12.01.2023 GRD Brack Program Notes

ABOUT THE ARTIST Pedro Brack, piano Brazilian pianist Pedro Brack has performed in Brazil, Austria, Spain, and the USA. He can be best described by his versatility, consistently performing a wide range of repertoire, not only as a pianist in various formations, but also as an organist. Currently, he’s pursuing a master’s degree in piano performance at West Chester University of Pennsylvania as a student of Dr. Igor Resnianski, renowned pianist and Steinway Artist. He is also engaged in academic research, and among other works he has published an article in Brazil’s leading musical journal, Opus. His work with contemporary music includes many premieres, and one of these recordings is featured in Instituto Piano Brasileiro (Brazilian Piano Institute), a renowned institution for the dissemination of Brazilian music. A lifelong admirer of Bach’s music, Pedro Brack recently performed the entire first book of the Well-Tempered Clavier in a recital.

Previously, he studied at the University of São Paulo, where he completed his bachelor's degree in piano performance.

He studied piano with Dr. Eduardo Monteiro, Dr. Luiz Guilherme Pozzi, and Dr. Luciana Sayure, organ with Dr. José Luís de Aquino, and collaborative piano with Dr. Ricardo Ballestero. After graduating, he studied with Olga Kopylova at the São Paulo Symphony Orchestra Music Academy, where he perfected his collaborative and orchestral piano skills. His musical education also includes an artistic residence program with Maria João Pires, as well as international music festivals in Brazil and Europe, where he had the opportunity to learn from artists such as PierreLaurent Aimard, Rico Gulda, Simon Lepper, Clélia Iruzun, Ira Levin, and many others.

His most relevant awards include 1st place in the 26th Souza Lima Piano Competition (2017), 2nd place in the 27th Ituiutaba Piano Competition (2020), and Best Bach Performance in the Piano in Focus E-competition (2020), all national competitions in Brazil.

PROGRAM NOTES Chromatic Fantasia and Fugue in D minor, BWV 903, Johann Sebastian Bach (1685-1750) This fantasia and fugue was probably composed in Köthen, where Bach lived from 1717 to 1723. This was a very prolific period for Bach in terms of instrumental music, and also includes the orchestral suites, cello suites, sonatas and partitas for solo violin, Brandenburg Concertos, some of the French Suites, the English Suites, Inventions, and the first book of The Well-Tempered Clavier.

As the term “chromatic” suggests, this work has a unique take on harmony, even when compared to other highly chromatic works such as the organ Fantasia in G minor, BWV 542, the Fugue in B minor, BWV 869, or the Prelude in A minor, BWV 889. The Chromatic Fantasia, with its naturally freer, improvisation-like writing and its meandering harmony, reaches the limits of harmonic experimentation within the baroque style, and poses to the performer a challenge of making it sound coherent, rather than a purposeless noodling at the keyboard.

The fugue, in turn, starts with a theme so chromatic that it has no recognizable tonality at first, only settling on a key about halfway through. Once started, the fugue feels like an unstoppable force, powered by Bach’s beloved “shortshort-long” rhythmic pattern. The uncompromising theme makes its way through the whirlwind of faster notes, as if bending the harmony around it, forcing it to conform to its chromaticism. The artistic effect of the impetuous forward movement combined with the contorted harmony reminds me of the dramatically tormented faces depicted in many baroque paintings and sculptures.

Piano Sonata No.23 in F minor, Op.57 “Appassionata”, Ludwig van Beethoven (1770-1827) In 1802, Beethoven wrote the famous Heiligenstadt Testament, which gives the reader a glimpse of one of his darkest moments, when he already knew for a fact that he was becoming increasingly deaf. It would be naive to directly relate the 1804-5 sonata to this document; in the same period, Beethoven wrote works such as the “Waldstein” Sonata, which overflow with joy and heroism, and in other letters he expresses optimism about his career and financial success.

Nevertheless, the Heiligenstadt Testament is a poignant reminder of Beethoven’s tragic condition and the depths of despair he endured. It gives a whole new emotional dimension to his later works, especially those with a graver tone.

An important feature of this sonata, related to this dark character, is the motif formed by three repeated notes followed by a longer, lower note – the so-called “fate motif”, also present in the famous 5th Symphony. This motif is often associated with the metaphorical image of “fate knocking at the door”. This already dramatic imagery is masterfully combined with Beethoven's intense use of contrasting dynamics, yielding an extraordinary result.

A quantitative analysis of Beethoven’s dynamics markings shows that the composer, throughout his works, wrote softer dynamics, piano and pianissimo, more often than the louder forte and fortissimo. This underscores the sometimes underrated subtlety of his musical writing, and also gives an insight into the effectiveness of his use of contrasts, as the seemingly ubiquitous loud moments are actually used more sparingly than one might assume. Indeed, a few notes played fortissimo preceding a longer piano moment effectively intensify the whole passage.

In the context of this sonata, the dramatic effect of this procedure is that of frequent and violent disruption. Often contradicting formal and aesthetic expectations, Beethoven sets up moments of lyricism, hope, or at least relative calm, only to brutally tear them apart, especially in the first movement.

The second movement in comparison seems like an oasis of peace, later even playfulness. It is a short theme and variations, which presents a very beethovenesque combination of two elements: the acceleration by the use of shorter note values, and the use of increasingly higher pitches, the second one often compared to the image of ascending from Earth to Heaven. These two elements were beautifully explored in later sonatas, namely Opp. 109 and 111.

Before the second movement is fully concluded, the third movement is announced by a dramatic outburst, and a relentless moto perpetuo begins, with an almost unbroken flow of continuous notes. This obsessive perpetual motion generates a tremendous forward drive that feels inescapable. In order to break out of this movement and conclude

the piece, Beethoven aggravates it by accelerating it like a machine that loses control and eventually collapses, leading the sonata to its catastrophic end.

4 Klavierstücke, Op.119, Johannes Brahms (1833-1897) "The little piece is exceptionally melancholic and ‘to be played very slowly’ is not an understatement. Every bar and every note must sound like a ritard[ando], as if one wanted to suck melancholy out of each and every one, lustily and with pleasure out of these very dissonances! Good Lord, this description will [surely] awaken your desire!"

Thus wrote Brahms in a letter from May 1893 to Clara Schumann, referring to the first piece of the Op.119 set. It is truly amazing how Brahms’ description still feels relatable 130 years later, such is the depth of his understanding of musical expression. This Intermezzo starts with a falling thirds motif, a common theme throughout his works, most famously used in his 4th Symphony. This opening piece perfectly encapsulates the profoundly melancholic side of his music, which later magically transforms into the most sublime tenderness in its middle section.

The same melancholic mood is maintained in the second piece, this time more unsettled, with frequent changes in texture and a faster and flighty tempo. Similar to the previous one, this piece undergoes a complete transformation in its middle section, this time transitioning into a dreamy lullaby-like melody. After the return of the first section, a short coda reiterates the central theme, ending the piece in that same dreamy character.

The third piece presents a completely different texture, seemingly very light and playful, but which, upon further listening, is far from conveying a lighthearted mood. The underlying harmony, especially the early shift to the mediant, balances the graceful texture, lending the piece an overall bittersweet atmosphere.

The fourth piece is the longest in the set, and it is also the only one with a different title, Rhapsody instead of Intermezzo.

The grand and triumphant character starkly contrasts from the rest of the set, and its writing style clearly references Brahms’ symphonic music – one can almost hear the orchestral tutti in its full glory, especially with the timpani-like bass line. In this piece, most phrases are structured in groups of five measures instead of four, creating the effect that each statement is slightly too long; an extra insistence that contributes to the overall forcefulness of the piece. The ending is fairly unusual: it is commonplace to end minor-mode pieces in major, but not the other way around, which is the case for this piece. The last appearance of the initial theme takes an unexpected turn into the dramatic coda, tragically ending the piece in E-flat minor, as if overwhelmed by the pent-up melancholy from the preceding intermezzi.

ACKNOWLEDGEMENTS I must start by thanking my family, in particular my parents, João Batista and Cecilia, who provided me with the education, musical and otherwise, and the support that led me to where I am now. I also thank the love of my life, Saphíria, who has always been a true inspiration for me in all regards. Rückert’s lines, which I have quoted before, feel truer each day: Dass du mich liebst, macht mich mir wert, Dein Blick hat mich vor mir verklärt, Du hebst mich liebend über mich, Mein guter Geist, mein bess’res Ich!1

Special thanks to Dr. Igor Resnianski, who has been providing me with the best instruction I could wish for, and who has helped me in every way possible since the first moment I expressed my intent to come and study here. More than a way to correctly push buttons on a keyboard, I gained new, invaluable perspectives on the musical career, education, art, and life.

I cannot leave out the remainder to the WCUPA community that welcomed me. This includes friends who bring joy to my life, the vocal department that provided me with a wonderful working environment, all faculty members who contributed to my education here, as well as the many people who made the transfer possible.

In more than two decades learning music, many people contributed in one way or another to my education, and it would not be possible to mention every single one. Thus, I would like to express my appreciation for all former teachers, colleagues, and artists who contributed to my musical education and career, especially those who believed in me during difficult times and helped me overcome adversity.

1 Translation:

Your love for me gives me my worth, Your eyes transfigure me in mine, You raise me lovingly above myself, My guardian angel, my better self!