Douglas Anderson School of the Arts Music Students
Vera Watson, coordinator
- BEETHOVEN: Sonata No. 13 in E-flat Major "Quasi una fantasia," Op. 27, No. 1.
-- I. Andante--Allegro--AndanteJoshua Rentrope, piano
- HAYDN: Sonata in G Major, Hob. XVI: 40.
-- I. Allegro innocenteStephanie Bird, piano
- CLEMENTI: Sonatina in C Major, Op. 36, No. 3.
-- I. SpiritosoKierstyn Granzow, piano
- KABALEVSKY: A Short Story (30 Pieces for Children, Op. 27, No. 20)
Matthew Cunningham, piano
- BROWN: Soliloquy
Noah Higgins, piano
- SCHUMANN: Of Foreign Lands and Peoples (Kinderszenen, Op. 15, No. 1)
Emily Taylor, piano
- CLEMENTI: Sonatina in G Major, Op. 36, No. 2.
-- I. AllegrettoPhillip Hess, piano
- CHOPIN: Prelude in B minor, Op. 28, No. 6 "Tolling Bells"
Remy Van Nostrand, piano
- ROLLIN: Moonlight Nocturne
Asia Strong, piano
- DEBUSSY: En bateau ("Onboard boat," Petite suite, No. 1)
Alyssa Jang & Miranda Caprio, piano 4-hands
- MOZART: Sonata No. 12 in F Major, K. 332/300k.
-- III. Allegro assaiViann Yu
- DEBUSSY: Ballet (Petite suite, No. 4)
Chloe Reynolds & Morgan Stark, piano 4-hands
- BEETHOVEN: Sonata No. 14 in C-sharp minor "Moonlight," Op. 27, No. 2.
-- III. PrestoRyan Feeney, piano
- CHOPIN: Nocturne No. 20 in C-sharp minor, Op. posth.
Sen Valeski, piano
- CHOPIN: Polonaise in A Major, Op. 40, No. 1 "Military"
Caleb Webber, piano
- MAHLER: Piano Quartet in A minor (in one movement)
Kara Swanson, violin; Benjamin Campbell, viola; Tara Reifnider, cello; Dylan Hewlett, piano
PROGRAM NOTES, by Ed Lein, Music Librarian
The transcendent German-born composer Ludwig van Beethoven (1770-1827) began his compositional career essentially imitating the styles and forms he inherited from Haydn, Clementi and Mozart, but during his "middle" period (ca. 1803-1815) Beethoven expanded and personalized this inheritance, creating works that have come to represent the culmination of the Classical style in much the same way that the works of J.S. Bach (1685-1750) represent the culmination of the Baroque. During Beethoven's "late" period (ca. 1815-1827), he discovered new paths toward still more personal, even intimate, musical expression, and, despite the gradual and eventually total degeneration of his hearing, he forged the way beyond the Classical tradition into the Romantic.
Genial Austrian composer (Franz) Joseph Haydn (1732-1809) is the musician most credited with establishing the “Classical” style that his two younger contemporaries Mozart and Beethoven built upon, and by the time of his death "Papa" Haydn had become the most widely celebrated composer in Europe. Known as both “Father of the Symphony” and “Father of the String Quartet,” Haydn started out as a choirboy and never developed into a keyboard virtuoso, so his 52-62 keyboard sonatas (depending on who's counting) were mostly composed in the early part of his career for the instruction and amusement of his noble patrons. Composed in 1784, Haydn's Sonata in G Major, H.XVI:40, is dedicated to Princess Marie Esterházy (1768-1845), and the Allegretto e innocente is first of the sonata's two movements.
At the end of the 18th Century, only Haydn was held in higher regard as a composer than was Muzio Clementi (1752-1832). Clementi was born in Italy, but when he was a teenager he moved to England where he continued his musical education while working as a musician on the estate of the Lord Mayor of London. At age 21 Clementi began touring as one of the most-celebrated concert pianists in Europe, and he also became successful as a music publisher and piano manufacturer. Beethoven credited Clementi with providing the foundation upon which he built his own piano technique, and also touted Clementi as the best composer for the still-developing keyboard instrument. Written in 1797, Clementi's six Sonatinas, Op. 36, are nicknamed "Progressive Sonatinas," indicating that the playing becomes more challenging as the pianist moves through the cycle.
- YouTube Performance of Soliloquy (beginning at 1:15)
The hopes of the great German Romantic composer Robert Schumann (1810-1856) to become a concert pianist were dashed in his early twenties when he permanently damaged his hand, so he redirected his energies to both composing and music criticism. From childhood he was torn between literature and music, but he managed to combine these two loves even in some of his purely instrumental music by using poetry and dramatic narrative to color and direct the musical discourse.
American composer and pianist Catherine Rollin is an active teacher and clinician, and has given workshops and masterclasses in Japan, Canada, and throughout the United States. She has published over 200 pedagogic compositions for the piano, including works commissioned by Music Teachers National Association and Clavier magazine. Her Romantically-inspired Moonlight Nocturne in C minor was published in 2007.
Claude Debussy (1862-1918) was a quintessentially French composer, pianist and music critic whose own revolutionary music ushered in many of the stylistic changes of the 20th Century. Debussy is universally identified as the chief proponent of musical Impressionism, but he did not approve of that label and the associations he felt it harbored. But since his death the term as applied to music has been redefined almost exclusively around the characteristics of some of Debussy's most famous pieces, such as Prelude to the Afternoon of a Faun and La mer ("The Sea"), so whatever negative connotations "Impressionism" once may have had have since evaporated.
Austrian-born Wolfgang Amadeus Mozart (1756–1791), unquestionably one of the greatest composers in history, began his career as a 6-year-old piano prodigy, and he absorbed and mastered all the contemporary musical trends he was exposed to along the way. The Sonata in F Major, K. 332, is the third of three sonatas (along with K. 330 and K. 331) that were published in 1784. It seems likely that Mozart had composed them for his students the previous year, but he and his publisher decided they could "cash in" on Mozart's growing fame as a pianist by offering them for sale to the public at large.
Beethoven's famous Moonlight Sonata did not receive it's nickname until after the composer's death, when a music critic reflected that the first movement conjured an image of moonbeams shimmering on the surface of a lake. By contrast, the stormy Presto finale is so vigorous that when Beethoven played it himself he reportedly snapped some of the piano strings.
The last three of Chopin's 21 Nocturnes were published posthumously, but the piece now known as Nocturne No. 20 was not actually named that by the composer. Written for his sister Ludwika in 1830 as a study to prepare for playing his 2nd Piano Concerto, it was first published in 1856 under its tempo indication, Lento con gran espressione ("Very slowly with much emotion"). But an 1870 editon called it "Nocturne" and the title stuck, although it sometimes also is called "Reminiscence." This Nocturne was featured in the World War II bio-pic, The Pianist (2002), and it played a major part in another real-life drama from the same dark period. In 1943, the commandant of a Nazi concentration camp discovered that Polish pianist Natalia Weissman (1911-2007) was among his prisoners, and he ordered her to play for his birthday. She chose the Nocturne in C-Sharp Minor, and so impressed her captors that they spared not only her life, but also the life of her sister. After the war she resumed her concert career, performing into her 90s as Natalia Karp, and she was known especially for her interpretation of the piece that had saved her life.
Among the five Polish national dances, the polonaise (stately 3/4 time) and mazurka (lively 3/4 time) are the best known, thanks to Chopin having written so many of them both. Chopin's earliest known compositions were two polonaises written when he was seven years old, probably before he could even reach the pedals, and his last work in the genre, the Polonaise-Fantaisie, was written three years before he died. Among Chopin's 18 (or so) polonaises, the "Military" Polonaise, Op. 40, no. 1 (1838), and the "Heroic" Polonaise, Op. 53 (1842), are the most-recognizable by the general public.
Gustav Mahler (1860-1911) was born in Bohemia (now Czechoslovakia), and he achieved his greatest successes in Vienna. But it was more for his conducting rather than composing that he gained international fame, and during the last years of his life he accepted principal conducting appointments at New York’s Metropolitan Opera and to the New York Philharmonic. When Mahler died from a blood infection at age 50, he still had not received full acceptance from the Viennese musical establishment as a composer. Now, however, he is regarded as the last great Viennese symphonist, joining the ranks of Haydn, Mozart, Beethoven, Schubert, Bruckner and Brahms.