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Part I

I. FRENCH SUITE IN E-FLAT BWV. 815, J.S. Bach


I. ALLEMANDE

II. COURANTE

III. SARABANDE

IV. AIR

V. GIGUE

II. PIANO SONATA NO. 10 IN G MAJOR, OP. 14, NO. 2, L.V


Beethoven

i. Allegro
ii. Andante
iii. Scherzo
III. NOCTURNE IN LEFT HAND OP. 9 NO. 2, A. Scriabin
IV. Allegro Barbaro, B. Bartok

Part II ASSISTING ARTISTS:

PIANO CONCERTO NO. 4, D MINOR, OP. 70, A. RUBINSTEIN


Prof. Isabel Dimaya-Vista, second Piano
Keyboardists:
Mr. Guide Dadang, strings
Mr.Herman Glenn Magdura, Brass
Ms. Lyndrhea Bagaboyboy, woodwinds

Instrumentalist:
Mr. Rojan Max, flute

Part II

ANTON RUBINSTEIN (1829 - 1894) WAS A RUSSIAN PIANIST,


CONDUCTOR AND COMPOSER. HE WAS PART OF THE TRADITION OF
THE 19TH CENTURY VIRTUOSO PERFORMER/COMPOSERS SUCH
AS FRANZ LISZT. ALTHOUGH HIS COMPOSITIONS ARE SELDOM
HEARD NOW, AT ONE TIME HE WAS EQUALLY VALUED AS A
COMPOSER AS A PERFORMER.

RUBINSTEIN PIANO CONCERTO NO. 4, D MINOR, OP. 70

IS A ROMANTIC CONCERTO THAT WAS ONCE HIGHLY ESTEEMED


AND WAS IN THE REPERTOIRE OF THE RUSSIAN AND POLISH PIANO
VIRTUOSOS SERGEI RACHMANINOFF AND IGNACY JAN PADEREWSKI.
RUBINSTEIN COMPOSED THE 4TH CONCERTO IN1864 AND PUBLISHED
A FINAL REVISION OF IT IN 1872. IT IS COMPOSED OF THREE
MOVEMENTS: MODERATO ASSAI, ANDANTE, AND ALLEGRO. MATTHEW PASSION AND THE MASS IN B MINOR. SINCE THE
RACHMANINOFF PRAISED TO CONCERTO AS VERY BRILLIANT AND 19TH-CENTURY BACH REVIVAL HE HAS BEEN GENERALLY
INCOMPARABLE ONE. REGARDED AS ONE OF THE GREATEST COMPOSERS OF ALL TIME.

I. MODERATO ASSAI - MARKED MODERATO ASSAI, FEATURES A FRENCH SUITE IN E-FLAT BWV. 815
STATELY BUT MELANCHOLY MAIN THEME OF RUSSIAN CHARACTER
THAT IS REWORKED IN A LOVELY, FLOWING VARIATION FORM. THE AS ALWAYS IN BACH'S FRENCH SUITES, THIS WORK BEGINS WITH
POWERFUL CADENZA NEAR THE END OF THE MOVEMENT IS QUITE AN ALLEMANDE, COURANTE, AND SARABANDE. THE ALLEMANDE IS
LISZTIAN, BOTH IN SOUND AND IN ITS TECHNICAL DEMANDS. WARM AND FLOWING, A STREAM OF ARPEGGIOS THAT TEND TO
EDDY IN THE HARPSICHORD'S UPPER REACHES.. THE COURANTE
BEGINS WITH A REPEATED B FLAT FEATURED IN THE ALLEMANDE.
IT'S A BRIEF ALLEGRO MOVEMENT WHOSE DOTTED RHYTHMS MAKE
IT SEEM MUCH MORE LIKE A GIGUE. THIS LIVELY PIECE CONTRASTS
WITH THE ELEGANT SARABANDE, MORE LITHE THAN WAS BACH'S
STATELY NORM FOR THIS DANCE FORM. THE FOURTH SPOT IS
OCCUPIED IN BACH'S LAST THREE FRENCH SUITES BY A GAVOTTE;
THIS ONE IS A LIGHTHEARTED LITTLE CANON. THE NEXT MOVEMENT
IS CALLED AIR, BUT IT'S FAR MORE SPRIGHTLY THAN THE MORE
FAMOUS AIR IN BACH'S THIRD ORCHESTRAL SUITE. WITH A
MOTORIC BUT NOT EXCESSIVELY FAST DRIVE, THE MUSIC MAKES
ITS EFFECT WITH NONSTOP RUNS UP AND DOWN THE SCALE. THIS
IS FOLLOWED BY A VERY BRIEF MINUET AT A MORE MEASURED
PACE. THE LAST ITEM, AS USUAL, IS A GIGUE, HERE A VIVACIOUS
PIECE THAT MANAGES TO SOUND LILTING EVEN THOUGH ITS
OPENING FIGURE IS TAKEN FROM THE CALL OF A POSTHORN. OVER
A JOYOUSLY SKIPPING RHYTHM, THE MELODY SPINS ITSELF INTO A
SEQUENCE OF ALMOST DELIRIOUS TRILLS.

Ludwig van Beethoven, A GERMAN COMPOSER AND PIANIST WAS


PART I A CRUCIAL FIGURE IN THE TRANSITION BETWEEN
JOHANN SEBASTIAN BACH, A GERMAN COMPOSER AND MUSICIAN THE CLASSICALAND ROMANTIC ERAS IN WESTERN ART MUSIC, HE
OF THE BAROQUE PERIOD, IS KNOWN FOR INSTRUMENTAL REMAINS ONE OF THE MOST FAMOUS AND INFLUENTIAL OF ALL
COMPOSITIONS SUCH AS THE BRANDENBURG CONCERTOS AND COMPOSERS. HIS BEST-KNOWN COMPOSITIONS INCLUDE
THE GOLDBERG VARIATIONS, AND VOCAL MUSIC SUCH AS THE ST 9 SYMPHONIES, 5 PIANO CONCERTOS, 1 VIOLIN CONCERTO,
32 PIANO SONATAS, 16 STRING QUARTETS, HIS IN SUMMER 1891 SCRIABIN INJURED HIS RIGHT HAND THROUGH TOO
GREAT MASS THE MISSA SOLEMNIS, AND ONE OPERA, FIDELIO. MUCH PRACTICE WHILE LEARNING LISZT’S DON JUAN.. FOR THIS
REASON HE CULTIVATED HIS PLAYING WITH HIS LEFT HAND FOR
THE PIANO SONATA NO. 10 IN G MAJOR, OP. 14, NO. 2, COMPOSED WHICH HE COMPOSED HIS PRÉLUDE ET NOCTURNE OP. 9 IN
IN 1798–1799, IS AN EARLY-PERIOD WORK BY LUDWIG VAN 1894. BOTH PIECES WERE PRINTED THE FOLLOWING YEAR, AND
BEETHOVEN, DEDICATED TO BARONESS JOSEFA VON BRAUN. A QUICKLY BECAME VERY POPULAR. IN 1906 THEY WERE BOTH EVEN
TYPICAL PERFORMANCE LASTS 15 MINUTES. WHILE IT IS NOT AS SO WELL LIKED IN AMERICA THAT SCRIABIN REPORTED FROM NEW
WELL KNOWN AS SOME OF THE MORE ORIGINAL SONATAS OF YORK: "IT HAS EMERGED THAT THE PUBLISHER HERE HAS
BEETHOVEN'S YOUTH, SUCH AS REPRINTED MY NOCTURNE FOR THE LEFT HAND AND THOUSANDS
THE PATHÉTIQUE OR MOONLIGHT SONATAS, DONALD FRANCIS OF COPIES HAVE BEEN SOLD. [...] I AM IMMENSELY POPULAR!"
TOVEY DESCRIBED IT AS AN 'EXQUISITE LITTLE WORK.'[1] THE
SONATA IS IN THREE MOVEMENTS:

1. ALLEGRO IN G MAJOR
2. ANDANTE IN C MAJOR, SUBDOMINANT OF G MAJOR
3. SCHERZO: ALLEGRO ASSAI IN G MAJOR BELA BARTOK

WAS A HUNGARIANCOMPOSER, PIANIST AND AN


ETHNOMUSICOLOGIST. HE IS CONSIDERED ONE OF THE MOST
ALEXANDRE NIKOLAYEVICH SCRIABIN (1872-1915) WAS ONE OF THE IMPORTANT COMPOSERS OF THE 20TH CENTURY; HE
MOST PROLIFIC RUSSIAN COMPOSERS AND PIANISTS OF HIS TIME. AND LISZT ARE REGARDED AS HUNGARY'S GREATEST
IN HIS EARLY LIFE, SCRIABIN’S MUSICAL LANGUAGE CONSISTED OF COMPOSERS (GILLIES 2001). THROUGH HIS COLLECTION AND
A ROMANTIC AND LYRICAL STYLE AND WAS HEAVILY INFLUENCED ANALYTICAL STUDY OF FOLK MUSIC, HE WAS ONE OF THE
BY PIANIST AND COMPOSER, FREDERICK CHOPIN. HOWEVER, IN HIS FOUNDERS OF COMPARATIVE MUSICOLOGY, WHICH LATER
LATER CAREER, SCRIABIN DEVELOPED AN ATONAL AND DISSONANT BECAME ETHNOMUSICOLOGY.
STYLE OF WRITING, SEPARATELY FROM SCHOENBERG'S ATONAL
MUSICAL SYSTEM, THAT INFLUENCED MANY RUSSIAN COMPOSERS
DURING HIS TIME, SUCH AS SERGEI PROKOFIEV AND IGOR
STRAVINSKY.

NOCTURNE IN LEFT HAND OP. 9 NO. 2 ALLEGRO BARBARO WAS COMPOSED IN 1911 FOR SOLO PIANO.
HOWEVER, THE FIRST PERFORMANCE DIDN’T OCCUR UNTIL
1921. LIKE MANY OF BARTÓK’S COMPOSITIONS, THERE ARE
SEVERAL DIFFERENT EDITIONS OF ALLEGRO BARBARO. THE
PIECE WAS PERFORMED IN PRIVATE BY BARTÓK MANY TIMES
BY MEMORY BEFORE HE EVEN STARTED TO NOTATE THE MUSIC.
IN MANY EARLY PRINTED VERSIONS OF THE COMPOSITION, THE
TEMPO MARKINGS WERE INDICATED AT A MUCH SLOWER
SPEED. CERTAIN ACCENTS AND DYNAMICS WOULD ALSO BE
PERFORMED BY THE COMPOSER, BUT WOULD NOT MAKE IT TO

PAPER BECAUSE EACH PERFORMANCE WAS UNIQUE. THE


PUBLICATIONS OF THE COMPOSITION THAT TOOK PLACE IN 1918
IN VIENNA HAS BECOME TO STANDARD AND FINAL EDITION.
La Noctune
Barbare

Christian P. Gonzales, Clavier

27Janvier 2018, Samedi, 18heure

Music Sala, Copva 1