A Rare Two-Piano Fantasy Masterworks Performance by Christopher Tavernier & Dr. John Cobb A Night at the Opera with Franz Liszt This journey begins as Liszt creates the dreams of floating, falling and sweet intoxication. From piano music, to sacred choral and orchestral music, he leads us into the realm of the two greatest opera fantasies for two pianos ever created. So let the dreams begin! Savor each sensation, and let your darker side give in to the power of the music of “A Night at the Opera” “The Night is Set” – A Masterwork Performance by Christopher Tavernier and John Cobb. John Cobb is an international performer and recording artist who is known for his broad interpretive range and technical command. Dr. Cobb studied with Claudio Arrau, whose teacher was a pupil of Franz Liszt. Throughout his career, Claudio Arrau (1903-1991) was renowned throughout the world as one of the supreme keyboard masters of the century. Franz Liszt was a student of Carl Czerny, who was a pupil of Ludwig van Beethoven. Christopher Tavernier made his debut as the youngest concert pianist in North Carolina at the age of thirteen, performing Tchaikovsky’s Piano Concerto No.1 in B Flat minor with the Tar River Philharmonic Orchestra in North Carolina. Christopher was named as "the first International Perzina Artist" in the company’s 145 year history. Christopher’s first love is the piano. He began his studies at the age of six and aspires to be a great concert pianist. Although Christopher knows and loves the whole vast piano repertoire, Franz Liszt is his favorite composer. Franz Liszt was probably the greatest pianist who ever lived. He is considered one of the greatest composers of the Nineteenth Century. Among his many innovations was the invention of the solo recital and the development of the symphonic poem. Christopher’s repertoire contains many works by Franz Liszt, of whom he is a direct musical descendant through his teacher, pianist John Cobb. Hence the musical lineage actually extends from Ludwig van Beethoven to Christopher Tavernier. Studying under Dr. Cobb and performing concerts with him, together, they continue to “Preserve the Musical Lineage of Franz Liszt." So let the dreams begin! Savor each sensation, and let your darker side give in to the power of the music of “A Night at the Opera Program Notes Franz Liszt: Transcendental Etude No. 1 in C Major – “Preludio” Performed by Dr. John Cobb Conceived first as a set of 48 etudes in all major and minor keys when Liszt was 16, he ultimately published 12 studies that announced his claims as the most formidable pianist of his generation. “Liszt touched heights of virtuosity unknown before his time.” Both Berlioz and Schumann ventured similar opinions, suggesting that only the composer himself would be able to do them justice in performance. In the 20th century, piano technique may have been pushed a little further around the edges by composers like Leopold Godowsky, but by and large, Liszt’s compositions seem to have set the standard for technical difficulty. This brief opening Etude in C Major is clearly an introduction or prologue, or as some commentators have said, a warm up to what follows. Franz Liszt: Schumann Song Transcription – Widmung (Dedication) Performed by Christopher Tavernier In the years 1832-1839, Robert Schumann wrote almost exclusively for the piano, but in 1840 alone he wrote 168 songs. Indeed 1840 (referred to as "the year of song") is highly significant in Schumann's musical legacy despite his earlier deriding of works for piano and voice as inferior. Prior to his marriage to the pianist Clara Wieck, the lovers Robert and Clara exchanged love letters and rendezvoused in secret. Robert would often wait in a cafe for hours in a nearby city just to see Clara for a few minutes after one of her concerts. The strain of this long courtship, (they finally married in 1840) and its consummation led to this great outpouring of vocal songs with piano accompaniment. This is evident in “Widmung,” for example, where he uses the melody from Schubert’s “Ave Maria” in the postlude in homage to Clara. Schumann's biographers have attributed the sweetness, the doubt and the despair of these songs to the varying emotions aroused by his love for Clara and the uncertainties of their future together. Widmung Poem A poem by Friedrich Rückert, No. 1 of "Myrthen," Opus 25 You my soul, you my heart, you my bliss, O you my pain, you my world in which I live, my heaven you, wherein I float, O you my grave, into which I ever lowered all my cares. You are my rest, you are my peace, you are bestowed on me by heaven. That you love me makes me worthy of myself, your gaze has transfigured me in my own sight, you lift me above myself in love, my good genius, my better self! You my soul, you my heart, you my bliss, O you my pain, you my world in which I live, my heaven you in which I float, my good genius, my better self! Franz Liszt: Two Legends by Franz Liszt Among the most interesting works by Franz Liszt are his Two Legends. In order to understand them better, it helps to know some biographical facts about this most fascinating of composers. At around the age of 50, Liszt suffered a personal tragedy. Two of his three children died suddenly – Daniel, who was 20, and Blandine, aged 27. He resigned his music director post at Weimar and found consolation in a deepening relationship with the Catholic Church. In 1861 he moved to Rome and in 1863 entered the Oratory of the Madonna del Rosario at Monte Mario. He took minor orders in the Catholic Church, and became known as Abbé Liszt. Much of his music from this time onwards was based on religious themes. Not so well known these days, these works include oratorios and settings of the mass, psalms, and many short choral pieces based on religious texts. Liszt composed the two Legends – “Saint Francis of Assisi Preaching to the Birds” and “Saint Francis of Paola Walking on the Waves” – in the year he entered the Oratory. The music was published in two versions – one for piano and the other for orchestra. It is not certain which came first. Franz Liszt: Legend No. 1: St. Francis of Assisi Preaching to the Birds Performed by Dr. John Cobb This piece was inspired by a passage from the Little Flowers of Saint Francis: “He lifted up his eyes and saw the trees which stood by the wayside filled with a countless multitude of birds; at which he marveled, and said to his companions: ‘Wait a little for me in the road, and I will go and preach to my little brothers the birds.’ And he went into the field, and began to preach to the birds that were on the ground; and forthwith those which were in the trees came around him, and not one moved during the whole sermon; nor would they fly away until the Saint had given them his blessing.” Liszt gives the high register of the piano many passages of trills, runs and grace notes, suggesting the trilling and fluttering of the little birds. Conversely the “sermon” episodes use a deeper register and declamatory textures to indicate the solemnity of St. Francis’ message. The climax suggests both passion and piety. Franz Liszt: Legend No. 2: St. Francis of Paola Walking on the Waves Performed by Christopher Tavernier Saint Francis of Paola was born in Calabria in 1416. He founded his own order and was with Louis XI at the time of his death in 1482. According to a famous story, in the year 1464 Saint Francis of Paola was refused passage by a boatman while trying to cross the Strait of Messina to Sicily. The companions accompanying him had found room on the boat, but the ferryman blocked his way for fear of overcrowding the boat. Saint Francis gave the ferryman a little talking to about being a good Christian. The ferryman rebuffed him by saying, “If he is a Saint, let him walk on the water.” Spreading his cloak on the seas, St. Francis tied one end to his staff as a sail and launched himself onto the waves. Though buffeted by thunderous waves and flashing lighting, by his faith Saint Francis was brought safely, with his companions following in the boat, all the way to Sicily. The introduction to this piece, which is basically an extended chorale, begins in a hesitating way, as if Saint Francis is “finding his feet” on the water before growing gradually more confident and sure. The main chorale melody has a “walking” character, and the left hand accompaniment an oceanic, rumbling quality, suggesting that there might be rough sailing ahead. Waves ripple, then swell and swirl, roll and boil, but the hymn-like theme is never fully submerged. The virtuosity is in the increasingly violent octaves and scales that suggest that the tempest is threatening to overwhelm the Saint before he can finish his journey. At one point the hands trade roles: the walking chorale theme is in the left hand and the right hand has towering arpeggios; one can hear that the waves are now over the Saint’s head. The walking chorale theme disappears entirely and Saint Francis seems completely submerged. Suddenly, with an enormous burst of octaves, Saint Francis emerges from the wall of water. Then follows the glorious return of the chorale theme, which forms the climax of the work, illustrating the triumph of faith over adversity. The ending of this piece is prayer-like, yet bathed in glory, with not the slightest hint of grandiloquence. One can virtually see St. Francis kneeling gratefully on terra firma, uttering a prayer of thanks. Franz Liszt: Un Sospiro Performed by Dr. John Cobb The third of the Three Concert Etudes is in D flat major, and is usually known as Un Sospiro (Italian for "sigh"). It consists of a flowing background superimposed by a simple melody written in the third staff. This third staff—an additional treble staff—is written with the direction to the performer that notes with the stem up are for the right hand and notes with the stem down are for the left hand. The background alternates between the left and right hands in such a way that for most of the piece, while the left hand is playing the harmony, the right hand is playing the melody, and vice versa, with the left hand crossing over the right as it continues the melody for a short while before regressing again. There are also small cadenza sections requiring delicate finger work throughout the middle section of the piece. Towards the end, after the main climax of the piece, both hands are needed to cross in an even more complex pattern. Since there are so many notes to be played rapidly and they are too far away from other clusters of notes that must be played as well, the hands are required to cross multiple times to reach dramatic notes near the end of the piece on the last page. Franz Liszt: Consolation No. 3 in D Flat Major Performed by Christopher Tavernier The six Consolations are primarily lyrical piano works that – rare for Liszt – are relatively uncomplicated. Each is a flower of unique beauty, but none is quite as incomparable as No. 3. It has a beautiful melody and a lovely, placid atmosphere. It has been suggested that this piece is a tribute to Chopin’s Nocturne, Opus 27 No. 2 in the same key, which this Consolation closely resembles. Franz Liszt: Liebesträume No. 3: (Dreams of Love) Performed by Dr. John Cobb Liebesträume (German for Dreams of Love) is a set of three solo piano works published in 1850. Liszt called each of the three pieces Liebesträume (plural); but, often they are referred to incorrectly in the singular as Liebestraum (especially No. 3, the most famous of the three). Originally the three Liebesträume (also called Notturni or Nocturnes) were conceived as songs after poems by Ludwig Uhland and Ferdinand Freilingrath. In 1850, two versions appeared simultaneously as a set of songs for high voice and piano, and as transcriptions for piano solo. The two poems by Uhland and the one by Freiligrath depict three different forms of love. Uhland's Hohe Liebe (Exalted Love) is saintly, or religious, love: the "martyr" renounces worldly love and "heaven has opened its gates". The second song, Seliger Tod (Holy Death), is often known by its first line (“Gestorben war ich”) (“I was dead”), and evokes erotic love; “dead” could be a metaphor here referring to what is known as “le petit mort” in French (“I was dead from love’s bliss; I lay buried in her arms; I was wakened by her kisses; I saw heaven in her eyes”). Freiligrath's poem for the famous third Notturno is about unconditional mature love, and warns that love lost is miserable: “Love as long as you can! The hour will come when you will stand at the grave and mourn.” Transcendental Etude No. 4 in D Minor – “Mazeppa” Performed by Christopher Tavernier This étude was inspired by Victor Hugo’s dramatically morbid poem “Mazeppa,” in which a Ukrainian page named Mazeppa is strapped onto a horse and the horse is set free to gallop, resulting in great danger to both the horse and Mazeppa. At the end, Mazeppa is crowned king. The short introduction is clearly designed to intimidate, with its fierce rolled chords followed by a wild scale dashing from the bottom of the keyboard to the top, and back to the bottom. The main theme, which simulates galloping, is presented several times, each time telescoped slightly more to suggest the increasing speed and desperation of the horse. A slower middle section suddenly interrupts the action. Here the D minor theme is transformed into a lyrical song in B flat Major, which offers a brief respite to the mounting tension. The relief is short lived, and the intensity builds until it explodes into frantic double octaves – and the wild ride continues, faster than ever. Suddenly, the rolled chords of the introduction intrude, and everything stops. Mazeppa has fallen from the horse. The recitative-like phrases in single notes suggest that he may be breathing his last. Suddenly the music erupts in a fanfare-like finale, illustrating the phrase from Victor Hugo that Liszt attached to the bottom of the last page: “He finally falls – and rises a king!” Hungarian Rhapsody No. 2 for Two Pianos Performed by Christopher Tavernier & Dr. John Cobb Hungarian Rhapsody No. 2 is by far the most famous of its genre, having become part of the public consciousness via movies, cartoons, and advertising over the past century. Its infectious, exotic melodies and harmonies, plus its toe-tapping rhythms never fail to enthrall and excite. It is best known in its piano solo original version, but is also heard sometimes in its orchestral arrangement. The version performed today is rarely heard, in which two pianos alternately cooperate and attempt to upstage each other, adding to the fun! A Night at the Opera with Franz Liszt Reminiscences of Don Juan from Mozart’s Don Giovanni (1877) Reminiscences of Don Juan is an opera fantasy for piano solo on themes from Mozart's Don Giovanni. Performed by Christopher Tavernier & Dr. John Cobb It is extremely technically demanding. For this reason, and perhaps also because of its length and dramatic intensity, it does not appear in concert programs as often as Liszt's lighter and more popular pieces, such as the Rigoletto paraphrase. As Ferruccio Busoni says in the preface to his 1918 edition of the work, the Reminiscences carries "an almost symbolic significance as the highest point of pianism." Liszt wrote the work for piano solo in 1841 and published the two-piano version in 1877. The two-piano version has the same structure as the original. The piece begins with music sung by the Commendatore (a nobleman killed by Don Giovanni), both from the graveyard scene where he threatens Don Giovanni and from the finale where he condemns Don Giovanni to Hell. The seduction scene of Don Giovanni and Zerlina follows ("La ci darem la mano") along with two variations on this theme, then an extended fantasy on the Champagne Aria, a fast and entertaining "patter song," and finally the work concludes with the Commendatore's threat. In contrast to the other two "set pieces," the Commendatore's music comes and goes, hanging over the otherwise light proceedings like the faint anxiety of impending doom. In contrast to perhaps the majority of opera fantasies composed during the nineteenth century, Liszt's Don Juan paraphrase is a much more tightly controlled and significant work. Where the standard opera transcription is merely a collection of famous tunes, "the finest of [Liszt's] opera fantasies... are much more than that: they juxtapose different parts of the opera in ways that bring out a new significance, while the original dramatic sense of the individual number and its place within the opera is never out of sight.” (Charles Rosen, The Romantic Generation, p. 528) Reminiscences of Norma by Bellini for Two Pianos (1877) Performed by Christopher Tavernier & Dr. John Cobb The Norma Fantasy dramatizes Norma’s conflict in Bellini’s opera between her duties as high priestess of the Druids and her thwarted passion for the Roman soldier Pollione. The Fantasy begins with an introduction based on Norma’s entrance theme from Act I. It is followed by a long section elaborating all of the themes from the opera’s opening scene, wherein the assembled Druids seek aid from their gods in their struggles with the Romans and call upon Norma for guidance. Norma’s entrance theme interrupts, leading to an expressive recitative (Liszt’s own inspiration), followed by an elaborate treatment of the climatic finale of the opera, wherein Norma reveals her betrayal of her sacred vows and her love affair with Pollione. She offers herself as a victim, instead of Pollione, to the Gauls. Although this section and the next, the chorus incitement to war (Guerra, Guerra), reach an incredible emotional and technical fury, they are dwarfed by the even greater climax in the final section, which combines themes from the opening and closing of the opera. This contrapuntal “tour de force” provides not only a colossal pianistic climax to the Fantasy, but a psychological one as well, bringing together, as it does, themes relating to Norma as high priestess and as rejected, but forgiving, lover.