Alexander Scriabin (1872-1915)

Allegretto from Piano Sonata no. 3 op. 23

This is the second of four movements from Alexander Scriabins third piano sonata. It is quite
short and takes the place of what would usually be a scherzo. There are two distinct sections in
the piece. The first is a rhythmic dialogue in octaves between the left and right hand. The
second section is graceful and melodic. The opening material then returns briefly to bring the
movement to a dramatic end.

Csar Franck (1822-1890)

Violin Sonata in A major

Throughout the composers life, Csar Franck was better known as an organist and
teacher in Paris. It was not until his later years that he began to receive public
recognition for his composition work. This Violin Sonata in A major was one of the
primary attributes to his success.

The sonata was composed as a wedding day present for the famed violinist Eugne
Ysae. The piece was first performed at the wedding on September 26, 1886 by Ysae
and pianist Marie-Lontine Bordes-Pne. This was a considerable feat, given the works
notorious difficulty to play.

The first public performance of the piece however was given three months later in
Brussels by the same duo that performed it at the wedding. The Sonata was the final
item in a long program that started at 3 pm. When the time arrived for the Sonata, dusk
had fallen and the gallery was losing light. Since no artificial light was permitted
whatsoever, it seemed the Sonata would have to be abandoned. Nonetheless, Ysae
and Bordes-Pne decided to continue. In the event, they had to play the last three
movements from memory in virtual darkness. Ysae kept the work in his repertoire for
the rest of his life and played it frequently on concert tours, granting Franck well-
deserved recognition for his compositions.

The work is in cyclical form, meaning that motifs and themes from various movements
are recycled and developed throughout. Pay special attention to the opening gestures
from the piano and violin, as they will recur frequently throughout all movements. The
first movement serves as a delicate and intricate introduction for the rest of the piece.
The second movement is a brilliant Toccata and is almost like a concerto for the two
instruments. The Recitativo-Fantasia focuses on motifs from the previous movements
as well as introducing two new themes that will be further developed in the last
movement. The light hearted, sunny opening of the fourth movement comes as a
surprise after the intensity of the preceding movements. The movement makes a
climactic arrival at C major before a triumphant, joyous conclusion in A major.
 Stage 7 Pianos
Grand Re-Opening
May 19th, 2017, 7pm
Featuring:
Alexander Hawker - Violin
Lewis Thompson - Piano

Concert Program Notes

Ralph Vaughn Williams (1872 - 1958)
Lark Ascending
Vaughan Williams composed this work in 1914, shortly before the onset of WWI, at which point
he put it away until after the conclusion of the war. He heavily revised the composition from
1919-1920 and the first performance was given on December 15th 1920. It was not until June
14th, 1921 that the version for violin and orchestra was premiered.

The Lark Ascending is a richly pastoral piece, depicting the untroubled joys of nature, the
English countryside, and the call of the lark. It exhibits a deference to the folk music of earlier
times, and a nostalgia for an era that no longer existed. The piece is prefaced with this selection
from a poem by George Meredith.
He rises and begins to round,
He drops the silver chain of sound,
Of many links without a break,
In chirrup, whistle, slur and shake.
For singing till his heaven fills,
Tis love of earth that he instils,
And ever winging up and up,
Our valley is his golden cup
And he the wine which overflows
to lift us with him as he goes.
Till lost on his arial rings
In light, and then the fancy sings.

Fritz Kreisler (1875-1962)

Praeludium and Allegro in the Style of Pugnani
Fritz Kreisler is widely renowned as one of the best violinist of his generation and perhaps of all
time. He wrote many pieces for violin and and piano that he used as encores in recitals. This
piece was written by Kreisler, however he initially told audiences that it was an arrangement of a
piece by the the baroque composer Gaetano Pugnani. Upon favorable reception, he decided to
formally take credit for his work and list himself as the composer and Pugnani as his inspiration.

Frdric Chopin (1810-1849)

Ballade no. 1 in g minor op. 23

This Ballade by Chopin is easily one of the most recognizable and popular works in the piano
repertoire. It was started in Vienna in 1831 and completed in Paris in 1835. Upon its publication,
Robert Schumann, who was prominent music critic at the time, remarked that it was a work
closest to Chopins genius and was his favorite work to date by the composer. Chopin
responded by saying that it was his favorite of his own compositions and that he held it dearest.
Each of Chopins Ballades are said to be based on poems by the Polish poet, Adam Mickiewicz.
This particular Ballade is widely believed to be based on the poem Konrad Wallenrod. The epic
poem chronicles the life of Konrad Wallenrod, a Lithuanian Pagan who is brought up as a
Christian. As the story progresses, he comes to be the leader of the Pagan peoples archenemy,
the Order of Teutonic knights. One day, his Pagan roots are reawakened when he hears
Minstrel music being played in a town square. Wallenrod then proceeds to intentionally lead the
knights to a major military defeat. Upon discovery of his treason, the Knights sentence Konrad
to death. After a failed attempt to Flee, Konrad Wallenrod ends his own life. It is easy to imagine
this story unfolding while listening to the piece.
 Ballade no. 2 in F major op. 38

The second of Chopins Ballades was considered by Robert Schumann to be a work less
ingenious than the first. This statement is ironic however, because Chopin had dedicated the
work to Schumann. In contrast to the previous Ballade, this piece opens with a simple and
innocent melody in F major. The tranquility does not last long before a vicious outcry in A minor.
The opening material returns again and develops into a climactic coda. A melancholy echo of
the opening melody brings the piece to an end. This Ballade is said to be based on The
Pilgrim by Miskiewicz. A translation is as follows:
A rich and lovely country wide unrolled,
A fair face by me, heavens where white clouds sail,
Why does my heart forever still bewail
Far-distant lands, more distant days of old?
Litwa! your roaring forests sang more bold
Than Salhir maid, Baydary nightingale;
Id'rather walk your marshes than this vale
Of mulberries, and pineapples of gold.
Here are new pleasures, and I am so far!
Why must I always sigh distractedly
For her I loved when first my morning star
Arose? In that dear house I may not see,
Where yet the tokens of her lover are,
Does she still walk my ways and think of me?

Sergei Rachmaninoff (1873-1943)

Prelude in G major op. 32 no. 5

This piece is perhaps the most lyrical of Rachmaninoffs preludes. The left hand plays a
constant pattern of five notes while the right hand sings a beautiful melody above and below. As
the piece develops, the embellishments become more and more elaborate leading to a cadenza
like climax. The piece ends sweetly with a compressed variation of the opening melody.

Fragments (1917)

Rachmaninoff wrote this piece during his final days in Moscow before he left Russia in early
1918 following the October Revolution of 1917. Although it is a miniature, Rachmaninoff makes
the most of every note. There is an air of hope amidst the anguish in this piece.When he left,
Rachmaninoff likely planned to return to Russia. Unfortunately, that never happened.

Prelude in b minor op. 32 no. 10

Rachmaninoff considered this prelude to be his favorite. This piece supposedly represents the
composers longing to return to his homeland of Russia. It was also inspired by Arnold Bcklins
painting Das Heimkehr (The Homecoming or The Return)