Event Description

Don’t miss the third of our 2018-2019 Recital series featuring acclaimed 24-year-old American pianist Drew Petersen performing an beloved piano works at the St. Francis Auditorium in the New Mexico Museum of Arts. Sought-after as a soloist, recitalist, and chamber musician in the US, Europe, and Asia, Mr. Petersen is the recipient of a 2018 Avery Fisher Career Grant, and he is the gold-medal winner of the 2017 American Pianists Awards and the Christel DeHaan Fellow of the American Pianists Association, and is also Artist-In-Residence at the University of Indianapolis. He has been praised for his commanding and poetic performances of repertoire ranging from Bach to Zaimont. Tickets: $20 – $55 Program BACH Partita in G Major, BWV 829 SCHUBERT Wanderer-Fantasie, D. 760 LISZT Les Jeux d’eaux à la Villa d’Este  CHOPIN Barcarolle, op.60 CHOPIN Boléro, op.19 GRANADOS Valses Poeticos GRANADOS Goyescas, El Pelele
Share With Your Friends: facebook twitter pinterest

Concert Notes

Partitia No. 5 in G Major, BWV 829
Born March 21, 1685, Eisenach, Germany
Died July 28, 1750, Leipzig, Germany

This partita is probably the briefest of the six in the set, though Nos. 1 and 3 are also slight works, and in a given performance, with repeats observed in one piece and ignored in another, may have a marginally shorter timing. That said, the diminutive fifth is a fine work even if it lacks the grander scales of the D major fourth and E minor sixth. Comprised of the usual seven movements and featuring the more or less requisite Allemande, Courante (the Italian Corrente here), Sarabande, and Gigue, it is a light, buoyant work of such brilliance and subtlety as to stand alongside its more grandiose siblings.

Wanderer-Fantasie, D. 760, op. 15
Born January 31, 1797, Vienna, Austria
Died November 19, 1828, Vienna, Austria

Schubert’s Fantasy in C Major, composed in late 1822, proved to be the most pianistically difficult and structurally advanced music he ever composed. Nearly everything he wrote for the piano was meant for his own use, but the Wanderer Fantasy was an exception, written for a pupil of Hummel. The subtitle “Wanderer” derives from a song of the same title, written by Schubert in his nineteenth year. The Fantasy’s slow movement incorporates the tune of the “Wanderer” song. The text, by the obscure poet Georg Philipp Schmidt, speaks of Byronic gloom, melancholia, loneliness, the search for happiness, estrangement, and of course, wandering—all subjects dear to the hearts of nineteenth-century Romanticists. Schubert set this text to music in 1816 and it became one of the most popular art songs of the entire nineteenth century. The title “Wanderer” was not assigned by Schubert, who called the work simply Fantasy in C major. It was affixed, as were so many fanciful nineteenth-century subtitles, by enterprising publishers with a view towards sales. In form, it closely paralleled Franz Liszt’s efforts in the direction of an extended, unbroken composition that develops from a germinal melodic cell or “motto,” which passes through various metamorphoses in its course through the piece.

Les jeux d’eaux à la Villa d’Este S.163/4
Born October 22, 1811, Raiding, Austria
Died July 31, 1886, Bayreuth, Germany

Liszt gave up the post of kapellmeister in Weimar in 1859 and moved the following year to Rome, where he took minor orders in the Catholic Church and lived for part of each year in the Villa d’Este in Rome. The Villa d’Este is a handsome sixteenth-century villa built on a steep hillside in Tivoli and famous for its gardens and particularly for its fountains, which are of many different and elaborate designs and which stretch down the hillside. By the time Liszt lived there, the Villa had fallen into disrepair (it has since been renovated), but the fountains and gardens were intact, and they made a profound impression on the composer.

Barcarolle in F Sharp major, op. 60
Born February 22, 1810, Zelazowska Wola, Poland
Died October 17, 1849, Paris, France

The Barcarolle, Op. 60 is a grand, expansive work from the late period in the oeuvre of Fryderyk Chopin. Written in the years 1845-46, it was published in 1846. Chopin refers in this work to the convention of the barcarola—a song of the Venetian gondoliers which inspired many outstanding composers of the nineteenth century, including Mendelssohn-Bartholdy, Liszt and Fauré. Yet it is hard to find a barcarolle that would compare with Chopin’s work for beauty and compositional artistry.

Bolero for piano in C major/A major, Op. 19, CT. 8  

Born February 22, 1810, Zelazowska Wola, Poland
Died October 17, 1849, Paris, France

The bolero had become a popular dance in France in the early 1830s, just before the exiled Chopin had arrived there in 1831 to take up what would turn out to be permanent residence. The dance has Spanish origins, of course, but when Chopin wrote this piece he had not yet visited Spain. His lack of exposure to the Spanish idiom shows, for while the piece has exotic flavor, it often sounds more Italianate than Spanish. Moreover, the composer cannot jettison his Polish roots here—assuming he had made a conscious effort to suppress them.

Valses poéticos (7), for piano, H. 147, DLR 7:8
Born July 27, 1867, Lleida, Spain
Died March 24, 1916, English Channel

Like so many of Enrique Granados’ compositions, the Valses poéticos for solo piano, H. 147, are impossible to date with any real certainty; however, they have been tentatively assigned to the years 1886 and 1887—around the same time that Granados moved from Barcelona to Paris in order to take piano lessons from the Paris Conservatoire’s Charles de Beriot (son of the legendary violinist by the same name and teacher also of Maurice Ravel). There are seven wonderfully fragrant waltzes in the Valses poéticos, to which are applied a not insignificant (and utterly un-waltz-like) Vivace molto introduction and, after the seventh waltz, a colorful and clever coda.

Goyescas, El Pelele
Born July 27, 1867, Lleida, Spain
Died March 24, 1916, English Channel

The two books of Goyescas constitute Granados’s best and most durable, as well as his best-known, music. Subtitled Los majos enamorados (Young men in love) they are highly imaginative transcriptions into music of the tapestries and pictures of Francisco Goya (1746-1828), the wild and demonic genius who with Velasquez is usually thought of as one of the great exemplars of Spanish painting.

Meet The Composers