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Program Notes
Frederic Rzewski is a living American composer and virtuoso pianist. Hewas born in 1938 in Westfield, Massachusetts, earned his B.A. in music atHarvard, and later received an M.F.A. from Princeton, where he studies withRoger Sessions and Milton Babbitt. His compositional style combines aspects ofspontaneous improvisation with strict notation. Piano Piece No.4 is the last piece in the collection Piano Pieces (1979). The piece isChilean-inspired. A repeated note gradually grows into relentless poundingchords descending from the highest range of the keyboard, resembling thewarming up of a large gong; gradually a folk melody emerges.
Schumann’s Fantasiestücke Op.12is a collection of eight character pieces, written in 1837. The collectivetitle came from E.T.A Hoffmann’s Fantasiestückein Callots Manier (“Fantasy Pieces in the Manner of Callot”). Each piece’stitle gives a valuable clue to that movement’s character. The duality ofSchumann’s personality: Florestan (passionate, extrovert character) andEusebius (dreamy, introverted character) converse throughout the collection,with an unexpected ending in Ende vomLied. Character, texture and tempo vary widely from piece to piece, yetthey complement one another because of Schumann’s narrative genius. Schumannbelieved that In der Nacht (No.5) and Traumes-Wirren (no.7) were the only twoof the Fantasiestücke suitable forpublic performance. He considered the remaining pieces too intimate andpersonal for concerts. The dreamy and pleasant mood of Eusebius is portrayed inDes Abends. Aufschwung depicts Florestan at the height of his passion. Warum? asks its questions through anascending and unresolved melody. The piece is as beautiful as any of Schumann’sgreat lieder. Florestan’s whimsical and eccentric qualities are at theforefront of Grillen. In der Nacht was Schumann’s favoritepiece in the set. The two characters of Florestan and Eusebius are united forthe first time in this piece. The story of mischievous elves is portrayed in Fabel. Traumes Wirren depicts the struggle between the Eusebius and theFlorestan characters within Schumann. Endevon Lied captured Schumann’s emotions and imaginations at a time when hewas thinking about marriage. He described this piece as juxtaposition ofwedding bells and funeral bells.
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