Peter Frankl with Janna Baty and Randall Scarlata, November 8, 2017

Robert Blocker, Dean

horowitz piano series

Peter Frankl with Janna Baty and Randall Scarlata

Boris Berman, Artistic Director Wednesday, November 8, 2017 • 7:30 pm Morse Recital Hall

yale school of music

Peter Frankl, piano November 8, 2017 • Morse Recital Hall Robert Schumann 1810—1856

Kinderszenen, Op. 15 I. Von fremden Ländern und Menschen II. Kuriose Geschichte III. Hasche-Mann IV. Bittendes Kind V. Glückes genug VI. Wichtige Begebenheit VII. Träumerei VIII. Am Kamin IX. Ritter vom Steckenpferd X. Fast zu ernst XI. Fürchtenmachen XII. Kind im Einschlummern XIII. Der Dichter spricht Dichterliebe, Op. 48 I. Im wunderschönen Monat Mai II. Aus meinen Tränen sprießen III. Die Rose, die Lilie IV. Wenn ich in deine Augen seh’ V. Ich will meine Seele tauchen VI. Im Rhein, im heiligen Strome VII. Ich grolle nicht VIII. Und wüssten’s die Blumen IX. Das ist ein Flöten und Geigen X. Hör’ ich das Liedchen klingen XI. Ein Jüngling liebt ein Mädchen XII. Am leuchtenden Sommermorgen XIII. Ich hab’ im Traum geweinet XIV. Allnächtlich im Traume XV. Aus alten Märchen winkt es XVI. Die alten, bösen Lieder Randall Scarlata, baritone intermission

Heinrich Heine

horowitz piano series

Schumann

Frauenliebe und -leben, Op. 42 I. Seit ich ihn gesehen II. Er, der Herrlichste von allen III. Ich kann’s nicht fassen IV. Du Ring an meinem Finger V. Helft mir, ihr Schwestern VI. Süsser Freund, du blickest VII. An meinem Herzen VIII. Nun hast du mir den ersten

Schmerz getan

Adelbert von Chamisso

Janna Baty, mezzo-soprano Four Duets, Op. 34 I. Liebesgarten II. Liebhabers Ständchen III. Unter’m Fenster IV. Familien Gemälde Selections from Minnespiel, Op. 101 III. Ich bin dein Baum, o Gärtner VII. Die tausend Grüße, die wir dir senden

Robert Reinick Robert Burns Burns Anton Alexander von Auersperg Freiderick Rückert

Janna Baty, mezzo-soprano Randall Scarlata, baritone

As a courtesy to the performers and audience, silence electronic devices.

Please do not leave the hall during selections. Photography or recording of any kind is prohibited.

artist profiles

Peter Frankl, piano Pianist Peter Frankl made his London debut in 1962 and his New York debut with the Cleveland Orchestra under George Szell in 1967. Since that time he has performed with many of the world’s finest orchestras, including the Berlin Philharmonic, Concertgebouw Orchestra, Israel Philharmonic, Orchestre de Paris, all the London orchestras, and the major American orchestras. He has collaborated with such eminent conductors as Abbado, Boulez, Davis, Haitink, Maazel, Masur, Muti, Salonen, and Solti, and his world tours have taken him to Japan, Korea, Australia, New Zealand, and South Africa.

He has appeared more than 20 times at London’s BBC Promenade Concerts and has been a regular participant at the Edinburgh, Cheltenham, Aldeburgh, Verbier, Kumho, and Casals festivals.

In the United States, Peter Frankl has been a regular guest artist at festivals including Aspen, Chautauqua, Marlboro, Norfolk, Ravinia, Santa Fe, and Yellow Barn. For many years the Frankl-PaukKirshbaum Trio traveled the world. His many chamber music partners have included Kyung Wha Chung, Peter Csaba, Ralph Kirshbaum, and the Tokyo, Takács, Guarneri, Bartók, Fine Arts, and Lindsay quartets. He has given master classes all over the world, at such institutions as the Royal Academy and Royal College in London, the Liszt Academy in Budapest, the Van Cliburn Institute in Texas, and in Beijing, Hong Kong, and Seoul.

Among his recordings are the complete works for piano by Schumann and Debussy, Bartók and Chopin solo albums, a Hungarian anthology, concertos and

four-hand works by Mozart, the two Brahms piano concertos, the Brahms violin and clarinet sonatas, the Brahms trios, Bartók pieces for violin and piano, and the piano quintets by Brahms, Schumann, Dvorák, Martinů, and both Dohnányis.

In recognition of his artistic achievements, Mr. Frankl was awarded the Officer’s Cross by the Hungarian Republic and on his 70th birthday he was given one of the highest civilian awards in Hungary for his lifetime artistic achievement in the world of music.

He is an honorary professor at the Liszt Academy and has been on the Yale School of Music faculty since 1987.

Janna Baty, mezzo-soprano Praised by The Boston Globe for having “a rich, viola-like tone and a rapturous, luminous lyricism,” mezzo-soprano Janna Baty has sung with the Boston Symphony Orchestra, Los Angeles Philharmonic, Daejeon Philharmonic, Hamburgische Staatsoper, L’Orchestre National du Capitole de Toulouse, Royal Philharmonic Orchestra, Tallahassee Symphony, Tuscaloosa Symphony, Longwood Symphony, Hartford Symphony Orchestra, the Orquesta Filarmónica de Bogotá, Opera Theatre of St. Louis, Eugene Opera, Opera North, and Boston Lyric Opera. She has sung under the batons of James Levine, Seiji Ozawa, Michel Plasson, Carl Davis, Robert Spano, Steuart Bedford, Stephen Lord, Stefan Asbury, Gil Rose, David Hoose, and Shinik Hahm, among numerous others. As a soloist, chamber musician, and recitalist, she has performed at festivals worldwide, including the Aldeburgh and Britten festivals in England, the Varna Festival in Bulgaria, the Semanas

artist profiles

Musicales de Frutillar Festival in Chile, and the Tanglewood, Norfolk, Monadnock, and Coastal Carolina festivals in the United States. A noted specialist in contemporary music, Ms. Baty has worked alongside many celebrated composers, including John Harbison, Bernard Rands, Yehudi Wyner, Sydney Hodkinson, Peter Child, Reza Vali, Paul Salerni, and Paul Moravec on performances of their music. Ms. Baty has enjoyed a long collaboration with the Boston Modern Orchestra Project, and with them recorded the critically lauded Vali: Folk Songs (sung in Persian); Lukas Foss’ opera Griffelkin; the world-premiere recording of Eric Sawyer’s Civil War-era opera Our American Cousin; and John Harbison’s Mirabai Songs. She joined the faculty of Yale School of Music in 2008.

among many others. Mr. Scarlata has an extensive catalog of recordings for the Chandos, Naxos, CRI, Gasparo, Arabesque, Bridge, Albany, and Sono Luminus labels.

Randall Scarlata has appeared on concert stages throughout Europe, North America, South America, Australia, and Asia. He has been a soloist with the Philadelphia and Minnesota orchestras, and with the Pittsburgh, San Francisco, American, Sydney, Ulster, Tonkünstler, National, New World, and BBC symphonies, as well as the early music groups Wiener Akademie, Grand Tour, Tempesta di Mare, and Musica Angelica, among others. Many of the world’s great music festivals have sought him out as a soloist, including the Ravinia, Marlboro, Edinburgh, Norfolk, Vienna, Music at Menlo, Gilmore, Salzburg, Norfolk, Aspen, and Spoleto (Italy) festivals.

Randall Scarlata, baritone Known for his versatility and consummate musicianship, baritone Randall Scarlata’s repertoire spans five centuries and 16 languages. A sought-after interpreter of new music, he has given world premieres of works by George Crumb, Paul Moravec, Richard Danielpour, Ned Rorem, Thea Musgrave, Samuel Adler, Lori Laitman, Daron Hagen, and Christopher Theofanidis.

He regularly performs the major German song-cycles with such pianists as Peter Frankl, Cameron Stowe, Gilbert Kalish, Jeremy Denk, Jonathan Biss, Inon Barnatan, and Laura Ward. He is a regular guest with Chamber Music Society of Lincoln Center, the Philadelphia Chamber Music Society, the Isabelle Stewart Gardner Museum, Lyric Fest, Chamber Music Northwest, the Seattle Chamber Music Festival, Kneisel Hall Festival, and the Skaneateles Chamber Music Festival,

Randall Scarlata’s awards include First Prize at the Young Concert Artists International Auditions, First Prize at the Das Schubert Lied International Competition in Vienna, First Prize at the Joy in Singing Competition in New York, and the Alice Tully Vocal Arts Debut Recital Award. Mr. Scarlata received a Fulbright Grant to study at the Hochschule für Musik in Vienna, and spent several summers studying with the great French baritone Gérard Souzay. He is a co-artistic director of the Alpenkammermusik Chamber Music Festival in Carinthia, Austria, during the summer, and gives master classes throughout the United States and abroad.

Notes on the Program

robert schumann Kinderszenen, Op. 15

robert schumann Dichterliebe, Op. 48

In March 1838, while Schumann was banned from Clara Wieck’s home by her protective father, Schumann wrote to her: “I have been composing a whole book of things – wild, wondrous and solemn.

Perhaps they are a response to something you wrote me saying that I often seem like a child… I have selected twelve and called them Kinderszenen.” He began the collection in February 1838 and finished it in March. Originally, there were 30 movements, from which Schumann chose 13 to publish as Op. 15, subtitled, “Easy Pieces for the Piano.”

By 1840, Schumann was on the cusp of finally winning legal permission to marry Clara Wieck, despite her father’s dogged objections. The suit Friedrich Wieck brought in December 1839 had ended in Schumann’s favor, but was not completely dismissed until the following July for lack of evidence. With legal permission on the horizon, the young couple finally began looking for an apartment together, energizing Schumann into a wave of creative energy that resulted in frenzied outpouring of songs — his first song compositions in 12 years.

Clara immediately delighted at the “small, droll things,” as Robert described them.

Though the subjects and titles are childish, they were intended to be performed by adults looking back nostalgically on the simplicity and tenderness of childhood.

Their apparent simplicity challenges the performer to present a child’s view or interpretation of different situations but written and expressed through a more sophisticated, adult musical language.

Schumann included titles with each individual section intended as interpretive hints for the performer.

In February 1840, he wrote to his beloved, “Oh my Clara, what bliss it is to write songs. I can’t tell you how easy it has become for me… it is music of an entirely different kind which doesn’t have to pass through the fingers… I should like to sing myself to death, like a nightingale!”

In many ways, Dichterliebe is a celebration of their happiness and long awaited union, but it is also shrouded in darkness and the memory of the trials and hardships before their union.

With the first piece, “Von fremden Ländern und Menschen” (“Of Foreign Lands and Peoples”) the performer must evince nostalgia for home and a fear of strangers, rather than excitement of exotic new places. In the last piece, “Der Dichter Spricht” (“The Poet Speaks”), Schumann, who considered himself a poet, is figuratively speaking to his beloved and distant Clara.

In the last week of May he composed, in a manic clip, the 20 songs he originally intended for Dichterliebe (Poet’s Love), removing four before publication. The remaining 16 songs link together melodically and harmonically, supporting the story arc of the text.

Within the four major song cycles thus composed within three months, Dichterliebe is the only one to contain an implicit story.

Schumann’s arrangement of the Heine texts depicts a young lover whose

Notes on the Program

affections are unrequited; he gradually realizes the illusory nature of his passions and, filled with bile and bitterness, symbolically buries his emotional baggage. robert schumann Frauenliebe und -leben, Op. 42 Frauenliebe und -leben (A Woman’s Love and Life) is a cycle of poems by Adelbert von Chamisso, written in 1830. They depict the story of a woman’s love of her husband, from their first meeting, through marriage to his death and after. The poems provided attractive material for romantic lied composers, set by Carl Lowe and Franz Lachner and most famously, by Robert Schumann. Like Dichterliebe, Schumann arranged the songs to represent a story.

“Seit ich ihn gesehen” (“Since I First Saw Him”) depicts immediate infatuation, introducing the man whom the protagonist desires. Without him, life around the young woman is gray and pointless. With “Er, der Herrlichste von allen” (“He is the Most Glorious of All”) and “Ich kann’s nicht fassen, nicht glauben” (“I Cannot Grasp or Believe It”) we learn that the woman, modest and pure, believes she is unworthy of him and cannot fathom that he might return her affections.

Though the overall mood of the cycle is positive and hopeful, the song “Nun has du mir den ersten Schmerz getan” (“Now You Have Hurt Me for the First Time”), sullies the cheer of the first few songs.

The D major key of the previous song is clouded by D minor when the woman looks upon her deceased husband; the vocal line descends lower into her tormented lower range. The song closes with a quotation of the first song in the solo piano, yet the return is appropriately

incomplete. Here, Schumann was interested in the pain of a sudden unforeseen death and reflects it in the form — the end of the cycle is equally unprepared for the loss of the protagonist’s beloved. robert schumann Four Duets, Op. 34 Selections from Minnespiel, Op. 101 These duets, taken from the sets of Op. 34 (1840) and Op. 101 (1849), explore the poetic and musical opportunities provided by dialogue and collaboration of voice types.

In “Ich bin dein Baum” (“I Am Your Tree”), the vocal lines are largely independent, replete with large leaps. The mezzosoprano praises the baritone, proclaiming she is his tree, her fruit intended for him alone. The baritone is her gardener, promises himself to his faithful tree.

“Liebesgarten” (“Love Garden”), with poetry by Robert Reinick, depicts a rose bush in a couple’s garden in which love blossoms plentifully. In the Lover’s Serenade, “Liebhabers Ständchen,” with poetry by Robert Burns, a man asks a young woman for shelter from a terrible storm and warns that if he dies of exposure, she will be to blame. The woman does not trust the man, sensing ulterior motives, and refuses him entry, shouting “Nein!”

“Unter’m Fenster” (“Under the Window”) features accents in usual places, disguising bar lines and surprising the audience when the female voice finally enters. The poem, again by Burns, depicts another type of serenade: the voices alternate in a discussion of what might happen should the woman let the man, sitting outside of her window, into her room. The woman, asking questions, ends with upward inflec-

Notes on the Program

tions while the man, declamatory and adamant, sings with strong, falling motives.

In “Familien-Gemälde” (“Family Portraits”), grandparents sit in a garden, with unexpected love and passion for each other. The voices begin a short canonic sprint as their hearts chase after one another: “uns blühten und klangen die Herzen” (“Our Hearts Blossom and Ring Out”). Physical distance between the lovers is translated with lilting melodies in “Die tausend Grüsse” (“The Thousand Greetings”).

—Julia Clancy

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