Marc-André Hamelin Programme

ŠCanetty Clarke

NCH International Concert Series 2018/2019

Marc-AndrĂŠ Hamelin piano Thursday 9 May 2019

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International Concert Series 2018/2019

Welcome/Fáilte The dazzling virtuoso pianist Marc-André Hamelin makes a very welcome return to Ireland this evening to perform this solo recital, following his 2017 NCH debut in Stravinsky’s Rite of Spring with Norwegian pianist Leif Ove Andsnes.

Described as having a ‘kind of superhuman mastery’ (The Irish Times) Hamelin is ranked among the elite of world pianists, renowned for his unrivalled blend of musicianship and virtuosity in the great works of the established repertoire, as well as for his intrepid exploration of the neglected music of the 19th and 20th centuries.

His chosen programme for this evening’s recital is testament to both his virtuosity and musical curiosity, as he presents works by Schumann, Fauré and Chopin along with rarely-heard works by Castelnuovo-Tedesco and Alexis Weissenberg. In the latter is a set of six arrangements by Weissenberg of songs by the French popular singer-songwriter Charles Trenet, which Hamelin transcribed from the original 1950s recording.

Our thanks to The Irish Times for its continued support as print media partner for the NCH International Concert Series. The next concert in the season on 21st May sees the International Concert Series debut by the Boston Symphony Chamber Players – principal musicians with the renowned Boston Symphony Orchestra - perform a range of chamber music classics by Beethoven, Mozart, Michael Gandolfi and Françaix.

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International Concert Series 2018/2019

Programme Castelnuovo-Tedesco Cipressi Op. 17 Schumann

Fantaisie in C major, Op. 17

INTERVAL Weissenberg

Six arrangements of songs sung by Charles Trenet

FaurĂŠ

Nocturne No. 6 in D flat, Op. 63

Chopin

Polonaise-fantaisie in A flat major, Op. 61

Chopin

Scherzo No. 4 in E major, Op. 54

REMINDERS Mobile Devices Please ensure all mobile devices are switched off during the performance.

Camera, Video and Recording Equipment Camera, video and recording equipment are NOT permitted in the auditorium.

Intervals and Timings Interval will be 20 minutes. Latecomers will not be admitted until there is a suitable break in the performance.

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“A performer with a reputation for a kind of superhuman mastery�

The Irish Times

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Marc-AndrĂŠ Hamelin

ŠCanetty Clarke

piano

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Pianist Marc-André Hamelin is known worldwide for his unrivalled blend of consummate musicianship and brilliant technique in the great works of the established repertoire, as well as for his intrepid exploration of the rarities of the 19th, 20th and 21st centuries – in concert and on disc.

The coming season includes Mr. Hamelin’s return to Carnegie Hall for a recital on the Keyboard Virtuoso Series plus recitals in Montreal, Seattle, Berlin, Florence, Salzburg, Wigmore Hall, Istanbul, among others. In repertoire from Haydn and Mozart to Ravel and Rachmaninoff, Hamelin appears with the BBC Scottish Symphony Orchestra, the Los Angeles, Stuttgart, and Moscow State Philharmonics, the Vancouver, Cincinnati, and Oregon Symphonies, and tours in Europe with the Amsterdam Sinfonietta.

Some highlights of Mr. Hamelin’s last season include recitals at Vienna’s Konzerthaus and at the Schubertiade, the Concertgebouw in Amsterdam, at Yale, Cincinnati, Savannah, Munich, Moscow, and Vancouver – as well as his second appearance on the Keyboard Virtuoso Series at Carnegie Hall.

With orchestra, he debuted at the Orchestre de Paris with Alan Gilbert conducting the Ravel Concerto for the Left Hand; played the Schoenberg Concerto with the Rundfunk-Sinfonieorchester Berlin in the opening weeks of Vladimir Jurowski’s inaugural season; the Ravel Left Hand Concerto with Juanjo Mena and the Toronto Symphony; Ravel’s G Major Concerto with the St. Louis Symphony and John Storgårds; Stravinsky with the Seattle Symphony and Ludovic Morlot; Haydn with Osmo Vänskä and the Minnesota Orchestra; Mozart with Nicholas McGegan conducting the Cleveland Orchestra; the two Brahms concerti with the Moscow Philharmonic; and the Brahms D minor concerto with Andrew Manze conducting the Royal Liverpool Philharmonic.

He was a distinguished member of the jury of the 15th Van Cliburn International Piano Competition in 2017 where each of the 30 competitors in the preliminary round performed Hamelin’s “Toccata on L’Homme armé” which marked the first 6

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time the composer of the commissioned work was also a member of the jury. Although primarily a performer, Mr. Hamelin has composed music throughout his career; the majority of his works are published by Edition Peters.

Mr. Hamelin records exclusively for Hyperion Records. His most recent releases are a disc of Schubert’s Piano Sonata in B-Flat Major and Four Impromptus, a landmark disc of Stravinsky’s The Rite of Spring and Concerto for Two Pianos with Leif Ove Andsnes, Morton Feldman’s For Bunita Marcus, and Medtner’s Piano Concerto No. 2 and Rachmaninov’s Piano Concerto No. 3 with the London Philharmonic Orchestra and Vladimir Jurowski. His Hyperion discography of over 60 recordings includes concertos and works for solo piano by such composers as Alkan, Godowsky and Medtner, as well as brilliantly received performances of Brahms, Chopin, Liszt, Schumann and Shostakovich.

He was honoured with the 2014 ECHO Klassik Instrumentalist of Year (Piano) and Disc of the Year by Diapason Magazine and Classical Magazine for his three-disc set of Busoni: Late Piano Music and an album of his own compositions, Hamelin: Études, which received a 2010 Grammy nomination (his ninth) and a first prize from the German Record Critics’ Association.

The Hamelin Études are published by Edition Peters.

Mr. Hamelin makes his home in the Boston area with his wife, Cathy Fuller. Born in Montreal, Marc-André Hamelin is the recipient of a lifetime achievement award from the German Record Critics’ Association. He is an Officer of the Order of Canada, a Chevalier de l’Ordre du Québec, and a member of the Royal Society of Canada.

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Programme Notes Mario Castelnuovo-Tedesco (1895-1968) Cipressi Op. 17 Florentine Mario Castelnuovo-Tedesco came from prominent Jewish banking stock that had settled in Tuscany following expulsion from Spain in 1482. His mother was his first piano teacher and by the age of nine he was already composing for the instrument. He entered the Cherubini Institute in Florence in 1914 where his composition teacher was the renowned Ildebrando Pizzetti. Taking an interest in his music, pianist/composer Alfredo Casella included some of Castelnuovo-Tedesco’s works in his recitals and was also influential in having his music performed at the first International Society for Contemporary Music (ISCM) festival in Salzburg in 1922.

Castelnuovo-Tedesco’s first opera - La mandragola (The Mandrake Root) based on Niccolò Machiavelli’s comedy - had its première in Venice in 1926 and it showed the composer’s talent for sensitive word setting. It was also the first of many works inspired by great literature particularly the songs in Shakespeare plays.

Castelnuovo-Tedesco’s opera The Merchant of Venice had its first performance in Florence in May 1961 while his chamber setting of Wilde’s The Importance of Being Earnest dates from the following year. It was produced at the La Guardia Theatre in New York in February 1975. Another major source of inspiration came from his Jewish heritage, most notably through sacred scripture and Hebrew chant.

Besides his facility with texts, a meeting with the Spanish guitarist Andrés Segovia at the 1932 ISCM festival in Venice led to Castelnuovo-Tedesco writing almost one hundred works for the instrument and making him the foremost composer for the guitar in the 20th century.

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With the rise of fascism in Italy in the 1930s, the composer decided to leave Europe and move to the US. Well connected through his relationships with violinist Jascha Heifetz, cellist Gregor Piatigorsky, for whom he had previously written concertos, and conductor Arturo Toscanini, Castelnuovo-Tedesco settled in California where he taught in the Los Angeles Conservatory and was also employed by Metro Goldwyn Mayer.

During his time in Hollywood he completed over two hundred scores for MGM and other film studios while his conservatory pupils included later luminaries Henry Mancini, Nelson Riddle, André Previn, Jerry Goldsmith and John Williams. Mario Castelnuovo-Tedesco died in Beverly Hills in 1968.

His publishers - Ricordi - describe his music as having ‘fresh melodic facility, tempered by an elegance often associated with French composers – more along the lines of Ravel than Debussy – for the precision of his contours, and the liveliness and variety of his rhythms. His modern musical language encompasses movements found in contemporary dance, including the fox trot and the blues, [as well as] a neo-romantic expressiveness’.

Certainly ‘neo-romantic expressiveness’ is an apt description of the mainly gently flowing Cipressi, written in 1920 and orchestrated by Castelnuovo-Tedesco the following year.

Inspired by the cypress trees in and around the small Tuscan town of Usigliano di Lari near Pisa, whither the composer and his wife, Clara Forti, often returned, as her family owned an estate there, Cipressi begins Lento e grave.

Atmospheric bell-like figures hover across the piece to give it an air of lamentation and despondency. A serene and song-like section is disturbed by an intense and impassioned passage but the idea of resigned calm returns. However, a second period of agitation, with a hint of violence, rises to the surface but this, too, is short-lived and Cipressi ends in a mood of tranquillity.

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Robert Schumann (1810-1856) Fantaisie in C major Op 17 Durchaus fantastisch und leidenschaftlich vorzutragen (Sempre fantasticamento ed appassionatamente) Mässig. Durchaus energisch (Moderato. Sempre energico) Langsam getragen. Durchweg leise zu halten (Lento sostenuto e sempre piano) Much of Robert Schumann’s music is inextricably linked to the bond forged between himself and his wife, Clara Wieck.

Time and again one comes across in both their works, for she was also a composer, some motif or other that had a special meaning for one or both of them. This evening’s Fantaisie (or Fantasy) is no exception as its first subject, a falling five-note figure, had deep personal significance for them.

The piece dates from 1836. Robert was twenty-six, Clara just eighteen. Realising Schumann was in love with her, Clara’s father, Friedrich Wieck, who had been Robert’s piano teacher, dispatched her off to Dresden. On discovering that Robert had visited Clara there, Wieck had her promptly brought back to Leipzig. Wieck considered Schumann a most unsuitable candidate for his daughter’s hand, calling him, among other things, a drunkard. So separated, music and the odd letter became the sweethearts’ method of communication. Schumann wrote to Clara, ‘I have finished a fantasia in three movements that I had sketched, in all but the detail, in June 1836. The music is, I think, the most passionate thing I have ever composed – a deep lament for you’.

He had been working on the Fantaisie over some months, the original idea being a sonata in memory of Beethoven.

Liszt had devised a scheme to build a monument to the esteemed composer in his birthplace – Bonn - and Schumann felt the sales of his sonata would benefit construction costs.

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He thought of Ruins, Trophies and Psalms as movement headings but, in the long run, wisely decided against these descriptions. He also felt Fantaisie a more fitting title than sonata and, in fact, dedicated it to Liszt and not to Beethoven’s memory despite the strong influence of the latter in the first movement.

Schumann headed the piece with a quotation from the German poet and philosopher Friedrich Schlegel, which translates roughly as: Through all the notes In earth’s many-coloured dream There sounds one soft long-drawn note For the one who listens in secret.

The five-note falling figure of the first subject merges into a veiled allusion to a theme, of an impassioned devotion, from the final song in Beethoven’s cycle An die ferne Geliebte (To a distant beloved). Its text runs: Accept, then, these songs I sing for you, beloved; Sing them again at evening To the lute’s sweet sound.

The pulse is extremely flexible but is nonetheless the most masterly of all Schumann’s sonata-form movements. The ideas coalesce without the slightest hint of visible threads.

As well as the ‘falling figure’ idea and the Beethoven quote comes another subject artfully evolved from these two. There is an exposition section and a development with a striking transformation of part of the second subject in a grave minor key interlude.

Almost immediately comes another reference to the Beethoven paraphrase although this is made to sound rather disturbed. The coda is somewhat lively and in it the An die ferne Geliebte influence is used more openly as it becomes

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a profoundly eloquent declaration of love between Clara and Robert. His hopes are certainly not in the Ruins that he originally conceived for the movement’s title. Marked Sempre fantasticamento ed appassionatamente at the beginning, the ending is an Adagio triple pianissimo.

The second movement is in E flat, also one of Beethoven’s heroic keys. Schumann marks it Moderato. Sempre energico and its sonata-rondo form is moulded together by a proud march-like theme with a dotted rhythm suggesting the alla marcia of Beethoven’s A major Op 101 Sonata as a possible influence. The falling notes of the Clara motto are built into the fabric in a canon and they appear again later on. The central A major episode, marked Etwas langsamer (Poco più lento) presents the theme in a subtle offbeat version. The Molto più mosso coda offers some stunning virtuosity, which Schumann only rarely attempted again.

The slow final movement – Lento sostenuto e sempre piano – is like a solemn benediction. Clara’s motto, introduced in the bass early on, is used to support a melody sung in the lower half of the right hand and then heard in echo at the octave in a triple figuration. A switch of keys brings a new theme, ‘in blissful rapture’ according to Schumann.

Clara’s theme is skilfully woven on to this and both unite in a passionate climax. There is a recapitulation but Schumann avoids a development. The coda brings another surge of emotion before turning into a penetratingly tranquil, if at the same time radiant, C major conclusion. On being sent the score, Clara wrote to Robert Schumann on 23rd May 1839, ‘I received your wonderful Fantaisie yesterday. Today I am still half ill with rapture’.

INTERVAL

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Alexis Weissenberg (1929-2012) Six arrangements of songs sung by Charles Trenet Coin de rue Vous oubliez votre cheval En Avril, à Paris Boum!

Vous qui passez sans me voir Ménilmontant Born in 1913, Charles Trenet came from Narbonne in the south of France. While still a youth, during a period of convalescence following an attack of typhoid fever, he developed his love of music, painting and sculpture. In the 1930s he formed a duo with the Swiss pianist Johnny Hess and they became a very popular stage and broadcasting duo.

Following national service, Trenet returned to Paris, then under Nazi occupation, and appeared at the famous cabarets, Folies Bergère and Gaîté Parisienne. He moved to New York after the war but returned to France in 1956, continuing his singing and recording career there and abroad well into the 1990s. He composed prolifically, with almost a thousand songs to his credit.

Recorded by very many other artists, La Mer is probably his best known but Boum! and Ménilmontant were also particular favourites. Personal and poetic, Trenet’s texts were often quite eccentric with imagery bordering on the surreal. The artist died in the Créteil suburb of Paris in 2001.

Born in Sofia into a family steeped in music, Alexis Weissenberg had his initial piano lessons from his mother before coming under the influence of one of Bulgaria’s finest teachers, Pancho Vladigerov. Weissenberg gave his first public recital at the age of eight when he included one of his own pieces in his programme.

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Attempting to flee Bulgaria following the onset of WWII, Alexis and his mother were detained in a concentration camp but, hearing the lad play Schubert on an accordion, a German guard assisted their escape to Turkey. From there they travelled to Palestine where Alexis studied at the Jerusalem Academy of Music. In 1946, he moved to New York and the Julliard School, making his US debut with the New York Philharmonic the following year.

Like Trenet, Weissenberg returned to Europe in 1956, and eventually became a French citizen. Possessing a remarkable technique, Herbert von Karajan, conductor of the Berlin Philharmonic, referred to him as ‘one of the best pianists of our time’. Weissenberg was also a very fine teacher and particularly regarded worldwide for his master classes. He died in Lugano in Switzerland in 2012.

Writing about Alexis Weissenberg, Marc-André Hamelin reminds us that ‘while his reputation as a great pianist is well documented his activities as a composer and arranger are less well known. Weissenberg’s output is relatively small but all of it is in, what might be termed, a ‘popular’ style. His harmonic language, though tonal, contains a great deal of dissonance, used in what seems at first to be entirely illogical ways’.

Whatever about that, Weissenberg enjoyed the songs sung by Charles Trenet and, as Marc-André Hamelin also tells us, there appeared on the Lumen label in the 1950s an EP entitled Mr. Nobody plays Charles Trenet. The identity of Mr. Nobody remained a secret for many years until it was revealed to be Alexis Weissenberg. The reason for the secrecy? Well, in the 1950s ‘a serious classical pianist dabbling in such trivialities as popular song would most likely have compromised his own career’. Times have changed.

One of Marc-André Hamelin’s friends introduced him to the disc and, intrigued by the arrangements, he was anxious to play them. However, as Weissenberg never wrote them down, Hamelin was obliged to create a score himself – a task he found ‘a pleasant experience’.

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Mr Hamelin feels that ‘anyone familiar with Trenet’s songs in their original form will be delightfully surprised with what Weissenberg has done with them. Unusual touches abound: in [Trenet’s own songs] Coin de rue (Street corner), an evocation of the narrator’s childhood, the listener is treated to the sounds of a barrel organ; the ‘oom-pah’ rhythm of Boum! becomes a foxtrot while the moderately paced Ménilmontant [an area in Paris] is transformed into a headlong moto perpetuo.

The other three songs in this sextet result from collaborations Vous oubliez votre cheval (You’re leaving your horse behind) with Sofia-born Arcady Brachlianov (1912-2001); En Avril, à Paris (In April, to Paris) with Polish-Canadian pianist/composer Walter Eiger (b 1917) and Vous qui passez sans me voir (You who passes by without seeing me) with Swiss jazz pianist and composer Johnny Hess (1915-1983) and Istanbul-born Parisian song writer Paul Misraki (1908-1998).

Gabriel Fauré (1845-1924) Nocturne No. 6 in D flat major Op. 63 Besides his teaching posts and directorship of the Paris Conservatoire, Fauré made his living mainly as an organist.

Following his first position at Saint-Sauveur in Rennes, he served in a number Parisian churches before becoming assistant to Charles Widor at Saint-Suplice and to Camille Saint-Saëns at the Madeleine where he was appointed principal in 1896.

While his mastery of the organ may have affected his music for the instrument he actually preferred, Fauré’s piano works are noted for their restraint and understatement as well as their classical French style. But they are far from easy to play with even Liszt complaining to Fauré, ‘I’ve run out of fingers’.

The difficulty lies in the way his music is laid out being more suited to an organist than a pianist. But this is something for the musician, rather than the listener, to ponder.

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Chopin principally influenced Fauré’s early keyboard pieces, particularly his nocturnes and barcarolles, while Schumann, whose piano music Fauré loved, was another source of inspiration. However, as the French composer matured, his approach became more personal and, commenting on his father’s nocturnes, Philippe Fauré maintained they were not necessarily based on rêveries or emotions inspired by the night. ‘They are lyrical, generally impassioned pieces, sometimes anguished or wholly elegiac’.

The D flat Nocturne – the sixth of Fauré’s thirteen – dates from 1894, a time when the composer was in a relationship with the singer Emma Bardac (1862-1934), who would later marry Debussy. The music, which may or may not have been affected by this liaison, begins gracefully with a gently swaying melody marked Adagio and Dolce. Moving to Allegro molto moderato, the mood becomes agitated before it reverts to its original elegance. There is then substantial development with shifting harmonies and tempi. A powerful climax is reached but suddenly abates. The opening melody returns before the Nocturne slips calmly into the distance.

Frédéric Chopin (1810-1849) Polonaise-fantaisie in A flat major Op 61 & Scherzo No. 4 in E major Op. 54 As the name implies the polonaise had its origins in Poland.

One of the country’s national dances, Chopin adapted it to serve his own artistic purposes. He used it to express patriotism, chivalry and pageantry. Usually in ¾ time, the polonaise has been described as more of a procession or a ‘figured walk’ than a dance. Many earlier composers had been attracted to it - Bach, Handel and Mozart among them – but only Chopin, the exile, extended its form and made it vital to him. His legacy of eighteen or so are invested with the most personal and characteristic interplay of ever changing moods.

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Chopin’s later polonaises enlarge and extend the form and in them particularly the composer is found as the ‘true poet of the piano’. While this term stemmed from some of Chopin’s critics who used it to denigrate his music, their words have come to possess a more significant and factual meaning.

Chopin’s output is now considered the epitome of poetic expression.

One of Chopin’s masterpieces, the Op. 61 Polonaise-fantaisie dates from 1845/’46. The work has unusual breadth and structural novelty and is one of the finest examples of the composer’s ‘freedom and mystery’ elements. The piece also has an interesting way of looking forwards, to Debussy in its impressionism, and backwards, to Beethoven in its use of triple trills preceding the return of its opening ideas.

Despite waywardness, Chopin’s composition here follows certain logic in its ternary-form construction. The broad introduction is a kind of meditative prelude opening out into the first section that employs three thematic groups. The central ideas develop new subject matter while the final part is built essentially on the principal themes of the first and central sections. Chopin achieves an amazing sense of unity in the disparity of his material, which Liszt described as ‘being dominated by an elegiac sadness, broken here and there by gestures of consternation, melancholy smiles, sudden starts and restful passages fraught with tremblings’.

The late English pianist John Ogdon has referred to the music’s ‘veiled splendour, sudden outbreaks of heroism and withdrawn lyricism’. Others have mentioned its agony and triumph, as indeed the ending is truly triumphant. Chopin’s contemporary, German pianist, composer and teacher Theodor Kullak draws our attention to the Polonaise-fantaisie’s ‘monologues, interspersed cadenzas and short phrases, shining light and shade and the restless tonalities in its beauty and grandeur’. The piece is dedicated to one of Chopin’s pupils, Anne Veyret, whose wealthy parents were among his circle of friends.

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One can dispel any connection between either Beethoven or Mendelssohn when it comes to Chopin’s Scherzi. As he did in other forms, like the polonaise for example, Chopin adapted the structure, if such it may be called, to his own use and really nothing jocose results. His four Scherzi convey more of the inner conflicts of his nature than any of his other compositions.

The E major Op. 54 Scherzo, the last of his four, dates from 1842. It is the only one that begins and ends in a major key and is thereby somewhat lighter in tone than its three siblings.

More sunlit than its darkly passionate companions, it is almost capricious by comparison, yet, it still contains their spirit of fire and fury even if relieved by calm and contemplation.

While the opening Presto idea may be pensive it brings with it a skipping rhythmical figure. Several short motifs follow and these are given extensive development. The central section, initially marked Più lento and later sostenuto, is broad and lyrical suggesting something of an operatic cantilena expressing ‘pure, yet ardent, love’. The opening ideas return and the Scherzo ends with a più presto flourish.

There is a dichotomy about the work’s dedication. When published in Leipzig by Breitkopf & Härtel in November 1843 it bore the inscription ‘to Mlle Jeanne de Caraman’. In the Schlesinger Paris edition the following month the dedication was changed ‘to Mlle Clotilde de Caraman’. Both sisters were among Chopin’s pupils.

Programme notes Pat O’Kelly © 2019

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BARRY DOUGLAS & CAMERATA IRELAND Celebrating 20 years of Camerata Ireland and launching an annual concert series at the National Concert Hall.

WEDNESDAY 15 MAY 8PM Mendelssohn The Hebrides Overture (‘Fingal’s Cave’) Op.26 Schumann Piano Concerto in A minor Op. 54 Mozart Symphony No. 41 in C Major ‘Jupiter’

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Anna Huntley

Dean Power

Sir Thomas Allen

DUBLIN SONG SERIES SUNDAY 12 MAY, 3PM Anna Huntley mezzo-soprano Dearbhla Collins piano Programme includes Rossini La regata veneziana and Schumann Frauen-liebe und Leben SUNDAY 19 MAY, 3PM Dean Power tenor Dearbhla Collins piano Schumann Myrthen Op. 25 SUNDAY 26 MAY, 3PM Sir Thomas Allen baritone Dearbhla Collins piano Programme includes Beethoven, Schubert, Brahms, Butterworth, Quilter and Warlock

Tickets â‚Ź15

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International Concert Series 2018/2019 Boston Symphony Chamber Players Tuesday 21 May 2019, 8pm Françaix Dixtuor for wind quintet and string quintet Mozart Quartet for oboe and strings in F major, K. 370 Michael Gandolfi Plain Song, Fantastic Dances for strings and winds Beethoven Septet for strings and winds in E flat, Op. 20 Tickets from €19.50

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