Friday, June 20, 2014
Tuesday Serenade : October 21 @ 7pm
Dr. Deloise Lima, piano
FSU Faculty Artists
Invitation to the Dance
BÉLA BARTÓK: Rhapsody No. 1, Sz. 86, BB 94
Lassú — Friss
J.S. BACH: Partita No. 1 in B Minor, BWV 1002
1. Allemanda ~ Double — 2. Corrente ~ Double
3. Sarabande ~ Double — 4. Tempo di Borea ~ Double
[on YouTube] [Score at imslp.org]
DEBUSSY / HEIFETZ: Golliwogg’s Cakewalk
PARADIS / DUSHKIN: Sicilienne
POLDINI / KREISLER: Dancing Doll
HENRYK WIENIAWSKI: Polonaise brillante, op. 4
[on YouTube] [Score from imslp.org]
ABOUT THE ARTISTS
Brazilian-born Deloise Chagas Lima began studying the piano at age nine. At age eleven she gave her solo debut at the School of Music and Fine Arts in Parana, Brazil, where she later received her Bachelor’s Degree in Piano, Organ and Music Education, and won a gold medal as most outstanding student during the course of her studies. Traveling to England, she studied English at Newbold College while completing a Performance Certificate in Piano from Trinity College of Music; she also became an Associate of the Royal College of Music in Organ Performance. She received a Master’s degree in Piano Performance and Literature from Notre Dame, and a Doctor of Music degree in Piano Accompanying from the Florida State University. In Brazil, Dr. Lima was on the faculty of the Escola de Musica e Belas Artes do Parana for nearly twenty years. She was pianist with the Minas Gerais Symphony, and was a soloist with that orchestra and the Curitiba Chamber Orchestra. Her collaborations have included performances in Europe, the United States and South America. Deloise Lima was named Assistant Professor of Collaborative Piano at the College of Music of the Florida State University in 2005.
PROGRAM NOTES by Edward Lein, Music Librarian
Hungarian composer, pianist and ethnomusicologist Béla Bartók (1881-1945) ranks among the giants of 20th-century musicians. His early works were influenced by the music of Franz Liszt, Richard Strauss and Claude Debussy, and during the 1920s Stravinsky's neoclassicism provided inspiration. But where Stravinsky cultivated an impersonal detachment, Bartók always sought an emotional connection with the audience. Like Prokofiev, Bartók was an early practitioner of the piano as a percussive instrument, and he actually requested permission from American composer Henry Cowell to adopt Cowell's tone-cluster piano technique for his own use. What really set Bartók apart was his immersion in the indigenous music of Eastern Europe and Northern Africa. By absorbing the diverse rhythms and exotic melodic formulations from the folk music into Western-style structures he created works that were wholly new yet still somehow elementally familiar. Bartók's virtuosic Rhapsody No. 1 for Violin and Piano (1928) presents actual folk tunes organized into the paired movements of the traditional Hungarian verbunkos (i.e., recruiting dance), with a slow and mournful Lassú followed by a lively Friss. He composed his similarly-structured Rhapsody No. 2 at the same time, and provided orchestral accompaniments for both the following year; he also prepared a cello version of Rhapsody No. 1.
Once dismissed by many of his contemporaries for being old-fashioned, the works of the great German Baroque master Johann Sebastian Bach (1685-1750) probably have been studied more than those of any other composer, making him perhaps the most influential musician of all time. Completed in 1720, Bach's six Sonatas and Partitatas, BWV 1001-1006, are generally regarded as the most important works for unaccompanied violin ever written, but they were only first published in 1802 and may not even have been performed publicly during the composer's lifetime. For his Partita No. 1 in B minor, BWV 1002, Bach uses dance movements typical of baroque suites, except he ends with a bourrée (in a quick double time) rather than the more usual gigue (in a lively 3/8 or related meter). The four dances are all followed by variations, which the French termed "double."
French composer, pianist and music critic Claude Debussy (1862-1918) is universally identified as the chief proponent of musical Impressionism, but he did not approve of that stylistic label and the associations he felt it harbored. 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 any negative connotations "Impressionism" once may have had have evaporated. Golliwogg's Cakewalk is the last of the six-movements in Debussy’s piano suite, Children's Corner (1908). Inspired by American ragtime, the middle section ironically juxtaposes a snippet from Wagner's Tristan und Isolde with banjo imitations. Lithuanian-born virtuoso Jascha Heifetz (1901-1987), whom The New York Times called "perhaps the greatest violinist of his time," recorded his popular arrangement for violin and piano in 1945.
Samuel Dushkin (1891-1976) was a Polish-born American violinist who concertized with Stravinsky and gave the premiere performance of Ravel’s demanding Tzigane. Like his teacher Fritz Kreisler, Dushkin made arrangements of popular classics to perform himself, and apparently was not above passing off original compositions in "olden style" as works by earlier composers (also like Kreisler). As a case in point, Dushkin attributed the present Sicilienne to Maria Theresia Von Paradis (1759-1824), a blind concert pianist and composer familiar to Mozart—but the piece is almost certainly by Dushkin, and seems to be loosely based on the Romanze movement of Violin Sonata, op. 10, no. 1 by Carl Maria von Weber (1786-1826). Coincidentally, Weber wrote Aufforderung zum Tanz (Invitation to the Dance), which lends its name to today's program.
Hungarian composer Ede (Eduard) Poldini (1869-1957) was fairly well-known in the late 1800s and early 1900s (at least in his homeland) for his operas and piano pieces. But it was this arrangement by Austrian violin virtuoso Fritz Kreisler (1875-1962) of Poupée valsante (Dancing Doll) that brought Poldini international recognition. Originally a movement from Poldini's Marionettes for solo piano, Kreisler arranged the charming waltz for violin and piano in 1924 as a recital encore for himself.
The prodigious talent of Polish violinist Henryk Wieniawski (1835-1880) was recognized early on by his pianist mother, and she managed to get her son admitted into the Paris Conservatoire when he was a mere lad of eight, despite his being underage and not even French. From age 15 until his death at 45 from heart failure Wieniawski maintained a rigorous concert schedule that included a two-year American tour (1872-74). As a teacher his influence is still evident, particularly among violinists from Russia where he taught from 1860 to 1872. Wieniawski's two dozen published compositions include pieces that are reckoned among the cornerstones of the violinist's repertoire, requiring the highest level of technical proficiency and featuring virtuosic effects that heighten the passionate melodic expression. In his works he demonstrated a continuing interest in cultivating a national music based on characteristically Polish forms, including mazurkas and polonaises. Among these, Polonaise brillante, op. 4 was first sketched for violin and piano in 1849, with the final manuscript emerging in 1852 as a work for violin and orchestra; the violin and piano version was published the following year.