Program

Claude Debussy - Images, Book I (L. 110)

I. Reflets dans l’eau (Reflections in the Water)

II.  Hommage à Rameau (Tribute to Rameau)

III. Mouvement (Movement)  

Robert Schumann - Kinderszenen, Op. 15

I.   Von fremden Ländern und Menschen (Of Foreign Lands and Peoples)

II.  Kuriose Geschichte (A Curious Story)

III.  Hasche-Mann (Blind Man's Bluff)

IV.  Bittendes Kind (Pleading Child)

V. Glückes genug (Happy Enough)

VI. Wichtige Begebenheit (An Important Event)

VII. Träumerei (Dreaming)

VIII. Am Kamin (At the Fireside)

IX. Ritter vom Steckenpferd (Knight of the Hobbyhorse)

X. Fast zu ernst (Almost Too Serious)

XI. Fürchtenmachen (Frightening)

XII. Kind im Einschlummern (Child Falling Asleep)

XIII. Der Dichter spricht (The Poet Speaks)  

Sergei Rachmaninoff - Sonata No. 2 in B-flat minor, Op. 36

I. Allegro agitato

II. Non allegro

III. Allegro molto  

Notes  

French composer Claude Debussy was to music what the impressionist painters were to the art world. He creates vivid impressions in his works, as we can see in the first book of Images. In the first piece, translated to “Reflections on the Water,” we typically hear a clear, single-note melody, which is then repeated and iterated upon; it often sounds as though we are seeing an image, then looking down at the water and seeing its reflection ripple as the surface moves. These ripples, similarly, are created in a different layer, with chords moving lightly up and down the piano. Throughout the piece, we can hear the water move about naturally, flowing consistently throughout the piece and never stopping until the piece ends with the water still. The second piece, “Homage to Rameau,” references French composer Jean-Philippe Rameau (1683 – 1764). Rameau was one of the most important French Baroque composers, and while forgotten for a long time, had begun to be appreciated by Debussy’s time. This piece is written in the style of a sarabande, a slow, stately baroque dance that was commonly written by Rameau. The final piece, “Movement,” depicts its title quite aptly, with one line of notes constantly running throughout the piece’s duration; this style is known as “perpetual movement.” The running notes are punctuated by various short, melodic statements, but the movement never ceases, eventually trailing off into the distance as the work concludes.  

Schumann was known for being an outstanding composer of miniatures – sets of various small pieces that each have their own character – and this set, Kinderszenen, is no exception. Talk Translated in English to “Scenes from Childhood,” Kinderszenen differs from Schumann’s other early compositions in that it features far fewer notes, which results in a feeling of innocence and youth. In fact, Schumann described them to his wife as such, writing, “You will enjoy them—though you will have to forget you are a virtuoso.” Each of the 13 youthful scenes tells a different story, captured by descriptive titles like “Of Foreign Lands and Peoples,” “Dreaming,” and “By the Fireside.” While the various scenes sometimes feel disparate, they do generally form an overall arc. The set begins and ends in the same key, and the final piece, translated to “The Poet Speaks,” very much seems to be looking back on childhood from later in life. Alongside this larger arc, intermediate scenes also connect to one another; for example, No. 4 is titled “Pleading Child,” and the piece that follows, “Happy Enough,” is in the same key and seems to be a clear, satisfied resolution of this pleading feeling. The set is incredibly imaginative, and each pianist has their own unique view on just how all the pieces work together to form a whole.  

Sergei Rachmaninoff’s second piano sonata is unique in his output as it is one of a select few compositions with two versions. Both versions are often played today, and some pianists even create their own versions that meld the two together. The original version is larger, denser, and is often considered a bit unwieldy; the second version, due to its relative simplicity, communicates its themes more coherently and convincingly. As with much of Rachmaninoff’s music, this sonata is heavily reliant on long, soaring melodies paired with lush, warm harmonies. The first theme of the piece, presented at its outset, generally takes the form of a descending chromatic line that ends with a dotted rhythm. Rachmaninoff uses this theme and a two-note “ba-dum” motive as a motto, which is a motive that is present across all movements of a piece. Over the course of the piece, these ideas are continually transformed to fit the mood of the section, perhaps being dark and brooding at one point while being triumphant a bit later. While sonata movements can sometimes sound a bit disjointed, Rachmaninoff uses this strategy to tie the piece together and create a highly unified piece of music.