ABOUT THE ARTIST
Hanna Lee, Piano
Hanna Lee is in the graduate program at West Chester University, majoring in Piano Performance. In 2023, she earned her Bachelor's degree in Piano from Kookmin University in Seoul, South Korea. Subsequently, she began her Master's studies in Piano Performance at West Chester University in the same year with Carl Cranmer She is also serving as a graduate assistant and collaborative pianist for the Vocal/Choral Division of the Applied Music Department. Next year, Hanna will be entering the graduate program at Indiana University in Bloomington, having received a full scholarship and stipend to study collaborative piano with Anne Epperson.
Ludwig van Beethoven (1770-1827) wrote this unusually compact sonata in his late period in 1820. The first movement, Vivace, ma non troppo – Adagio espressivo, is unconventional in its form, beginning with a light, quasiimprovisatory theme that suddenly yields to a slow, expressive passage. This alternation of fast and slow tempos continues throughout the movement, reflecting Beethoven’s tendency in his later music to blur the boundaries between contrasting ideas. Rather than developing a single theme, the movement flows like a dialogue between fleeting motivic fragments, balancing lyricism with unexpected harmonic turns.
The second movement, Prestissimo, stands in a sharp contrast to the previous music, a turbulent, driving movement with deliberate octaves in the left hand marking the theme in e minor. Its unrelenting momentum and concise sonata form evoke Beethoven’s middle-period energy, but here are more compressed and emotionally concentrated. The relentless rhythmic pulse and dark harmonic color convey a sense of inner struggle, acting almost like a scherzo with the weight of a tempest. The final movement, Andante molto cantabile ed espressivo, is the emotional core of the sonata. A deeply serene theme is presented in a hymn-like manner, followed by six variations that gradually explore increasing complexity and depth of expression. Each variation transforms the theme through contrapuntal writing, rhythmic expansion, and expressive nuance, culminating in a transcendent final variation that dissolves into stillness. This movement reflects Beethoven’s late fascination with variation form as a vehicle for spiritual ascent and philosophical meditation.
This piece reflects how Frédéric Chopin (1810-49) revolutionized the nocturne genre from its beginnings with the music of the Irish composer John Field. Moving beyond the lyrical elegance of his earlier nocturnes, this work shows an increasing dramatic intensity and structural sophistication that reflect Chopin’s deepening musical language during the 1840s. Written in ternary (ABA) form in 1841, the piece opens with a solemn, chorale-like theme that evokes the solemnity of a funeral procession. The expansive and expressive middle section is filled with emotional turbulence, including torrential octaves and the initial aria-like theme accompanied by tumultuous chordal arpeggiations.
Harmonically, the nocturne explores bold modulations and chromaticism, showcasing his mastery of tension and resolution. The left-hand accompaniment is more intricate than in many of his earlier nocturnes, supporting the right hand’s expansive phrases with harmonic richness and rhythmic drive. Notably, the return of the opening material is transformed more subdued and reflective, as if altered by the storm that precedes it. Often interpreted as a meditation on mortality or inner struggle, this nocturne is among his symphonic in scope. Its expressive contrasts make it a favorite among pianists and listeners alike, standing as a testament to his ability to blend lyricism with powerful narrative form.
GOYESCAS (1911)
No. 1 'Los Requebros' ('Flattery')
‘Los Requiebros’ is the brilliant opening piece of Goyescas, a suite for solo piano composed by Spanish composer Enrique Granados (1867-1916) between 1909 and 1911. Inspired by the art of Francisco Goya, particularly his depictions of 18th-century Spanish life and the elegance of the majos and majas (working class people from Madrid) Granados sought to translate visual and cultural elements into a rich musical tapestry. The title ‘Los Requiebros’ refers to flirtatious compliments or courtly exchanges, and the music is replete with charm and rhythmic vitality.
Marked by sparkling ornamentation, folk-inspired dance rhythms, and virtuosic flourishes, this piece blends Spanish popular idioms with sophisticated harmonic textures. He uses a series of alternating sections to mimic the back-andforth banter of a romantic dialogue. The main theme, reminiscent of the tonadilla (a theatrical Spanish song style), is stated with boldness and flair, suggesting the spirited personality of a maja receiving praise. Although highly expressive, the piece also demands technical brilliance from the performer, with rapid figurations, intricate hand crossings, and sudden mood shifts. ‘Los Requiebros’ captures the essence of Spanish courtship ritual with both humor and elegance, serving as a vibrant prelude to the deeper emotional landscapes explored in the later movements of Goyescas
Granados himself described Goyescas as “a work of great flights of imagination and difficulty,” and ‘Los Requiebros’ exemplifies this with its exuberance and color. The work is a celebration of Spanish identity, filtered through Granados’ romantic imagination and deep admiration for Goya’s visual storytelling.
SONATE POUR PIANO (1948)
III. Choral et Variations
The third movement of Henri Dutilleux’s Piano Sonata, titled “Choral et Variations”, serves as a culminating statement of one of the most important French piano works of the mid-20th century. Composed between 1947 and 1948, the sonata marks a turning point in Dutilleux’s compositional voicebridging tradition and modernity with remarkable individuality. The final movement presents a solemn, richly harmonized chorale followed by a set of six variations, each exploring a unique facet of the theme’s character.
The chorale is meditative and resonant, evoking a sense of introspection and spiritual depth. As the variations unfold, Dutilleux demonstrates his command of color, texture, and transformation. Some are lyrical and spacious, while others display rhythmic energy and contrapuntal complexity. Throughout, he employs modal inflections, extended harmonies, and subtle metric shifts that are hallmarks of his mature style. This movement reflects his admiration for composers such as Debussy, Ravel, and Bartók, yet the language is refined, poetic. Rather than using traditional variation technique for mere decoration, He reshapes the theme’s emotional core with each iteration, allowing it to evolve organically.
“Choral et Variations” offers both closure and transcendence to the sonata, ending it with contemplative balance and transformation. It highlights Dutilleux's lifelong commitment to quality over quantity, and his belief in the organic development of musical ideas. Today, the sonata stands as a landmark in French piano literature, and this final movement remains a profound expression of form and color.
SONATA NO.2, OP.54
I. Allegromolto
The first movement of the Piano Sonata No. 2, Op. 54, by Nikolai Kapustin (1937-2020) composed in 1989, bursts onto the scene with relentless energy and dazzling virtuosity. Marked Allegro molto, this movement showcases Kapustin’s incredible fusion of classical form with jazz idioms, combining the rigor of traditional sonata structure with the spontaneity and rhythmic vitality of swing, bebop, and blues.
While the movement adheres to a loosely traditional sonata-allegro form, the content is anything but conventional. It features driving rhythms, syncopated motives, and virtuosic passagework that demand a high level of technical agility. The jazz influence is present not only in the harmonies, rich with extended chords and modal inflections, but also in the phrasing, which mimics the feel of improvisation, even though every note is meticulously notated.
Kapustin, a classically trained pianist and former jazz performer, constructs his musical language with the precision of a classical composer but imbues it with the spirit of a jazz soloist. In this movement, the pianist must navigate intricate textures and rapidly shifting moods, from aggressive bursts to more lyrical interludes that still swing with subtle groove. Despite the piece’s surface brilliance, its underlying architecture is substantial and deliberate, reflecting his deep understanding of classical sonata writing. The movement culminates in a climactic flourish, affirming his ability to reconcile two seemingly opposed worlds: classical formality and jazz freedom.
ACKNOWLEDGEMENTS
Hanna Lee would like to express her deepest appreciation to her family and her piano teacher, Dr. Cranmer. She wants to express her gratitude to her parents in Korea, who have supported her musical journey from a very young age. Their unwavering trust and encouragement from afar have always been a source of strength for her She is especially grateful to Dr. Cranmer, her first teacher in the United States. Under his guidance over the past two years, she has grown tremendously as a pianist. He has not only helped her improve technically and musically, but also taught her how to truly enjoy playing the piano.