE, PIANO OCTOBER 21, 2015

D E N V E R

WOLFGAN G AMADEUS MOZAR T

Sonata No. 8 in A minor, K.310

Allegro maestoso Andante cantabile con espressione (1756-1791) Presto

JOHANNES 6 Klavierst端cke, Op. 118 B RAHMS Intermezzo in A minor: Allegro non assai, ma molto (1833-1897) Intermezzo in A major: Andante teneramente

Ballade in G minor: Allegro energico

Intermezzo in F minor: Allegretto un poco agitato

Romance in F major: Andante

Intermezzo in E-flat minor: Andante, largo e mesto

INT E RM ISSION

MOZAR T

Sonata No. 15 in F major, K.533/494

B RAHMS

4 Klavierst端cke, Op. 119

Allegro Andante

Rondo, allegretto

Intermezzo in B minor: Intermezzo in E minor: Intermezzo in C major: Rhapsody E-flat major:

Adagio Andantino un poco agitato Grazioso e giocoso Allegro risoluto

RICHARD GOODE Richard Goode returns to FCM for his seventh appearance on our series, last appearing here in March 2013 when he played the Schumann Piano Concerto with the Orpheus Chamber Orchestra. He will perform on the Steinway concert grand he helped FCM select at the Steinway factory in 2013. Goode has been hailed for music-making of tremendous emotional power, depth and expressiveness, and has been acknowledged worldwide as one of today’s leading interpreters of Classical and Romantic music.

RICHARD GOODE

piano

Richard Goode opened his 2015-2016 season on October 18 as soloist with the Los Angeles Chamber Orchestra and Jeffrey Kahane, followed by appearances with the Orchestre de Paris and Herbert Blomstedt, the Cincinnati Symphony and David Zinman, and the Orchestre National de Lyon and Ton Koopman, among others. A compelling recitalist, Mr. Goode will be featured in the Great Performers Series at Lincoln Center in New York, at the Royal Festival Hall in London, in the Chicago Symphony series, and at major venues in the U.S. and Europe including those in Budapest, Cleveland, Dublin, Glasgow, Philadelphia, San Francisco, Vancouver, and Washington, D.C. He will also return to both the Gilmore Festival and perform in a gala concert celebrating the 30th anniversary of the Philadelphia Chamber Music Society.

Last season Mr. Goode opened Lincoln Center’s Mostly Mozart Festival and was featured in five appearances at Carnegie Hall. In addition to a recital in the main hall, he appeared as a soloist with the Boston Symphony Orchestra under the baton of Andris Nelsons, in two chamber music concerts with young artists from Marlboro Music Festival, and conducting a master class on Debussy piano works.

He was also heard as soloist with orchestras including the Los Angeles Philharmonic, St. Louis, Milwaukee, and San Diego Symphonies, and in numerous recitals including at the Concertgebouw in Amsterdam, Wigmore Hall in London, and the Celebrity Series of Boston.

Among the highlights of recent seasons have been the recitals in which, for the first time in his career, Mr. Goode performed the last three Beethoven Sonatas in

one program, drawing raves in New York, London, and Berlin. The New York Times, in reviewing his Carnegie Hall performance, hailed his interpretations as “majestic, profound readings.... Mr. Goode’s playing throughout was organic and inspired, the noble, introspective themes unfolding with a simplicity that rendered them all the more moving.” Recent seasons have also included performances with the Metropolitan Opera Orchestra led by Fabio Luisi at Carnegie Hall, with the Los Angeles Philharmonic and Gustavo Dudamel, and on tour with the Boston Symphony Orchestra.

An exclusive Nonesuch recording artist, Goode has made more than two dozen recordings. His recording of the five Beethoven concertos with the Budapest Festival Orchestra and Iván Fischer was released in 2009 to exceptional critical acclaim, described as “a landmark recording” by the Financial Times and nominated for a Grammy award.

His 10-CD set of the complete Beethoven sonatas, the first-ever by an American-born pianist, was nominated for a Grammy. Other recording highlights include a series of Bach Partitas, a duo recording with Dawn Upshaw, and Mozart piano concertos with the Orpheus Chamber Orchestra.

A native of New York, Richard Goode studied with Elvira Szigeti and Claude Frank, with Nadia Reisenberg at the Mannes College of Music, and with Rudolf Serkin at the Curtis Institute. He received a Grammy award for his recording of the Brahms Sonatas with clarinetist Richard Stoltzman.

Mr. Goode served, together with Mitsuko Uchida, as co-Artistic Director of the Marlboro Music School and Festival in Marlboro, Vermont from 1999 through 2013.

Participating initially at the age of 14, at what The New Yorker magazine recently described as “the classical world’s most coveted retreat,” he has made a notable contribution to this unique community over the 28 summers he has spent there. He is married to the violinist Marcia Weinfeld, and, when the Goodes are not on tour, they and their collection of some 5,000 books live in New York City.

When he comes to Denver, he enjoys visiting the Tattered Cover.

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NOTES

Program notes © Besty Schwarm

MOZART: SONATA NO. 8 IN A MINOR, K. 310

Mozart’s seventh, eighth, and ninth piano sonatas were published together in Paris in 1782 as the three parts of his opus 4. He had, in fact, composed hundreds more works than that, and had even published far more than just four of them. However, in Mozart’s time, publishers were often idiosyncratic in their numbering systems.

Of the three sonatas, only the eighth is based upon a minor key, the perfect contrast to the C major used for the first of the sonatas. Both emphasize the piano’s white keys, while almost entirely ignoring the black keys.

However, by basing its harmonies upon A, rather than upon C, it acquires much more melancholy coloring.

The notes are the same; the difference comes from the organization of those notes. By contrasting A minor with C major, Mozart was able to show how drawing from the same pool of pitches resulted in different effects. This sonata reveals an unusually sober side of this often ebullient composer.

Last performed on our series January 18, 2006 (Jonathan Biss, piano)

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The first movement opens in a gently fretful fashion.

Sunnier contrasting ideas will appear, though it is the opening moods of tension that appear with the greatest frequency. With the second movement comes a change of attitude, brighter and sweetly serene, with graceful runs and trills to ornament the elegance. Final movements of sonatas were generally the liveliest and often demonstrated a distinct shift of mood from the beginning. Here, Mozart does choose to let his music hasten in eager fashion, though much of the sobriety of the opening movement returns. The spirit is less one of scampering in delight than of hurrying away from trouble. Being Mozart, there are cheerful passages for contrast, yet the sonata concludes in what is, for this composer, a startling degree of tension.

It was late in his career – in 1893 – that Brahms BRAHMS: published his two sets of Piano Pieces, op. 118 and SIX KLAVIERSTÜCKE, 119. They are six individual movements composed and premiered separately, though for the sake of convenience OP. 118 published together in 1893 under a single opus number.

The six pieces of his opus 118 offer a variety of keys and moods, each individual piece having its own descriptive title that is sufficiently non-specific as to leave the composer room to express what he will. The first is powerfully dramatic with cascading downward runs. By contrast, the second – like the first, labeled an Intermezzo – is sweet and gentle, offering a completely different side of keyboard expression. Standing third in the set, the Ballade is outspoken in mood, though still less tragic than its key of G minor might suggest.

With the fourth piece, Brahms provided another Intermezzo, here with the lively motion of the first Intermezzo, though less dramatic and more in the line of wistful sighs. The Romanze is, as its title suggests, a softly poetic nocturnal mood, though its middle pages Last performed on our flow more quickly. For the final piece – longest of the series January 5, 2014 six – Brahms opens and closes with gentle melancholy, (Emanuel Ax, piano) bridging the middle pages with a greater sense of motion.

Musicologists bless Mozart for his habit of keeping a thematic catalog of his own works, designating them by genre and key, noting in a few measures of the music for further clarity, and then adding the date on which he completed that piece. According to this catalog, he completed this sonata on January 3, 1788, about three weeks before his 32nd birthday.

As it happens, having a bit more detail is useful as the concluding Rondo movement has its own entry earlier in the catalog. Mozart had written it on June 10, 1786, as a free-standing work in a single movement, perhaps as an encore possibility or as a shorter work to be approached by one of his many piano students. As the months passed, Mozart apparently came to feel that those musical ideas deserved a broader setting. He revised and expanded that single movement, then added to it two other movements to create a complete sonata, hence the two Köchel

MOZART: SONATA NO. 15 IN F MAJOR, K. 533/494

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Program Notes Continued

numbers that the sonata bears (the lower for the Rondo on its own and the higher for the sonata as a whole).

Last performed on our series December 11, 1991 (Richard Goode, piano)

The first movement offers flowing melodies that cover most of the range of the keyboard. Outspoken staccato passages appear as punctuation, and one finds periods of more urgent expression, as if for the sake of contrast. The gentler second movement is reserved and reflective, with some minor-key passages. For the concluding Rondo – the first portion of the sonata to be composed – Mozart chooses to showcase a sparkling and delicate energy, broken only by a single more dramatic passage. The shortest of the three movements, it serves to bring the sonata to a spirited close.

BRAHMS: FOUR KLAVIERSTÜCKE, OP. 119

Last performed on our series January 5, 2014 (Emanuel Ax, piano) 4

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Like the Six Piano Pieces, op. 118, that immediately precede it in Brahms’s catalog of works, the entry labeled Four Pieces, op. 119, dates from late in his career and represents four separate and unrelated pieces that all happen to be for solo piano. The first three pieces are all labeled Intermezzi. The first of these offers tentatively melancholy ideas, with only brief appearances of stronger statements. The second is more restless in mood, with small rhythmic fragments that reappear again and again.

Now finished with minor keys, Brahms offers the third Intermezzo, a short but sunny and playful C major celebration.

As is Brahms’s habit, the last of the pieces is the longest, and at last he sets aside the term Intermezzo in favor of Rhapsody. Rhapsody is also a word with no specific expectation of construction, so Brahms can do as he pleases, and what he pleases is to prove that, even with only a single keyboard at hand and no orchestra whatsoever, the key of E-flat major can still be bold and heroic. Occasional quieter passages appear for contrast, though exuberant ones – as the tempo marking has it, strongly “resolved” – are the major focus as the set draws to a close. In less than twenty minutes, and with only a single pair of hands at his disposal, Brahms has managed to craft music of impressive variety.

2015-2016

PIANO SERIES STEVEN OSBORNE

WED, FEB 24, 2016 | 7:30 PM “You could have heard a pin drop. Steven Osborne’s power over the hall was absolute…the atmosphere was spellbound.”

— T H E D A I LY T E L E G R A P H

PROGRAM:

Schubert: Impromptus D.935, nos. 1 & 4 Debussy: Masques Debussy: Images, Book 2 Debussy: L’ile joyeuse Rachmaninoff: Études-Tableaux, selection

JEAN-EFFLAM BAVOUZET TUE, APR 19, 2016 | 7:30 PM

“Jean-Efflam Bavouzet is among the most generous and indefatigable of performers.” — T H E G U A R D I A N PROGRAM:

Beethoven: Piano Sonatas Op. 78, Op. 90, and Op. 101 Ravel: Miroirs Debussy: Images, Book 1

TO ORDER PIANO SERIES TICKETS:

A P P LY T HE C O S T O F TONIGH T ’S T IC KET A ND P U RC HA SE T HE R EMA I N IN G T WO C ON CER T S FO R J U S T $ 4 5 .

Call 303-388-9839 to order Single tickets $35 each $10 Students (25 and younger) Visit www.friendsofchambermusic.com or Newman Center Box Office | 303-871-7720

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FCM IN THE COMMUNITY On September 16, over 200 students at Denver’s Garden Place Academy in the Globeville neighborhood welcomed the Pacifica Quartet for two performances in their auditorium.

FCM is excited to launch another year of educational outreach programming for audiences of all ages.

Watch for more information at friendsofchambermusic.com

Garden Place Academy is a low-income kindergarten through fifth grade school with high ethnic diversity, and is also one of the host schools for the El Sistema Colorado program. Currently 85 students at Garden Place are benefiting from this intensive music program that, through musical instruction, teaches the importance of teamwork, promotes self-confidence, and instills the value of social responsibility.

The Pacifica Quartet demonstrated their instruments, shared various musical techniques, and provided background on several composers, including Mozart, Mendelssohn, Bartók, and Piazzolla, prior to performing excerpts from their works.

Following the performances, quartet members spent time with El Sistema students answering questions and talking about their professional careers in music.

On October 6, FCM arranged for cellist Kyril Zlotnikov of the Jerusalem Quartet to lead a master class for young chamber musicians at the Denver School of the Arts.

Coaching a newly formed ensemble of 8th graders through a Mozart quartet, Mr. Zlotnikov asked them to envision the operatic character of the piece and stressed the importance of dynamics. Performing Brahms, the second quartet was asked to focus on producing the highest quality sound while internalizing the “driving force” of eighth notes. Finally, a young cellist played from the Dvoˇrák concerto as Mr. Zlotnikov coached him through ways to manage his energy through the difficult piece.

Kyril Zlotnikov, cellist with the Jerusalem Quartet, works with DSA student Ben Roberts.

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FCM thanks Mr. Zlotnikov for generously offering his mentorship and DSA for its fine young musicians!

GOOD VIBRATIONS Communicating through Music

Sunday, October 25, 2:00–3:30 p.m.

Join us for a family-friendly musical afternoon featuring Colorado Symphony violist Catherine Beeson and musicians from the Colorado Symphony.

We’ll have refreshments and hands-on activities in the lobby following this interactive program — fun for all ages!

Free to the Public Sunday, October 25, 2:00 - 3:30 p.m.

Denver School of the Arts 7111 Montview Blvd, Denver 80220 Please RSVP by October 16 to 303-388-9839 or friendsofchambermusic@comcast.net

40 UNDER 40 Thank you to the following Friends who have sponsored 40 Under 40 guests for our 2015–16 Piano Series.

Patsy and Jim Aronstein Lisa and Steve Bain Marianne Barr Christa Bell Janet and Henry Claman David Cohen Beth Cookson Joyce Frakes Paula and Stan Gudder Bill Juraschek Ellen Krasnow & John Blegen Evi and Evan Makovsky Rosemarie and Bill Murane Desiree Parrott-Alcorn Priscilla Press Lee and Jill Richman Laura Rogers Jeremy and Susan Shamos

BACKSTAGE RECEPTION Tonight's backstage reception for new Piano Series subscribers and 40 Under 40 guests/sponsors will be held immediately following Mr. Goode's recital. To enter the backstage area, please follow the signs beginning at the bottom of the west staircase.

Photo: Willie Petersen friendsofchambermusic.com

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THE FOLLOWIN G FRIENDS have made gifts in the last 12 months. Your generous support is invaluable in assuring our continued standard of excellence. Thank you! $25,000 + Bonfils-Stanton Foundation Scientific and Cultural Facilities District, Tier III $5,000 + Colorado Creative Industries The Denver Foundation $2,500 + Alix & John Corboy Cynthia & John Kendrick $1,000 + Anonymous Patsy & James Aronstein* Lisa & Steve Bain Bob & Cynthia Benson Howard & Kathleen Brand Henry & Janet Claman Bucy Family Fund C. Stuart Dennison Jr. Ellen & Anthony Elias Fackler Legacy Gift Robert S. Graham Celeste & Jack Grynberg Stephen & Margaret Hagood Michael Huotari & Jill Stewart Katherine Millett, in memory of Dr. Karl Arndt, a founder of Denver Friends of Chamber Music Frank & Pat Moritz Robert & Judi Newman Myra & Robert Rich Jeremy & Susan Shamos Marlis & Shirley Smith Patricia Somerville Herbert Wittow $500 + Jules & Marilyn Amer Linda & Dick Bateman Pam Beardsley Kate Bermingham Andrew & Laurie Brock Henry & Janet Claman Susan & Tim Damour, in honor of Lisa Bain Max & Carol Ehrlich Tudy Elliff 10

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Richard W. Healy Eugene Heller & Lily Appleman David & Ana Hill Joseph & Renate Hull L.D. Jankovsky & Sally Berga Stanley Jones Bill Juraschek Michael & Karen Kaplan Robert Keatinge Bruce Kindel Michael & Wendy Klein Roberta & Mel Klein Donna Kornfeld Ellen Krasnow & John Blegen Elizabeth Kreider Doug & Hannah Krening Edward Karg & Richard Kress George Kruger Jack Henry Kunin Richard Leaman Igor & Jessica Levental Judy & Dan Lichtin Theodor Lichtmann Charles & Gretchen Lobitz Ronald & Jeri Loser John & Merry Low Elspeth MacHattie & Gerald Chapman Evi & Evan Makovsky Roger Martin Myron McClellan & Lawrence Phillips Estelle Meskin Pamela Metz & Charlene Byers Rhea Miller Paul & Barb Moe Douglas & Laura Moran Marilyn Munsterman & Charles Berberich Betty Naster * Robert & Ilse Nordenholz Robert N. O’Neill Dee & Jim Ohi Jan Parkinson Desiree Parrott-Alcorn David S Pearlman Barbara Pollack Carol Prescott Sarah Przekwas Ralph & Ingeborg Ratcliff Gene & Nancy Richards Marv & Mary Robbins Herb Rothenberg, in memory of Doris Rothenberg Lorenz Rychner Hilary & Peter Sachs Charley Samson

Donald Schiff, in memory of Rosalie Schiff John & Patricia Schmitter Robert & Barbara Shaklee Susan Sherrod and Andrew Lillie Milton Shioya Nathan Stark Paul Stein Dan & Linda Strammiello Morris & Ellen Susman Decker Swann Cle Symons Malcolm & Hermine Tarkanian Margot K. Thomson Peter Van Etten Tom & Eleanor Vincent Eli & Ashely Wald Bill Watson Ann & Marlin Weaver Hedy & Michael Weinberg Jeff & Martha Welborn Carol Whitley Greta & Randy Wilkening * Ruth Wolff Jeff Zax and Judith Graham R. Dale Zellers Carl & Sara Zimet $50 + Lorraine & Jim Adams Charlene Baum Vernon Beebe Alberta & William Buckman Thomas Butler Richard & Gwen Chanzit Dana Klapper Cohen Jane Cooper Catherine C Decker Nancy & Mike Farley Janet & Arthur Fine John & Debora Freed Martha Fulford Robert C. Fullerton Barbara Gilette & Kay Kotzelnick Dr. and Mrs. Stanley Ginsburg Henry & Carol Goldstein Sandra Goodman Sanders Graham Carol & Jim Griesemer Barbara Hamilton Dorothy Hargrove Suzanne Kaller Leonard & Abbey Kapelovitz

Daniel & Hsing-ay Hsu Kellogg John & Margo Leininger Linda Levin Della Levy Arthur Lieb Ben Litoff & Brenda Smith Cherry Lofstrom Bill and Lisa Maury Loris McGavran Joanna Moldow Betty Murphy Mary Murphy Mari Newman Tina & Tom Obermeier Martha Ohrt Danielle Okin John Pascal Carolyn & Garry Patterson Romney Philpott Carl Pletsch Robert Rasmussen Margaret Roberts Yanita Rowan Cheryl Saborsky Kim Schumanf Jo Shannon Artis Sliverman Lois Sollenberger Steve Susman Robert & Beth Vinton Suzanne Walters Barbara Walton Lin & Christopher Williams, in honor of Kathy Newman’s 70th birthday Robert & Jerry Wolfe Karen Yablonski-Toll Jaclyn Yelich MEMORIAL GIFTS The following individuals made gifts in memory of Ronald Loser, a long-time subscriber who passed away in September.

Anonymous Bill & Adele Deline GYRO Club of Denver William Russell Jerry Seifert Marlis Smith Deborah Sorenson * Gift made to FCM Endowment friendsofchambermusic.com

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UPCOMING CONCERTS C HAMBER SERIES

PIAN O SERIES

Leila Josefowicz, violin with John Novacek, piano

Steven Osborne

Sunday, November 15, 4:00 PM

Brentano Quartet

Wednesday, January 13, 7:30 PM

Musicians from Marlboro

Wednesday, March 30, 7:30 PM

Antoine Tamestit, viola, and Shai Wosner, piano

Wednesday, April 27, 7:30 PM

Kalichstein-Laredo-Robinson Trio Wednesday, May 11, 7:30 PM

Wednesday, February 24, 7:30 PM

Jean-Efflam Bavouzet

Tuesday, April 19, 7:30 PM ADVANCE SINGLE TICKETS ARE AVAILABLE FOR ALL CONCERTS. Visit Our Website: www.friendsofchambermusic.com Or contact the Newman Center Box Office, 303- 871- 7720 www.newmantix.com

SPECIAL THANKS COLORADO CREATIVE INDUSTRIES

COLORADO PUBLIC RADIO (KVOD 88.1 FM)

SCIENTIFIC AND CULTURAL FACILITIES DISTRICT (TIER III)

ESTATE OF JOSEPH DEHEER ESTATE OF SUE JOSHEL

for providing general operating support for our season

for supporting FCM’s outreach efforts through school residencies and master classes

for broadcasting FCM concerts on its “Colorado Spotlight” programs

for providing lead gifts to the FCM Endowment Fund BONFILS-STANTON FOUNDATION

for sponsorship of FCM’s Piano Series and audience development programs in memory of Lewis Story

Gates Concert Hall • Newman Center for the Performing Arts • University of Denver

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