YEKWON SUNWOO - Portland Piano International

PRESENTED BY PORTLAND PIANO INTERNATIONAL

YEKWON SUNWOOOCT 14 & 15 / 4PM2017 / 2018 SEASON

2 | Portland Piano International

3003 SE Mi lwauk ie Ave Po r t l and , OR 97202503.239.9969 • classicportland.com

Over 300 new and used pianos in inventory -- from elegant Art Case instruments to Bargain Basement specials. Full Lifetime Trade-up Policy.

Come and share our fourth generationfamily’s passion for pianos.

Play and audition world-classinstruments to your heart’s content.

Discover why visitors to ourshowroom liken it to Thad Carhart’s

best selling book,The Piano Shop on the Left Bank:

“Discovering a Forgotten Passion in a Paris Atelier.”

Our museum-quality store features fi ve distinct “piano rooms” that showcase the world’s top names

in the art of piano making:

Bösendorfer • Yamaha • SchimmelEstonia • Mason & Hamlin

Charles R. WalterYamaha Disklavier & Full Digital Line

Restored Steinway & Sons

Classic Pianos of PortlandClassic Pianos of PortlandClassic Pianos of PortlandClassic Pianos of PortlandAward-winningAward-winning PAward-winningp

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portlandpiano.org | 1

Dear Friends, On behalf of the Board of Directors and staff of SOLO / Portland Piano International, it is my honor to welcome all of you to the opening performance

of our 2017 / 2018 season.

For those of us who experienced the excitement of the Cliburn International PIano Competition semifinals first-hand, we can attest to the amazing skill of the competitors, especially today’s artist, Yekwon Sunwoo!

Yekwon is no stranger to Portland, having performed several times with Chamber Music Northwest, including a performance playing the 24 Chopin Preludes with the NW Dance Project.

We are thrilled to welcome him back to our community as the Cliburn Gold Medalist, the first Korean ever to win first place at the Cliburn.

Many thanks for your continued support and a special thanks to Carol Edelman for her generous sponsorship of today’s performance.

Ellen Bergstone Wasil, Executive Director

YEKWON IS NO STRANGER TO PORTLAND...WE ARE THRILLED TO WELCOME HIM BACK...AS THE CLIBURN GOLD MEDALIST.

ABOUT PORTLAND PIANO INTERNATIONAL

Since 1978 Portland Piano International has presented more than 230 world-class

pianists in solo recitals. Visionary Harold Gray founded the series and guided its

success for 35 years. In October 2012, international concert pianist Arnaldo Cohen

succeeded him. While focused on artistic excellence, Arnaldo also grew Portland

Piano International’s educational programs. The 2017 / 2018 SOLO Series is the

final season for Arnaldo’s term as Artistic Director. Harold Gray is curating the 2018

/ 2019 season and a guest curator will be selected for the 2019 / 2020 season. Stay

tuned! Portland Piano International remains committed to its artistic and educational

mission creating opportunities for young up-and-coming performers, commissioning

new compositions for solo piano and reaching new audiences across the state.

YEKWON SUNWOOOCT 14 & 15, 2017

CHRISTINA & MICHELLE

NAUGHTONDEC 2 & 3, 2017

SUNWOOK KIMJAN 13 & 14, 2018

LUKAS VONDRACEKFEB 10 & 11, 2018

DENES VARJONMAR 24 & 25, 2018

YUJA WANGA COLLABORATION WITH THE OREGON SYMPHONY

MAY 3, 2018

THE SOLO PIANO SERIES2017 / 2018 SEASON

Food, beverages, cameras and recording devices are not permitted in Lincoln Performance Hall. Smoking is not permitted in the Performance Hall or in the building.

Please silence all cell phones.

Subscriptions for our 2017 / 2018 season are still available in the lobby during intermission. You can use today’s ticket toward purchase of the full season!

3003 SE Mi lwauk ie Ave Po r t l and , OR 97202503.239.9969 • classicportland.com

Over 300 new and used pianos in inventory -- from elegant Art Case instruments to Bargain Basement specials. Full Lifetime Trade-up Policy.

Come and share our fourth generationfamily’s passion for pianos.

Play and audition world-classinstruments to your heart’s content.

Discover why visitors to ourshowroom liken it to Thad Carhart’s

best selling book,The Piano Shop on the Left Bank:

“Discovering a Forgotten Passion in a Paris Atelier.”

Our museum-quality store features fi ve distinct “piano rooms” that showcase the world’s top names

in the art of piano making:

Bösendorfer • Yamaha • SchimmelEstonia • Mason & Hamlin

Charles R. WalterYamaha Disklavier & Full Digital Line

Restored Steinway & Sons

Classic Pianos of PortlandClassic Pianos of PortlandClassic Pianos of PortlandClassic Pianos of PortlandAward-winningAward-winning PAward-winningp

CPpdx_Ad_PianosIntl_0917_PRINT.indd 1 9/14/17 9:25 AM


Gold medalist of the Fifteenth Van Cliburn International Piano Competition, 28-year-old pianist Yekwon Sunwoo has been hailed for “his total command over the instrument and its expressiveness” (San Francisco Examiner). A powerful and virtuosic performer, he also, in his own words, “strives to reach for the truth and pure beauty in music,” and hopes to convey those fundamental emotions to audiences.

Born in Anyang, South Korea, Mr. Sunwoo began learning piano at age 8. He gave both his recital and orchestra debuts in 2004 in Seoul before moving to the United States in 2005 to study with Seymour Lipkin at the Curtis Institute of Music. He earned his bachelor’s degree there, his master’s at The Juilliard School with Robert McDonald,

MEET THE ARTISTYEKWON SUNWOO

and his artist diploma at the Mannes School of Music with Richard Goode. He currently studies under Bernd Goetzke in Hannover. Mr. Sunwoo credits each for their guidance in his artistic development and approach, and honored the late Mr. Lipkin by performing his cadenza during his Semifinal Round performance of the Mozart Piano Concerto in C Major, K. 467.

The first Korean to win Cliburn gold, Mr. Sunwoo launches his debut season in 2017–2018 with invitations to the Aspen, Grand Teton, and Duszniki International Music Festivals. Recitals will take him to Chicago, Houston, Los Angeles, and Vancouver, and he undertakes a nine-city tour of the United States with the National Orchestra of Cuba in the spring. In Europe, Mr. Sunwoo makes his United Kingdom concerto debut with the Royal Scottish National Orchestra under Cristian Macelaru, appears in the first full season at the Elbphilharmonie in Hamburg, and performs in Brussels, Copenhagen, Istanbul, Madrid, Helsingborg, and across Germany. His appearances in Asia include those in Beirut, Taiwan, Hong Kong, and across South Korea.

Record label Decca Gold released Cliburn Gold 2017 two weeks after his Cliburn win, which includes his award-winning performances of Ravel’s La valse and Rachmaninov’s Second Piano Sonata.

In previous seasons, Mr. Sunwoo has performed as soloist with the Baltimore Symphony Orchestra under Marin Alsop, The Juilliard Orchestra with Itzhak Perlman at Avery Fisher Hall, Houston Symphony Orchestra with James Feddeck, Fort Worth Symphony Orchestra with Leonard Slatkin and Nicholas McGegan, National Orchestra of Belgium, Sendai Philharmonic Orchestra, and others. He has appeared in recital in Hamarikyu Asahi Hall in Tokyo, Weill Recital Hall at Carnegie Hall, Wigmore Hall in London, Radio France and Salle Cortot in Paris, Kumho Art Hall in Seoul, and throughout South Korea, Germany, Switzerland, Prague, and Morocco.

An avid chamber musician, his partners have included the Jerusalem and Brentano String Quartets, violinists Benjamin Beilman and Ida Kafavian, cellists Edgar Moreau, Gary Hoffman, and Peter Wiley, and pianist Anne-Marie McDermott. He has toured Costa Rica, Guatemala, and Panama with the Kumho Asiana Cultural Foundation, performed for the Chamber Music Society of Lincoln Center’s Inside Chamber Music Lectures, and been invited to the Summit Music, Bowdoin International, and Toronto Summer Music Festivals.

In addition to the Cliburn gold medal, Mr. Sunwoo has won first prizes at the 2015 International German Piano Award in Frankfurt, the 2014 Vendome Prize held at the Verbier Festival, the 2013 Sendai International Music Competition, and the 2012 William Kapell International Piano Competition.

A self-proclaimed foodie, Mr. Sunwoo enjoys finding pho in each city he visits and takes pride in his own homemade Korean soups.

AS THE FIRST CLIBURN GOLD MEDALIST FROM SOUTH KOREA, WHAT WAS THE REACTION IN YOUR HOMELAND?

They kind of went like crazy I guess after I won the first prize and the concert that I have scheduled in December in Korea got sold out instantly.

WHO IS YOUR GO-TO COMPOSER?

That would be Schubert. The Schubert ‘Litanei,’ is one of my favorite pieces. And also, whenever I hear his music, even when it’s a happy tune, still there is sadness, and something like that stays in your heart a long time. For that reason I really love Schubert.

DID YOU HAVE A TEACHER WHO MARKED A TURNING POINT FOR YOU?

For sure, Seymour Lipkin. He always encouraged me to go listen to all kinds of different types of music. He was a fan of Frank Sinatra, and he told me once that he has an amazing style of certain rubatoes.

Excerpts from an interview with Yekwon Sunwoo by Minnesota Public Radio

COVER PHOTO CREDIT: JEREMY ENLOW; PAGE 2 PHOTO CREDIT: RALPH LAUER


YEKWON SUNWOO

ARTIST SPONSORCAROL EDELMAN

LINCOLN HALLPORTLAND STATE UNIVERSITY

THE FOCUS, THE POWER, THE PASSION, THE SKILLTO BRING YOU TWO DAYS WITH TWO IMPRESSIVE PROGRAMS

OCT 14, 2017 / 4PM

FRANZ SCHUBERTSONATA IN C MINOR, D. 958

AllegroAdagioMenuetto & TrioAllegro

- INTERMISSION -

PERCY GRAINGER / RICHARD STRAUSSRAMBLE ON LOVE (FROM DER ROSENKAVALIER)

SERGEI RACHMANINOVSONATA NO. 2 IN B-FLAT MINOR, OP. 36

Allegro agitatoNon allegro—Lento L’istesso tempo—Allegro molto

MAURICE RAVELLA VALSE

OCT 15, 2017 / 4PM

WOLFGANG AMADEUS MOZARTROMANCE IN A-FLAT MAJOR, K. ANH 205

RONDO IN A MINOR, K.511

SONATA IN C MAJOR, K. 330 Allegro moderatoAndante cantabileAllegretto

- INTERMISSION -

FRANZ SCHUBERT MOMENTS MUSICAUX, OP. 94 D. 780

ModeratoAndantinoAllegro moderatoModeratoAllegro vivaceAllegretto


MR. SUNWOO APPEARS BY ARRANGEMENT WITH THE CLIBURN.The use of photographic or recording devices during performances is strictly prohibited.


FRANZ SCHUBERTSONATA IN C MINOR, D. 958

COMPOSER: born January 31, 1797, Vienna; died November 19, 1828, Vienna

WORK COMPOSED: 1828; Schubert intended to dedicate this and two other sonatas to Johann Nepomuk Hummel, but died just weeks after completing them; Anton Diabelli eventually published Schubert’s final three sonatas, and dedicated them to Robert Schumann

ESTIMATED DURATION: 31 minutes

The lives of Franz Schubert and Wolfgang Amadeus Mozart share uncanny and disturbing parallels. Both were prodigiously talented and began composing in childhood. Both died in their 30s, leaving us to speculate on what they might have achieved had they lived longer. And both men composed some of their finest masterpieces in the last months of their lives, while they were gravely ill. Mozart wrote his final opera, The Magic Flute, and was working on the Requiem when he died. Schubert composed what most pianists regard as his three finest sonatas – D. 958, 959 and 960 – during his final months.

Throughout his life and for much of the 19th century, Schubert’s music was often compared – usually unfavorably – with Beethoven’s. To be fair, any composer – and such was Beethoven’s influence that every composer since Beethoven

has had to contend with his legacy – would have found himself working in Beethoven’s shadow. Schubert felt this more than most, given that he and Beethoven lived in the same city for years, although the two never met. In 1822, Schubert published a piano duet dedicated to Beethoven, from his “worshipper and admirer Franz Schubert.”

D. 958 pays tribute to Beethoven in several ways. Schubert’s choice of the C minor tonality is a direct homage to Beethoven, who used it in many of his greatest works, including the Fifth Symphony, the Third Piano Concerto, and three piano sonatas, including the “Pathétique” and Op. 111. For both Beethoven and Schubert, C minor expressed a turbulent, emotional state, capable of communicating a range of moods. The opening notes of D. 958 are another nod to Beethoven, as Schubert uses the primary theme of Beethoven’s 1806 Variations for Piano as the basis for both the melody and harmony of the first movement.

The intensely powerful tone of D. 958 can be heard as Schubert’s preoccupation with his own death. He had contracted syphilis in 1823; both the illness and the mercury commonly used to treat it devastated Schubert physically. In this context, the central Adagio – one of the few adagios Schubert composed – assumes a profound importance. By turns stately and unsettled, this music, along with the accompanying minuet and trio, expresses a full range of musical and emotional

colors. In the final Allegro, a furious tarantella, Schubert defies death with music full of defiant vivacity.

PERCY GRAINGER / RICHARD STRAUSSRAMBLE ON LOVE (FROM DER ROSENKAVALIER)

COMPOSER: born July 8, 1882, Brighton, Victoria, Australia; died February 20, 1961, White Plains, NY

WORK COMPOSED: 1923; first published in 1927

ESTIMATED DURATION: 6.5 minutes

Percy Grainger revered Richard Strauss, describing the latter as “A humane soul whose music overflowed with the milk of human kindness.” The two men met several times during the early years of the 20th century, and Strauss conducted Grainger’s music in Germany on more than one occasion.

During his lifetime, Grainger was equally well known as a performer; like many pianist/composers, some of his best works were transcriptions of other composers’ music, arranged to display his own singular virtuosity in recital. Grainger began arranging the opulent love duet from Strauss’ Der Rosenkavalier sometime before 1920; his original title was “Ramble on the love-duet in the opera ‘The Rose-Bearer.’” When Grainger’s mother Rose committed suicide in 1922, Grainger completed the work in tribute to her.

PROGRAM NOTES: SAT / OCT 14

1791Mozart dies on December 5; Korean Catholic Yun Chich’ung is executed after refusing to perform Confucian mourning ceremonies for his deceased mother

1783Mozart composers the Sonata in C Major, K. 330; renowned painter Yi Jaegwan of the late Joseon court is born in Korea

1756Wolfgang Amadeus Mozart is born on January 27; on April 8 Korea’s first Catholic convert Yi Seung-Hun is born


A glance at the score reveals Grainger’s attention to the minutest details. British composer and pianist Ronald Stevenson, who knew Grainger, observes, “It is the most fastidiously notated piano writing in the whole virtuoso literature ... If the performer follows all the instructions faithfully – fingering, dynamics, phrasing, pedaling – he will not need to seek for an interpretation. The interpretation in this case is the notation.” Barry Peter Ould, chair of the Percy Grainger Society, adds, “An authentic interpretation requires the pianist to follow scrupulously Grainger’s numerous instructions. Thus the sumptuous sound world of Strauss is conjured up to dazzling effect in this transcription that marks the full range and summit of Grainger’s pianism.”

SERGEI RACHMANINOVSONATA NO. 2 IN B-FLAT MINOR, OP. 36

COMPOSER: born April 1, 1873, Oneg, Russia; died March 28, 1943, Beverly Hills, CA

WORK COMPOSED: first version written between January and August, 1913; Rachmaninov premiered it in Moscow on December 13, 1913; during the summer of 1931, Rachmaninov made extensive revisions to Op. 36


In 1913, Sergei Rachmaninov took his wife and daughters on holiday to Switzerland and Italy. While in Rome,

the family stayed at the same house once used by Tchaikovsky. There Rachmaninov began writing two works: a massive choral symphony based on Edgar Allen Poe’s The Bells, and the Piano Sonata No. 2 in B-flat minor.

Within its three movements, Op. 36 is highly cohesive, thanks to Rachmaninov’s use of recurring and related themes. The second movement segues without pause into the third, further binding the movements together. Poe’s bells ring throughout, as crashing chords evoke the monumental chimes of Russian Orthodox church bells, a sound that had fascinated Rachmaninov since

childhood. The second movement, marked “non allegro” (not allegro, an idiosyncratic tempo marking for Rachmaninov), features the languid, harmonically rich sound of French piano music, particularly that of Erik Satie. Here Rachmaninov ventures briefly outside the classical realm, with a series of jazz-inflected left-hand harmonies.

In 1915, after the unenthusiastic response to his premiere of Op. 36, Rachmaninov put it aside. 16 years later, Rachmaninov decided to revise it. “I look at my early works and see how much superfluous material is there,” he said in 1931. “Even in this Sonata [the original version of Op.

portlandartmuseum.org® LAIKA, LLC

1864The 25th king of the Korean Joseon Dynasty, Choeljong, dies on January 16; Richard Strauss is born on June 11

1823Franz Schubert composes Moments Musicaux; Korean General Eo Jae-yeon is born, later leading the army of Ganghwado Island against the United States

1795On January 31, Franz Schubert is born; in Pusan, Korea Captain William Broughton disembarks from the HMS Providence and is immediately asked to leave


OCT 21 | 22 TCHAIKOVSKY VIGILCappella Romana, Benedict Sheehan

OCT 29 THE BYRD ENSEMBLE Renaissance and modern a cappella from Seattle’s leading polyphonic choir

NOV 18 | 19 ARCTIC LIGHT II: Northern ExposureSacred a cappella music from Estonia, Finland, Sweden, Denmark, r.

CAPPELLAROMANA.ORG 503-236-8202

CMNW.ORG 503-294-6400

OCT 25 DRACULA: THE MUSIC AND FILM WITH PHILIP GLASS AND THE KRONOS QUARTETCo-presented by Chamber Music Northwest and Portland’5 Centers for the Arts

OCT 29 HSU & YU PLAY BRAHMS’S COMPLETE SONATAS Andrew Hsu, piano and Angelo Yu, violin

OCT 30 HSU & YU IN RECITALAndrew Hsu and Angelo Yu perform fun classics highlighting the violin

FOCM.ORG 503-224-9842

NOV 3 FANDANGO!A mix of Latin, Spanish, Sephardic, Balkan, and classical sounds

NOV 13 | 14 PACIFICA QUARTETWinner of the 2009 Grammy for Best Chamber Music Performance

ORSINGERS.ORG 503-230-0652

PBO.ORG 503-222-6000

OCT 21 | 22 DURUFLÉ REQUIEMJonas Nordwall, organ

OCT 27 MONTEVERDI ORFEOGRAMMY-award winner Stephen Stubbs directs.

NOV 17 | 18 | 19 MUSIC FROM DUBLIN CASTLEPeter Whelan leads a time-capsule of well-known and newly discovered works.

NOV 18 YOUNG PEOPLE’S CONCERT A fun one-hour program for the family. Only $5 per person.

OCT 19 | 20 TONY TONY TONYSoprano Tony Arnold & composer Gabriela Lena Frank

NOV 10 | 11 GLASS WITHIN REACHThe patterns of Philip Glass amidst the patterns at Design Within Reach

THIRDANGLE.ORG 503-331-0301

What a city! Here are just some of the classical music performances you can find around town in the next month or so.


36], too many voices are moving simultaneously, and it is too long. Chopin’s sonata lasts 19 minutes and all is said.”


COMPOSER: born March 7, 1875, Ciboure, Basses-Pyrénées, France; died December 28, 1937, Paris

WORK COMPOSED: first begun in 1914, under the title Wien (Vienna), and set aside; Ravel returned to Wien in 1919, retitled it La valse, and completed it in the spring of 1920; originally commissioned by Serge Diaghilev for the Ballets Russes


Between 1914 and 1918, Maurice Ravel composed almost no music, aside from Le tombeau de Couperin. Despite having turned 40 in 1915, Ravel insisted on serving in the army; he became a truck driver for the 13th Artillery Regiment. The stress of war and the loss of several friends in battle, along with concern over his mother (she died in 1917), took a heavy toll on Ravel’s physical and mental health.

In 1919, Serge Diaghilev approached Ravel about a commission for the Ballets Russes. In response, Ravel resurrected an unfinished symphonic poem from 1914, Wien (Vienna), inspired originally by Ravel’s affection for Viennese waltzes. Now retitled La valse and reconceived as a “choreographic poem,” Ravel played it for Diaghilev in a two-piano version in April 1920. Composer Francis Poulenc, who attended the informal gathering, along with Diaghilev and his colleagues from the Ballet, remembered, “I knew Diaghilev very well at that time and I’d seen

his false teeth move, I’d seen his monocle move, I’d seen that he was very embarrassed, and I’d seen that he didn’t like it and he was going to say, ‘No.’ When Ravel had finished, Diaghilev said to him something which I thought was very true. He said, ‘Ravel, it’s a masterpiece, but it isn’t a ballet. It’s a portrait of a ballet, a painting of a ballet.’” Stung by Diaghilev’s rejection, Ravel severed all ties with the impresario.

“I conceived of this work as a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling to death,” wrote Ravel. “At first the scene is dimmed by a kind of swirling mist, through which one

discerns, vaguely and intermittently, the waltzing couples. Little by little the vapors disappear, the illumination grows brighter, revealing an immense ballroom filled with dancers…” By the end of La valse, the waltz itself has been splintered beyond recognition, by, in Ravel’s words, “fantastic and fatal whirling.” This frightening conclusion suggests not merely the death of the waltz, but Europe’s collapse during WWI. Although Ravel rejected any political interpretations of La valse, its ironic, fractured rhythms and ominous harmonies have come to symbolize the total annihilation of pre-war European culture.

© 2017 Elizabeth Schwartz

1882Percy Grainger is born on July 8; the US and Korea negotiate the Shufeldt Treaty, a Treaty of Peace, Amity, Commerce and Navigation

1875Maurice Ravel is born on March 7; on September 20, Japan creates an armed clash on Korea’s Ganghwa Island to purposely divide the Joseon Dynasty

1873Rachmaninov is born on April 1; a major political debate in Japan, called the Seikanron, rages regarding an immediate invasion of Korea but no action was taken

Grace Goudy Distinguished Artists Series 2017-2018

JANE AUSTEN’S SONGBOOKREADINGS AND MUSIC FROM AUSTEN’S OWN “PLAYLIST”

JULIANNE BAIRD soprano

MARCIA HADJIMARKOS pianoforte

OCT. 18, 2017 7:30 P.M. Hudson Concert HallSalem

willamette.edu/go/goudy503-370-6255 • [email protected]

MASTER CLASSES, TICKETS, MORE INFORMATION:


1914Ravel begins to compose La valse; the Catholic University of Daegu, the largest Catholic University in Korea, is established

1911Richard Strauss’s Der Rosenkavalier premieres on January 26; a year earlier Japan had taken over occupation of Korea

WOLFGANG AMADEUS MOZARTROMANCE IN A-FLAT MAJOR, K. ANH 205 (SPURIOUS ATTRIBUTION) RONDO IN A MINOR, K. 511 SONATA IN C MAJOR, K. 330

COMPOSER: born January 27, 1756, Salzburg; died December 5, 1791, Vienna

WORK COMPOSED: K. 511 was written in the spring of 1787; K. 330, July - November 1783

ESTIMATED DURATION: 4, 11, and 20 minutes, respectively

Romance in A-flat major, K. AnH 205

What’s in a name? Plenty, if that name is Wolfgang Amadeus Mozart. In Mozart’s time, before the existence of consistent copyright laws, unscrupulous musicians and publishers often attributed music to famous composers, in an attempt to boost sales. Joseph Haydn was the victim of this kind of fraud on more than one occasion.

The Romance in A-flat Major on today’s program may be one such work. In the mid-1960s, German musicologist Wolfgang Plath suggested the primary theme of this Romance came from a then-lost fragment of music from a Mozart quintet. Mozart scholar Neal Zaslaw writes, “The ‘lost’ quintet fragment Plath proposes is no longer lost … Nonetheless, it is true that if

there is even the slightest chance that the Romance is based on otherwise unknown Mozart material, that would be because someone had a (now lost) fragment or sketch of [Mozart’s] and worked it into a complete piece, something that was a bit of a growth industry between 1792 and c. 1805. But this is untethered speculation.”

Whatever its true authorship, the A-flat Major Romance pays homage to Mozart’s style with its refined, graceful melodies and balanced phrases.

Rondo in A minor, K. 511

Minor-key works by Mozart are relatively uncommon, particularly in his solo piano music. Accordingly, Mozart’s choice of a minor tonality for his K. 511 Rondo have led to speculation on a possible meaning for this piece, which brims with quiet melancholy. Mozart may have written this single-movement work to lament the death of his friend and fellow musician, Count August von Hatzfeld, who passed away at the untimely age of 32 on January 30, 1787. The recorded composition date of March 11 for the Rondo, barely five weeks later, supports this possibility.

Mozart composed this rondo after finishing his opera The Marriage of Figaro, and before he began working on Don Giovanni. The rondo may also reflect Mozart’s gloomy state of mind regarding the reception of his music; by 1787, the 31-year-old Mozart came to the discouraging realization that the Viennese had, five years after Mozart’s arrival in that city, tired of him.

The inspiration for this singular work may remain a mystery, but

its introspective sorrow and its deceptively simple exposed melodies give K. 511 depth and complexity, like a hidden gemstone.

Sonata in C Major, K. 330

From the largely unknown A-flat Major Romance, we come to one of Mozart’s most recognizable and beloved piano sonatas. Its themes are instantly familiar to audiences everywhere, even among casual listeners.

In the second half of the 18th century, instrument makers began experimenting with plucked-string keyboards by replacing the plectra with hammers that struck the strings instead. This technological change resulted in a wholly new sound and gave the player an expanded dynamic range. Composers and players alike took advantage of this and other improvements, and began writing music specifically with these new keyboards in mind.

In the early 1780s, Mozart acquired a new piano from the Viennese builder Anton Walter. This instrument had a pair of knee-levers that could raise all the dampers, or only the trebles, whichever the performer preferred. The keyboard also came with a mute, activated by a hand lever.

Mozart’s piano sonatas from this period reflect the new instrument for which they were composed. In particular, K. 330 demonstrates the greater dynamic potential Walter’s instrument provided, especially in the second movement. As was his practice when writing sonatas, Mozart composed a graceful, introspective central movement, bracketed by two outer sections of

PROGRAM NOTES: SUN / OCT 15

1913The premiere of Rachmaninov Sonata No. 2; Chang Ho establishes the Korean Ressurection League (Hunh-sah-dang) in May 1913


1931Rachmaninov makes extensive revisions to Sonata No. 2; deadly anti-Chinese riots occur in Korea to protest poor treatment of Korean migrants in Manchuria

1923Grainger composes Ramble on Love; following the Great Kantō Earthquake, more than 6,000 Koreans were massacred in Japan after false rumors spread

1920Ravel completes La valse; Duksung Women’s University is established in Seoul

a more extroverted, buoyant nature. In K. 330, the quiet, intimate F major Andante gives way to a muted section in F minor, no doubt written with the hand-lever mute in mind. This hushed interlude reveals itself like a hidden gem, and provides an even greater contrast with the exuberance of the final Allegretto.

Musicologist Alfred Einstein famously described this sonata as “a masterpiece, in which every note belongs – one of the most lovable works Mozart ever wrote.” K. 330 exemplifies Mozart’s sonata style: a model of Classical balance and grace punctuated by flashes of wit in its outer movements, with the central Andante hinting at profound emotional depths.

FRANZ SCHUBERTMOMENTS MUSICAUX, OP. 94 D. 780

COMPOSER: born January 31, 1797, Vienna; died November 19, 1828, Vienna

WORK COMPOSED: 1823-28


Franz Schubert wrote much of his solo piano music, particularly the groups of shorter works like the Moments Musicaux, as entertainment for private parties held in Viennese salons. Sometimes the music was a featured part of the evening’s entertainment, but more often than not, it merely provided a pleasant aural backdrop to conversations, flirtations, card games, and other pastimes. One might not expect much more from such music than pretty sounds, but the Moments

Musicaux contain hidden emotional depths and musically innovative episodes that belie their ostensible role as mere entertainment. Some Schubert scholars hear revelations of Schubert’s personality in these short, mercurial pieces, with their sudden changes of mood and color. Another way to experience these works is as wordless narratives; each tells a different story that hints at an unfulfilled yearning, full of atmospheric details.

Several of the Moments Musicaux feature dance forms, like No. 1, a sprightly minuet and trio, and No. 3, originally published as Air Russe, which would not sound out of place in

one of Tchaikovsky’s ballets. The first section of No. 4, with its whirling modo perpetuo rhythm in a quasi-Baroque style, recalls one of Schubert’s most famous songs, Gretchen am Spinnrade (Gretchen at her Spinning Wheel), while the second centers on vertical harmonic movement, in contrast to the headlong horizontal momentum of the opening. No. 5 also evokes another of Schubert’s songs, the ominous midnight gallop in Erlkönig (Elf-King). No. 6 and No. 2 share a common starting tonality, A-flat Major; each contains a wealth of emotions and colors that transform into new moods, like the ever-shifting patterns of a kaleidoscope.

CHRISTINA & MICHELLE

NAUGHTON

DEC 2 & 3 / 4PM LINCOLN HALL

“...they really are that good...on a level with some of the greatest piano duos of our time...”

– WASHINGTON POST

PORTLANDPIANO.ORG 503.228.1388


Portland Piano International: Half (7.75 x 4.875)Runs: 10/14, 10/15Artist: Gershwin/Andre Watts

Leo Hussain, conductor• André Watts, piano

Kokkonen: Symphonic Sketches• Grieg: Piano Concerto Sibelius: Valse triste Nielsen: Symphony No. 5

All the ingredients for a perfect winter’s night of music with a Scandinavian-themed evening. Powerhouse pianist André Watts returns to play Grieg’s magnifi cent piano concerto.

ANDRÉ WATTS PLAYS GRIEG DECEMBER 2, 3 & 4

Carlos Kalmar, conductor• Kirill Gerstein, piano Dipika Guha, playwright

• Schoenberg: Piano Concerto Chris Rogerson: Commission (World premiere)• Gershwin: Rhapsody in Blue

Symphony favorite Kirill Gerstein, hailed by The New York Times as “one of the most respected pianists of his generation” stuns with a rare and special two-concerto program. A powerful theatrical presentation adds a stunning visual dimension.

GERSHWIN’SRHAPSODY IN BLUENOVEMBER 4, 5 & 6

Great concerts coming up!

orsymphony.org | 503-228-1353a r l e n e s c h n i t z e r c o n c e r t h a l lTickets start at $24



COMPOSER: born March 7, 1875, Ciboure, Basses-Pyrénées, France; died December 28, 1937, Paris

WORK COMPOSED: first begun in 1914, under the title Wien (Vienna); Ravel returned to Wien in 1919, retitled it La valse, and completed it in the spring of 1920; originally commissioned by Serge Diaghilev for the Ballets Russes


Between 1914 and 1918, Maurice Ravel composed virtually nothing, aside from Le tombeau de Couperin. Despite having turned 40 in 1915, Ravel insisted on serving in the army; he became a truck driver for the 13th Artillery Regiment. The stress of war, and concern over his mother (she died in 1917), took a heavy toll on Ravel’s physical and mental health.

In 1919, Serge Diaghilev approached Ravel about a commission for the Ballets Russes. In response, Ravel resurrected an unfinished symphonic poem from 1914, Wien (Vienna), inspired originally by Ravel’s affection for Viennese waltzes. Now retitled La valse and reconceived as a “choreographic poem,” Ravel played it for Diaghilev in a two-piano version in April 1920. Composer Francis Poulenc, who attended the informal gathering, along with Diaghilev and his colleagues from the Ballet, remembered, “I knew Diaghilev very well at that time and I’d seen his false teeth move, I’d seen his monocle move, I’d seen that he was very embarrassed, and I’d seen that

he didn’t like it and he was going to say, ‘No.’ When Ravel had finished, Diaghilev said to him something which I thought was very true. He said, ‘Ravel, it’s a masterpiece, but it isn’t a ballet. It’s a portrait of a ballet, a painting of a ballet.’” Stung by Diaghilev’s rejection, Ravel severed all ties with the impresario.

“I conceived of this work as a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling to death,” wrote Ravel. “At first the scene is dimmed by a kind of swirling mist, through which one discerns, vaguely and intermittently,

the waltzing couples. Little by little the vapors disappear, the illumination grows brighter, revealing an immense ballroom filled with dancers…” By the end of La valse, the waltz itself has been splintered beyond recognition, by, in Ravel’s words, “fantastic and fatal whirling.” This frightening conclusion suggests not just the death of the waltz, but Europe’s collapse during WWI. Although Ravel rejected any political interpretations of La valse, its ironic, fractured rhythms and ominous harmonies have come to symbolize the total annihilation of pre-war European culture.

© 2017 Elizabeth Schwartz

1961Percy Grainger dies on February 20; on May 15, the Unification Church of Reverend Moon holds the first mass marriage ceremony with 36 couples

1943Rachmaninov dies on March 28; in December WWII Allies declare Korea “free and independent” before US occupies the South and USSR occupies the North

1937Ravel dies on December 28; all children in Korea are required to learn Japanese and they are not allowed to speak Korean in or out of school

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BEETHOVEN’S 5TH Sat., Nov. 11, 2017 1 7:30 PM 1 Arlene Schnitzer Concert Hall

CHOPIN: PIANO CONCERTO NO. 2 NATALIE TAN, PIANO2016-17 PIANO CONCERTO COMPETITION WINNER

BEETHOVEN: SYMPHONY NO. 5

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RECENT GIFTS: Portland Piano International thanks our generous donors who help make these wonderful recitals possible. Gifts received between July 1, 2016 and September 30, 2017


TIME CAPSULE

To celebrate our 40th Anniversary Season, we continue to look back on some of the distinguished artists in our past four decades.

Were you in Lincoln Hall when this Russian-American artist graced the SOLO Piano Series stage shortly after co-winning the Gold medal at the 2001 Cliburn International Piano Competition? The program that day was Schubert, Brahms, Chopin, Liszt and Balakirev. Five years later, the artist returned to perform at the Summer Festival.

This accomplished pianist was born into a musical family with direct links to both Rachmaninov and Tchaikovsky. The first performance of this prodigy was at the age of seven, later winning the Rachmaninov International Piano Competition at the age of 17. While in school, President of Russia Boris Yeltsin gave the artist an honorary scholarship in 1996.

The artist’s brother is a composer and conductor. Together they founded the Aspiration Foundation to provide financial and artistic assistance around the world. Recently the artist also founded a piano competition in Albuquerque, NM; the inaugural competition involved 22 international competitors with the artist serving as Artistic Director and President of the Jury.

In 2017 the artist was awarded the Ellis Island Medal of Honor (previously given to Rosa Parks, Buzz Aldrin, Coretta Scott King and Supreme Court Justice Sandra Day O’Connor).

Have you guessed this former SOLO Series artist? Turn to page 17 to see if you’re right. we love this music

89.9 FM Portland/Vancouver 88.1 Lincoln City/Newport 96.3 Columbia Gorge East 88.1 Hood River/The Dalles 88.9 Manzanita 95.7 Corvallis/Flynn 90.3 HD-2 McMinnville

RISING STAR:VLADISLAV KOSMINOV

Mr. Kosminov will premiere a new work by Oregon composer David Schiff.

THU NOV 9: 3:00pm on “Thursdays @ Three” at All Classical

FRI NOV 10: 7:00pm at Reed College Chapel

SAT NOV 11: 7:00pm at Cannon Beach Community Church

All performances are FREE.

Rising Stars for 2018:

JAN 25 - 28Isata Kanneh-Masonnew work by Darrell Grant

MAR 8 - 11Xiaohui Yangnew work by Renee Favand See

MAY 17 - 20Filippo Gorininew work by Kenji Bunch


Timothy Corcoran

Alexander Corcoran

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Donald Cushing

Tom Kuffner & Ervin Czimskey

Eloise Damrosch

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Karen Davis

Bailey Dean

Jing DePiero

Robin DesCamp

Nicholas T. Devlin

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Meera Ganesh

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Frances Geer

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Alison Gillmouth

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Elizabeth E. Willis

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Feng Xu

Chaoling Yang

Judith Yap

Nancy Yielding

Florence Zeller

Helen Zhang

GY Zhang

Hao Zhang

Helen Zhang

Junjie Zhou

Andrea & Paul Zulak

We are extremely grateful to these individuals who have chosen to make a lasting impact through their legacy gifts.

To learn more,contact Ellen Bergstone Wasilat 503.228.1388 [email protected]

AnonymousLouis & Judy McCraw

Maynard OrmeVince & Robin Power

Walter Stinger*Mary Jean Thompson

Harry Turtledove*Patricia Turtledove*

* Members whose legacy gifts have been fulfilled

The Harold Gray Legacy Society

FRIENDS CONTINUED...

Our apologies in advance for any omissions. Every gift is important to us!

THANK YOU TO OUR GENEROUS SPONSORS

BOARD OF DIRECTORS

Maryellen McCulloch, Chair

Earl Thomas, Vice Chair

Lauren Canfield, Treasurer

Brendan O’Scannlain, Secretary

Dean Alterman, Immediate Past Chair

Carol Edelman

Judy Hummelt

Jeffrey Morgan

Marianne Perrin

Mary Jean Thompson

Debra Vinikour

Larry Vollum

Harold Gray Artistic Director Emeritus

STAFFEllen Bergstone Wasil Executive [email protected]

Robin Power Associate [email protected]

PART-TIME STAFF Hannah HillebrandEducation Outreach [email protected]

CONSULTANTSMary Schwendeman Piano Technician

Adam Lansky Recording Engineer

Jonathan Eifert Social Media Marketing

Meg Cotner Local Public Relations / Marketing

CONNECTPortland Piano International

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Portland, OR 97228

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[email protected]

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Portland Piano International

This activity is supported in part by a grant from the Oregon Arts Commission and the

National Endowment for the Arts.

In honor of Inana Beitlers:Maris Graube

In memory of Craig Casey:Louis & Judy McCrawDebra NippertRon & Minnie QuiringKen & Nancy Stephens

In honor of Claire & Zanley Galton:Richard C. Stetson, Jr.

In memory of Florence Goodman: Jean Cauthorn

In honor of Harold Gray:Dr. Marcia Freed

In memory of Bill Vanderheide: Ina HammonDr. Joseph Emmerich

Gerald & Lori Bader

Ellen Bergstone Wasil & Dan Wasil

Amy Johnson & Jim Quackenbush

George & Mary Lou Peters

Vince & Robin Power

Anne Savaria

SOSTENUTO SOCIETY: Donors who make monthly contributions to SOLO / Portland Piano International.

M A R C H 2 9 , 2 0 1 8V A R I O U S L O C AT I O N S

SAVE THE DATE!

If you guessed Olga Kern was the artist performing for SOLO in November 2001, you’re right!

Test yourself again at the Christina & Michelle Naughton performance when we highlight another artist from our 40-year history.

TRIBUTE GIFTS:

SPONSOR A STUDENT: Donors who underwrite the cost of a student subscription for a season.Kristin Swanson Mary Slowik Siciliano


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YEKWON SUNWOO - Portland Piano International

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