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  • Carnegie Hall Presents
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CARNEGIE HALL PRESENTS

Sir András Schiff, Piano

Thursday, March 7, 2019 8 PM Stern Auditorium / Perelman Stage
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Sir Andras Schiff by Peter Fischli / LUCERNE FESTIVAL
Sir András Schiff performs music by Schumann and Janáček, two composers with whom he is closely associated. Schumann’s Davidsbündlertänze is a brilliantly characterized set of dances, while his Piano Sonata No. 1 juxtaposes the turbulent and tender. Janáček’s darkly shaded On the Overgrown Path—its name comes from a Moravian wedding song—is based on his deeply personal reminiscences. A melancholy mood also colors Janáček’s Sonata, an intensely emotional two-movement work of great power and beauty.

Part of: Keyboard Virtuosos I

Performers

Sir András Schiff, Piano

Program

JANÁČEK On the Overgrown Path, Book I
SCHUMANN Davidsbündlertänze
JANÁČEK Sonata 1.X.1905, "From the Street"
SCHUMANN Piano Sonata No. 1

This concert is made possible, in part, by The Gary C. and Ethel B. Thom Fund for Piano Performance and Education.

At a Glance

JANÁČEK  On the Overgrown Path, Book I

Janáček often sought musical inspiration in the speech patterns, folkways, and landscapes of his native Moravia. Each of the miniature tone poems in his programmatic suite On the Overgrown Path projects a distinctive mood, from the excitable, warmly inviting gestures of “Come With Us!” to the ominous nocturnal flutterings of “The Barn Owl Has Not Flown Away!”

 

SCHUMANN  Davidsbündlertänze, Op. 6

Like many of Schumann’s early piano works, the 18 Davidsbündlertänze (Davidsbündler Dances) were musical love letters to his future wife, the gifted pianist and composer Clara Wieck. Schumann borrowed the opening theme for Op. 6 from a mazurka by Clara, and secretly back-dated the work by assigning it an opus number to match that of her Soirées musicales.

 

JANÁČEK  Sonata 1.X.1905, “From the Street”

Written to commemorate the death of a Czech demonstrator in 1905, this haunting two-movement piece expresses Janáček’s grief at the loss of an innocent life and his outrage at the oppression of the Czech minority in the Austro-Hungarian Empire. The composer was so traumatized by the killing that he attempted to destroy his manuscript.

 

SCHUMANN  Piano Sonata No. 1 in F-sharp Minor, Op. 11

In the first of his three piano sonatas, Schumann paid homage to his beloved Clara by quoting from her own fandango-like piano piece Dance of the Phantoms. Like the Davidsbündlertänze, the Op. 11 Piano Sonata features an early appearance of Schumann’s fictitious alter egos, the dreamy Eusebius and the impulsive Florestan.

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