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WEDNESDAY 13 JUNE 2018

MELBOURNE RECITAL CENTRE PRESENTS

GREAT PERFORMERS CONCERT SERIES 2018

LESLIE HOWARD

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PIANO

WEDNESDAY 13 JUNE 2018, 7.30PM Elisabeth Murdoch Hall

6.45PM Free pre-concert talk with Caroline Almonte

DURATION One hour and 50 minutes including a 20-minute interval

This concert is being recorded by ABC Classic FM for a deferred broadcast.

Melbourne Recital Centre acknowledges the people of the Kulin Nation on whose land this concert is being presented.

SERIES PARTNER

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LESLIE HOWARD

AUSTRALIA / U.K

‘A remarkable feat by a remarkable pianist.’ LIMELIGHT MAGAZINE

GREAT PERFORMERS 2018

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LESLIE HOWARD

LISZT AT THE OPERA

FRANZ LISZT (b. 1811 Raiding, Hungary – d. 1886, Bayreuth, Germany) Sarabande und Chaconne über Themen aus Händel’s Singspiel Almira, S181 Aïda di G. Verdi – Danza sacra e Duetto finale, S436 Fantasie über Themen aus Mozarts Figaro und Don Giovanni, S697

INTERVAL 20-minutes

FRANZ LISZT Réminiscences des Huguenots de Meyerbeer – Grande Fantaisie dramatique, S412ii Les adieux – Rêverie sur un motif de l’opéra de Ch. Gounod Roméo et Juliette, S409 Réminiscences de Norma de Bellini – Grande Fantaisie, S394

LISZT: THE VIRTUOSO-COMPOSER The enormous fame that Franz Liszt achieved as a virtuoso pianist during his life, and through reputation in the years after his death, led many to underestimate his importance as a composer. Arguably, the very essence of virtuosity – its perceived ‘showiness’ – stands opposed to the substantiality expected of significant composers. Yet in both categories, Liszt was one of the most remarkable personages of the 19th century.

Liszt’s career is customarily divided into two phases. In his early years he received acclaim for his gifts at the piano, and – from 1832 – he toured extensively, earning plaudits from critics and adulation from the public. In 1847, however, he withdrew from the stage, choosing to devote his remaining time to composition. Many of the early pieces composed during his concert career were refined and republished during this period, although other works, such as the hugely innovative Sonata in B minor, were newly composed.

During his later career, Liszt also developed the orchestral genre of Symphonic Poem, a programmatic style of composition which would influence composers of the following generation, such as Richard Strauss. Along with Richard Wagner – with whom his daughter, Cosima, became romantically associated from 1863 – Liszt was viewed as a proponent of the vanguard in music. While the highly chromatic nature of his harmony found disfavour with conservative commentators, in reality it was the direction that future music would take.

Through his teaching, Liszt mentored many of the finest pianists of the ensuing decades, and he remained a tireless advocate for rising composers. Living long into the latter part of the century, the compositions of his final years often display a stark modernity, such as in the Bagatelle sans tonalité, and the ephemeral Nuages gris. His conscious abandonment of accepted norms in these works, such as traditional tonal hierarchies, reveals a still-keen mind, and he remains one of the first to glimpse the dawn of early 20th-century music.

© Scott Davie 2018

Scott Davie is a Sydney-based piano soloist and chamber musician, and Lecturer of Piano at the Sydney Conservatorium of Music.

ABOUT THE MUSICPROGRAM

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FRANZ LISZT

GREAT PERFORMERS 2018

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LISZT AT THE OPERA The number of operas which Liszt attended, conducted, supported and transcribed is legion – his only failing in respect of the genre was not to have completed a mature opera of his own (Don Sanche, completed when he was still 13, is a very competent child-work; Sardanapale, on the stocks when Liszt was in his early 40s, breaks off before the end of Act I and, fascinating and wonderful though the torso is, sadly leaves us deprived of what might have proved an important addition to the literature). His piano pieces based on other composers’ operas occupy some 15 hours’ playing time and present far and away the most important body of works of this kind in the whole literature, at whose range and scope of invention and reinvention one can only marvel. Liszt cast his net broadly, taking in operatic masterpieces, which have endured to the present day in the repertoire – some operas are granted honourable mentions in despatches and one or two have sunk without trace, if not always deservedly so. The multiplicity of Liszt’s aims and techniques combined with the sheer musical quality of his personal contribution – ranging from thoughtful literal transcription to nearly original works on external themes – is unparalleled.

Almira was Handel’s first opera, and it received such little attention that it is just short of amazing that Liszt should have taken it up, writing a sort of double set of variations on the two dances that occur near the beginning of the work (Chaconne then Sarabande in the opera). Curiously, it is the Sarabande that predominates, rather like

the Sarabandes of Bach, whereas the Chaconne proper is of the balletic variety, and nothing to do with repeated bass-lines. This masterful late work virtually amounts to an original work of Liszt’s (and Humphrey Searle rightly catalogued it as such), even if Handel always remains present in the background. The piece really is a kind of secular equivalent to the Variations on Bach’s ‘Weinen, Klagen’, and is one of the finest concert pieces of Liszt’s last years.

Liszt called his Aïda piece a transcription, but it is surely a paraphrase, in which the religious themes are somewhat altered to create a more mystical tone-poem, and the duet is separated from the temple chorus at the end – Verdi’s simultaneous ‘split-level’ staging effect would be impossible to realise on the piano!

The piece commonly known as Liszt’s ‘Figaro Fantasy’ is a reworking by Busoni of just part of Liszt’s original conception; Busoni eliminates all the references to Don Giovanni except for a little of the figuration leading to the coda. Liszt’s manuscript shows a much larger work, which revolves around Cherubino’s aria ‘Voi che sapete’ and Figaro’s aria ‘Non più andrai’ from the minuet scene in Figaro – with the onstage orchestras playing two other melodies in different time-signatures – from Don Giovanni. The whole thing becomes a complex music-drama in which a kind of warning may be inferred that the carefree philandering of a Cherubino may end up with the extravagance of a Don Giovanni unless the

sensible advice of a Figaro is heeded. The musical connections between the operas are fully exploited – after all, Mozart himself quotes Figaro’s aria in the supper scene of Don Giovanni, and the third dance motif in the minuet scene of the Don is almost identical to one of Figaro’s phrases – and Liszt manages to get the three dances and Figaro’s motif woven together.

Although Liszt played the piece in Berlin in 1843, he left the manuscript in a slightly unfinished state, and certainly did not commence the meticulous preparation of it for his printer – Liszt usually marks up important printing details in coloured crayon, putting dynamics, tempo changes, pedal marks and other performance directions down in coloured ink. The penultimate section breaks off in the middle of some transition material, which does not join happily to the coda. For this performance three bars derived from earlier material have been added to make the join. The very end of the work is also missing – Liszt may well have improvised both sections in performance, but it is clear that the end is fast approaching and that it conforms closely to the closing bars of Act I of Figaro. It can be seen, therefore, that very little was required to make this grand piece performable and it remains a mystery quite why Busoni suppressed so much of the work in his edition.

FRANZ LISZT

LESLIE HOWARD

GREAT PERFORMERS 2018

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Liszt’s Meyerbeer fantasies occupy an important place among his operatic piano works and happily enjoin us to reconsider the general case for Meyerbeer’s music. Les Huguenots has been successfully revived on the stage several times over the last few decades, but, like similar revivals of Le prophète and L’africaine, has usually been mounted as a vehicle for the art of a particular singer rather than an act of homage to Meyerbeer himself, and much cavalier criticism of the music has been printed. Giacomo Meyerbeer (1791-1864) held the Paris stage unopposed for decades and was gladly or grudgingly admired by all his contemporaries – Chopin, Rossini, Berlioz and Wagner included. At his best, Meyerbeer is thoroughly original in his turn of melodic phrase and in his harmonic language, and his dramaturgy is excellent.

This originality is clear even when viewed through the prism of a Liszt fantasy, where Liszt’s imagination also catches fire from such fine material. Liszt’s ‘Huguenots’ fantasy was first completed in 1836 and published the following year. The original conception was enormous and ran something over 20 minutes in duration, but, for the reissue in 1842, Liszt prepared a pithy new version (a further version merely substituting the coda of the second edition in a reprint of the first was also long in circulation). Liszt eliminated the andante from the Raoul/Valentine duet as well as the Chorus of the Assassins from the finale, substituting the latter with a stately and redemptive reprise of Luther’s hymn ‘Ein’ feste

Burg ist unser Gott’ (‘A mighty fortress is our God’), references to which are heard throughout the later stages of the fantasy. Liszt’s piece is otherwise almost entirely based on material from the aforementioned duet, yet the novel structure of continuous variation is entirely his own.Liszt’s tribute to Gounod’s Roméo et Juliette is one of his most endearing fantasies. He uses several motifs from the opera that are all concerned with the partings of the lovers – the end of the balcony scene, the morning after the marriage and the scene at Juliet’s tomb – taking quite small phrases to create what almost amounts to an original composition.

The Norma fantasy stands next to that of Don Giovanni for its ability to capture the essence of the operatic drama in a new structure. It is probably for dramatic reasons that Liszt ignored the famous aria ‘Casta diva’ – which Thalberg used as the basis for his fantasy – and instead chose no fewer than seven other themes for his gloriously elaborate work, which must be a triumph of understanding, not just of Bellini’s masterpiece, but of practically all the sound-possibilities of the piano in Romantic literature. No wonder composers as different as Busoni and Brahms were impressed by the piece.

© Leslie Howard 2018

LESLIE HOWARD

GREAT PERFORMERS 2018

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A citizen both of Britain and Australia, Leslie Howard has accomplished a feat unequalled by any solo artist in recording history – a 99-CD survey for Hyperion Records of the complete piano music of Franz Liszt, including all 17 works for piano and orchestra.

Accomplished within 14 years, it encompasses more than 300 world premières, with many works prepared from Liszt’s unpublished manuscripts, including compositions unheard since Liszt’s lifetime. This critically acclaimed project merited Leslie Howard’s entry in the Guinness Book of World Records, six Grand Prix du Disque, the Medal of St. Stephen, the Pro Cultura Hungarica award and a mounted bronze cast of Liszt’s hand presented by the Hungarian President. During the Liszt bicentenary year – 2011 – Leslie Howard travelled the world performing seven different all-Liszt recital programs, maintaining, at the same time, a broad repertoire of concertos and chamber music, as well as a quantity of solo music by Mozart, Beethoven, Chopin, Schumann, Rachmaninoff and Rubinstein.

Leslie Howard has appeared internationally with the world’s finest orchestras, including the London Symphony, London Philharmonic, Royal Philharmonic, BBC Symphony, BBC Philharmonic, English Northern Philharmonia, RTE National Symphony of Dublin, Hanover Band, Utah Symphony, Maryland Symphony, Mexico Philharmonic, Orchestra della Scala, Budapest Philharmonic, Budapest Symphony, and the major orchestras of Sydney, Melbourne, Adelaide, Queensland and Tasmania in Australia.

His discography of over 135 CDs contains many other important world première recordings, including the four piano sonatas of Anton Rubinstein, the three piano sonatas of Tchaikovsky and a recording of Scandinavian piano sonatas. Leslie Howard’s recent releases include Rubinstein: Piano Quartets (featuring world première recordings for Hyperion Records), 25 Études in Black and White (his own compositions recorded for ArtCorp), and a disc pairing the two piano sonatas of Rachmaninoff for Melba Recordings. Melba Recordings has also released his duo recording with Mattia Ometto of the complete music of Reynaldo Hahn for two pianos and piano duet.

In addition, Prof. Leslie Howard has produced an Urtext edition of the Liszt Sonata for Edition Peters and a new reconstruction and orchestration of Paganini’s Fifth Violin Concerto for the collected Paganini Edition in Italy.

In January 2011 Hyperion Records released a 99-CD boxed set of Leslie Howard’s complete Liszt recordings, which has proved an enormous and continuing success: ‘Almost any way you choose to look at it, this is a staggering achievement.’ Diapason d’Or (A 100th CD of new discoveries was recorded in 2017.)

ABOUT THE ARTIST

LESLIE HOWARD

LESLIE HOWARD

GREAT PERFORMERS 2018

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INSPIRED GIVING

A PLACE OF UNPARALLELED MUSICAL VIBRANCYPeople of all ages & from all walks of life gather at Melbourne Recital Centre to be moved by music.

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($500+) Susan M Renouf

* Ensemble Giovane – donors in support of master classes.

List of patrons as at 6 June 2018.

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THANK YOU

Melbourne Recital Centre acknowledges the generous support of its business partners, philanthropic supporters and patrons.

Founding BenefactorsThe Kantor Family Helen Macpherson Smith Trust The Calvert-Jones Family Robert Salzer Foundation Lyn Williams am The Hugh Williamson Foundation

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Joseph Corponi The Hon Mary Delahunty Paul Donnelly

Margaret Farren-Price Eda Ritchie amMargaret Taylor

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Anonymous (3)The Late Betty Amsden AO DSJ

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Ken BullenJim Cousins AO & Libby CousinsDr Garry JoslinJanette McLellanElizabeth O’Keeffe

Prof Dimity Reed AM

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Paul Lewis continues his exploration of the heart of the piano repertoire – in a pair of concerts focussing

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THURSDAY 27 SEPTEMBER, 7.30PM MONDAY 1 OCTOBER, 7.30PM

Elisabeth Murdoch Hall

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