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J.S. BACH (b. Eisenach, Germany 1685 – d. Leipzig, Germany 1750) Toccata and Fugue in D minor, BWV 565 (transcribed for piano by Ferruccio Busoni)

FR ANZ SCHUBERT(b. Himmelpfor tgrund, Austr ia 1797 – d. V ienna, Austr ia 1828) From Six Moments musicaux, Op.94, D.780No.2 in A-flat AndantinoNo.3 in F minor Allegro moderato

LUDWIG VAN BEETHOVEN(b. Bonn, Germany 1770 – d. V ienna, Austr ia 1827) Piano Sonata No.23 in F minor, Op.57, ‘Appassionata’ I Allegro assai II Andante con moto III Allegro ma non troppo - Presto

INTERVAL

SERGEI PROKOFIEV(b. Sontsovka, Ukraine 1891 – d. Moscow, Russia 1953)

Piano Sonata No.6 in A, Op.82 I Allegro moderato II Allegretto III Tempo di valzer lentissimo IV Vivace

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ABOUT THE MUSIC

There is a hyphenated composer on tonight’s recital program: Bach-Busoni. This unique composer came into being as a result of Busoni’s admiration for Liszt, and his service to other composers – some of whom came before him, some of whom were his contemporaries – as transcriber and arranger. Liszt was one of Busoni’s musical heroes (the Omega, as he called him) while, in Busoni’s view, ‘Bach is the foundation (the Alpha) of piano playing.’

Ferruccio Busoni (1866-1924) transcribed Bach’s keyboard music for the modern piano over a period of some 30 years, and in doing so sought to make these works seem new, while simultaneously re-making them. Busoni liked to free works from ‘the dust of tradition … I try to restore them to their youth, to present them as they sounded to people when they first sprang from the … composer.’ To him, according to pianist Nikolai Demidenko, ‘a composer’s text was not so much sacrosanct as a blueprint from which to build castles and fashion spiritual likenesses.’ Unlike Liszt, whose transcriptions were intended in large part to make orchestral and

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operatic music more accessible, Busoni can be thought of as someone seeking to shine a different kind of light on an existing work. The transcription you hear tonight of Bach’s D minor Toccata and Fugue may be (inevitably is) a different piece to the one Bach created for organ, yet the clarity and rigour of the result suggest a mind working from inside the world of the music out, not from outside in, to re-cast it in pianistic terms.

Although we often think of Chopin – in his Nocturnes, Scherzi, Impromptus and much more – as creating a revolution in descriptive piano music by breaking free of classical forms, Schubert’s smaller works also constitute the emergence of a new voice in the world of musical Romanticism. If the piano sonatas find Schubert bringing his own aesthetic to a keyboard tradition exemplified by the work of Haydn, Mozart and Beethoven, the Impromptus and the Moments musicaux see Schubert creating an analogue to the world of Romantic poetry. These are mood pieces (‘musical moments’ in every sense)

which anticipate by decades music as varied as Liszt’s Liebestraum and Brahms’ Intermezzi. The second of the six Moments musicaux D.780 is an example of that songful melancholy which runs like a thread through so much of Schubert’s later music. With its dancing grace and gentle playfulness, the third of the set is one of Schubert’s most frequently played miniatures, despite (or perhaps because) it was first published as an ‘Air Russe.’ Dating these pieces accurately is difficult, as the manuscripts have not survived. We know that all six pieces were published as a set in the year of the composer’s death, 1828.

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When Beethoven published his first sonatas, he was at the height of his fame in Vienna as a pianist and what impressed his listeners most was his powers of improvisation. The Sonata in F minor, Op.57, ‘Appassionata’, came some 10 years later, and although Beethoven was beginning to withdraw from public performance, the links between composition and keyboard improvisation are still apparent. As Peter McCallum points out, Ferdinand Ries’s description of the genesis of the last movement gives apt insight into that fusion:

During a similar walk in which we went so far astray that [sic] we did not get back to Döbling, where Beethoven lived, until nearly eight o’clock. He had been all the time humming and sometimes howling, always up and down, without singing any definite notes. In answer to my question what it was he said: ‘A theme for the last movement of the sonata has occurred to me’ (in F minor Op.57). When we entered the room he ran to the pianoforte without taking off his hat, I took a seat in the corner and he soon forgot all about me. He stormed on for at least an hour with the new finale which is so beautiful. Finally he got up, was surprised still to see me still there and said: ‘I cannot give you a lesson today. I still have work to do.’

The sonata, mighty in its passion and spontaneous intensity, also feels as if Beethoven is addressing himself to a broader public, and to other pianists – a sonata for posterity. Late in life Beethoven told his pupil Carl Czerny that he regarded this sonata as his greatest, apart from the last five (Op.101, 106, 109–111). Perhaps this was because of its powerful sense of thematic unity, with the outer movements in particular sharing many musical gestures as well as dramatic

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atmosphere. Typically, Beethoven defies expectation, and an early reviewer recognised this when he praised the powerful effect of the tempestuous outer movements but admitted, almost apologetically, to preferring the theme and variations of the calmer second movement. The sonata was composed during 1804–06, a period when Beethoven was infatuated with the recently widowed Josephine Deym, and it was dedicated to her brother, Count Brunsvik. The ‘Appassionata’ nickname is not Beethoven’s – it is the legacy of an 1838 publication of the sonata as a duet, for which ‘passion’ might well have been a useful selling point.

‘The remarkable stylistic clarity and the structural perfection of the music amazed me. I had never heard anything like it.’ That was the recollection of the pianist Sviatoslav Richter on hearing Prokofiev’s Piano Sonata No.6 for the first time. If you’re familiar with the music Prokofiev composed in the late 1930s, not long after his return to the Soviet Union, you will recognize the kinship between parts of this Sonata, the ballet score Romeo and Juliet and SERGEI PROKOFIE V

the film score Alexander Nevsky, but there is a greater undercurrent of anger in this Sonata; this has been interpreted as a premonition of war, but it is also a reflection of the composer’s increasingly precarious personal circumstances. For although he did not fall victim to Stalin’s ‘Great Terror,’ friends and colleagues did. The arrest and subsequent execution of director Vsevolod Meyerhold, and the death of his actress wife Zinaida Reich, who was apparently killed at the hands of the NKVD (the Soviet secret police) were particularly crushing to the composer. Prokofiev and Meyerhold were at work on two theatre projects when the blow fell.

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Although he began work on his three so-called ‘War Sonatas’ (Piano Sonatas 6-8) at the same time – in 1939, while he was also writing music for the Fifth Symphony – progress on all these pieces was interrupted (ironically) by a commission to compose a cantata for Stalin’s 60th birthday. Prokofiev then turned his attention exclusively to this work, and gave its first performance, in a radio broadcast in April 1940. Richter gave the work its public premiere a short time later.

You are thrown into tumult – even panic – right at the outset with a melodic idea that will also haunt the finale. This leaping, visceral motif is as vivid as bells tolling in alarm, in contrast to the eerie calm of the contrasting second subject. Both ideas are worked over vividly and often violently until the final terse recollection of the distressed clarion call which opened the work.

The second movement begins like a quick march, which, with its regular four beats to the bar and staccato chords, sounds almost balletic. This gives way to a gentler, more expressive second subject, before this relatively short movement ends humorously, and a little teasingly, as if in mid-air.

The third movement waltz is the one that may remind you most vividly of Prokofiev the ballet composer. The central section’s ever-shifting inner voices bring a sense of unease, before the waltz returns. After this relatively gentle movement, the finale moves breathlessly between different tonal centres before being pulled back to the wild despair of the idea with which the whole work opened.

If the Sonata were structured more radically it might sound less radical, but given the exceptional angularity of Prokofiev’s musical language, his decision to structure the work in a traditional pattern – sonata-form first movement, second movement scherzo, slow third movement, and rondo finale – points up how profoundly untraditional this work is.

Bach-Busoni, Schubert and Prokofiev annotations ©Phillip Sametz

Phillip Sametz presents Classic Breakfast each weekday on ABC Classic FM.

Beethoven Op.57 annotation adapted from a note by David Garrett.

C O NCERT SERIES 2017

PE T ER W ISPELW E Y Cello16, 17 & 18 AUG

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C O NCERT SERIES 2017

PE T ER W ISPELW E Y Cello16, 17 & 18 AUG

EMM A K IRK BY Sopr ano15 NOV

CHO O SE T HREE N IG H T S O F

G RE AT M US IC A L S TO RY T EL L IN G .

PAC K AG E S FRO M $120.

* Subject to availability. Terms and conditions apply.

SAVE MORE THAN 30%*

TO BOOK: melbournerecital.com.au/greatperformers2017

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Described by The Times as the ‘master of all he surveys’ and with The Washington Post noting to ‘keep your ear on this one’, Behzod’s captivating performances continue to receive international praise.

Recent seasons have seen Behzod work with leading orchestras worldwide, such as the Los Angeles Philharmonic, Boston Symphony, NHK Symphony and Leipzig Gewandhaus orchestras, and prestigious conductors including Valery Gergiev, Vladimir Ashkenazy, Manfred Honeck, Vasily Petrenko, James Gaffigan, Jakub Hrusa, Thomas Dausgaard and Vladimir Jurowski. Last season he made his debut with the Münchner Philharmoniker under Gergiev featuring in their new MPHIL 360° Festival and subsequently made his BBC Proms debut with them.

ABOUT THE ARTIST

BEHZOD ABDUR AIMOV PHOTO: CRIST IAN FAT U

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Upcoming European highlights include the Czech Philharmonic Orchestra, Orchestre National de Lyon, City of Birmingham Symphony Orchestra, NDR Elbphilharmonie Orchester as part of the Elb Philharmonie opening, Bergen Philharmonic Orchestra and further afield he will work with the Israel Philharmonic Orchestra. In recital Behzod is one of the featured artists for the Junge Wilde series at the Konzerthaus Dortmund, he appears at the Théâtre des Champs-Élysées and returns to the Verbier Festival and La Roque d’Anthéron.

In North America Behzod will perform in recital at the Stern Auditorium following his debut success at Carnegie Hall in 2015, as well as for the Cliburn Concerts, Carolina Performing Arts, the Vancouver Recital series and concerts with Houston and Pittsburgh, Orchestre symphonique de Montréal and Minnesota Orchestra amongst others. He has recently appeared at the Aspen Music Festival and with orchestras such as the Los Angeles Philharmonic, Dallas Symphony and Seattle Symphony.

In 2017 Behzod tours Asia for performances with Yomiuri Nippon Symphony Orchestra, National Centre for the Performing Arts Orchestra,

Beijing and Seoul Philharmonic Orchestra and also embarks upon this recital tour of Australia and New Zealand, performing at the Brisbane Conservatorium, Sydney Opera House, Adelaide Festival Centre, Auckland Town Hall, Perth Government House and tonight’s Melbourne Recital Centre Great Performers recital.

An award-winning recording artist – his debut recital album won both the Choc de Classica and the Diapason Découverte – Behzod released his first concerto recording in 2014 on Decca Classics which features Prokofiev’s Piano Concerto No.3 and Tchaikovsky’s Concerto No.1 with the Orchestra Sinfonica Nazionale della Rai under Juraj Valcuha.

Born in Tashkent, Uzbekistan, in 1990, Behzod began to play the piano at the age of five as a pupil of Tamara Popovich at Uspensky State Central Lyceum in Tashkent. He is an alumnus of Park University’s International Center for Music (ICM) where he studied with Stanislav Ioudenitch, and now serves as the ICM’s artist-in-residence.

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LEADERSHIP CIRCLESThe Leadership Circles comprise individual donors whose lead gifts support the Centre’s core concert program and its mission to be a singular place of inspiration, creativity, self-expression, learning and enrichment through music.

Artist DevelopmentInaugural Artist Development & Music Education BenefactorThe Late Betty Amsden ao

Peter Jopling am qc Mrs Margaret Ross am & Dr Ian Ross

Children’s & Family The Late Betty Amsden ao

Life-long Learning Kathryn Fagg

Master Class Price/Lowy Family in memory of John Price Ensemble Giovane

Great Performers Brian & Esther BenjaminPaulette & Warwick BisleyThe John and Jennifer Brukner FoundationGeorge & Laila Embelton Dr Caroline LiowGeoff & Jan PhillipsMaria Sola

Signature EventsInaugural Signature Events BenefactorsYvonne von Hartel am & Robert Peck am of peckvonhartel architects

Local HeroesInaugural Local Heroes Benefactor The Klein Family FoundationAndrew & Theresa DyerMajlis Pty LtdMaria Sola

MUSIC CIRCLE PATRONS PROGRAMProviding support essential to the breadth, diversity and quality of the Centre’s artistic program.

Magnum Opus Circle ($20,000+)Melbourne Recital Centre Board of Directors Kathryn Fagg Peter & Cally Bartlett

Stephen Carpenter & Leigh Ellwood Joseph Corponi The Hon Mary Delahunty Paul Donnelly & Brigitte Treutenaere Margaret Farren-Price & Prof Ronald Farren-Price Eda Ritchie am

Skipp Williamson & Carol Haynes

Composers Circle ($4000+)Anonymous (2)John & Lorraine BatesHenkell Family FundJenny & Peter HordernMessage Consultants Australia Pty LtdJames Ostroburski & Leo OstroburskiSusan ThacoreDrs Victor & Karen Wayne

Musicians Circle ($2500+)Liz & Charles Baré Robert & Jan GreenDiana LempriereJoyce Marks & Danielle DavisShelley & Euan MurdochMary Vallentine ao

Prelude Circle ($1000+)Anonymous (6)Adrienne BasserHelen BrackBill & Sandra Burdett Maggie CashJohn & Thelma CastlesMaxine Cooper & Michael WrightKathy & George DeutschMary DraperLord Francis Ebury & Lady Suzanne EburyMaggie EdmondSusan FallawThe Leo & Mina Fink FundAngela GloverAnn GordonJan GrantNance Grant am mbe & Ian HarrisSue Hamilton & Stuart Hamilton ao In memory of Beryl HooleyStuart JenningsDr Garry Joslin & Prof Dimity Reed am

Snowe LiAnn LahoreMaria MercurioBaillieu Myer ac & Sarah MyerStephen Newton ao

Dr Paul Nisselle am

Greg NoonanElizabeth O’Keeffe

Helen L PerlenDr Robert PiaggioKerryn PratchettSandra Robertson & Philip CachiaDr Peter Rogers & Cathy RogersSamara, Countess of BeekmanIn Memory of Pauline SpeedyRob & Philippa SpringallBarbara & Duncan SutherlandPamela SwanssonSally WebsterPeter Weiss ao

Supporters ($500+)Anonymous (1)Jenny AndersonPeter J ArmstrongMin Li ChongProf John Daley & Rebecca CoatesSylvia GeddesRosemary & David HousemanPenelope HughesBarbara Kolliner & Peter Kolliner oam

Dr Anne LierseRae RothfieldDr Diane Tibbits

ELISABETH MURDOCH CREATIVE DEVELOPMENT FUNDNamed after the Centre’s Founding Patron, this Fund supports projects that make a difference to young artists and accessibility to music.

($20,000+)Annamila Pty LtdThe John & Jennifer Brukner FoundationAnne Kantor ao & Dr Milan Kantor oam

The Pratt Foundation

($10,000+)Angelina & Graeme WiseMary Vallentine ao

($4000+) Anonymous (1) John Calvert-Jones am & Janet Calvert-Jones ao

Kathryn Fagg*

Jo Fisher*

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YMF Australia

($2500+) John & Mary Barlow Arnold & Mary Bram*

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($1000+)Anonymous (1)ARM ArchitecturePeter J Armstrong*

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Tim Orton & Barbara DennisProf David Penington ac & Dr Sonay PeningtonHoward PennyGeoff & Jan PhillipsLaura Thomas*

Gang Yun*

($500+)Stirling Larkin°, Australian StandfirstJohn & Thelma CastlesJim Cousins ao & Libby CousinsGeorge & Laila EmbeltonJoshua Evans° Margaret Farren-Price & Prof Ronald Farren-Price am

Naomi Golvan & George Golvan qc

Nance Grant am mbe & Ian HarrisThe Hon Justice Michelle Gordon & The Hon Kenneth M Hayne ac qc

John Howie am & Dr Linsey Howie

INSPIRED GIVING

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Peter Jopling am qc & Dr Sam MandengAnthony J & Philippa M KellySnowe Li° Message Consultants AustraliaSimon & Genevieve MooreTravis PembertonRalph & Ruth RenardRae RothfieldProf Richard Smallwood ao & Mrs Carol SmallwoodLady Marigold Southey ac

Susan ThacoreSally Webster

LEGAL FRIENDS OF MELBOURNE RECITAL CENTREEach year the group brings together music lovers from the legal profession to help fund one or more concerts by an artist appearing as part of the Centre’s Great Performers Series.

Legal Friends Inaugural PatronsThe Hon Justice Michelle Gordon & The Hon Kenneth M Hayne ac qc

($4000+)Naomi Golvan & George Golvan qc

The Hon Justice Michelle Gordon & The Hon Kenneth M Hayne ac qc

Peter B Murdoch qc & Helen MurdochMaya Rozner & Alex King

($2500+)Anonymous (1)Peter & Ruth McMullinMeredith SchillingPeter J Stirling & Kimberley Kane

($1000+)Anonymous (2)Robert Abrahams & Julie DoyleMarcia & John K ArthurPeter Bartlett David ByrneThe Hon Alex Chernov ac qc & Mrs Elizabeth ChernovLeslie G ClementsChristine CloughBruce CurlThe Hon Julie Dodds- StreetonColin Golvan qc & Dr Deborah Golvan Timothy GoodwinDr Gavan Griffith qc ao

The Hon Hartley Hansen qc & Rosalind Hansen

Robert Heathcote & Meredith KingThe Hon Peter Heerey am qc & Sally HeereyJudge Sara Hinchey & Tom PikusaJohn Howie am & Dr Linsey HowiePandora Kay & John LarkinsAnthony J & Philippa M KellyMaryanne B Loughnan qc

Elizabeth O’KeeffeRalph & Ruth RenardMichael Shand qc

The Hon Judge Josh Wilson & Dr Silvana Wilson

($500+)Ingrid BraunElizabeth BorosKatherine BrazenorThe Hon Stephen Charles & Jennifer CharlesGeorgie ColemanThe Hon David L Harper am

The Hon Chris Maxwell ac

The Hon Justice O'Callaghan Michael & Penny Rush

THE MARY VALLENTINE LIMITLESS STAGE FUNDThe Fund supports projects of the Centre like digital broadcasts, recordings, webcasts or other forms of outreach, enabling the Centre’s music-making to be available everywhere.

($20,000+)Naomi Milgrom ao

Kim Williams am

Melbourne Recital Centre Board of Directors Kathryn Fagg Peter & Cally Bartlett Stephen Carpenter & Leigh Ellwood Joseph Corponi The Hon Mary Delahunty Paul Donnelly & Brigitte Treutenaere Margaret Farren-Price & Prof Ronald Farren- Price am

Eda Ritchie am

The John & Jennifer Brukner Foundation

($10,000+)The Late Betty Amsden ao

Annamila Pty LtdJohn Calvert-Jones am & Janet Calvert-Jones ao

Peter Jopling am qc & Dr Sam MandengAllan Myers ac qc & Maria Myers ac

Lady Marigold Southey ac

($4,000+)Deborah Dadon am

The Hon Justice Michelle Gordon & The Hon Kenneth Hayne ac qc

Louise & Martyn Myer FoundationCraig ReevesIn honour of Kath Vallentine

($2,500+)Peter & Ruth McMullinRohan Mead Lady Primrose Potter ac

($1000+)Helen BrackThe Leo & Mina Fink FundJenny & Peter HordernBarbara Kolliner & Peter Kolliner oam

Prof John Langford am & The Late Christina McCallumCathy LowyDr Robert PiaggioProf David Penington ac & Dr Sonay PeningtonSandra Robertson & Philip CachiaThe Ullmer Family FoundationLeonard Vary & Dr Matt Collins qc

Angela Wood Igor Zambelli

($500+)Richard & Susan BuntingBarbara BurgeThe Hon Alex Chernov ac qc & Mrs Elizabeth ChernovJim Cousins ao & Libby CousinsDr Garry Joslin & Prof Dimity Reed am

Gerry & Susan MoriartyGreg NoonanHelen L PerlenSusan M RenoufLyn Williams am

SHARE THE MUSIC PROGRAMThis program enables disadvantaged children and adults to attend concerts by providing tickets and transport free of charge. Over 500 of these visits take place each year through the generosity of our donors. ($10,000+) Krystyna Campbell-Pretty

($4000+)Helen & Michael Gannon

($2,500+)

Anne Burgi & Kerin CarrDorothy Karpin Prof John Langford am & The Late Christina McCallum

($1000+)Keith & Debby BadgerJohn & Mary BarlowMaria HansenIn memory of Beryl HooleyGeorge & Grace KassDennis & Fairlie NassauGreg Shalit & Miriam FaineProf Richard Smallwood ao & Carol Smallwood

($500+)Anonymous (3) Caroline & Robert ClementeVivien & Jacob FajgenbaumShulan Guo & Morris WatersSue Hamilton & Stuart Hamilton ao

Dr Robert HetzelDr Kingsley GeeMaria McCarthyAnn Miller Andrew & Georgina Porter Rosemary Walls

* Ensemble Giovane: Donors in support of Masterclasses

° Amplify: Young Donors in support of Artist Development

List of patrons at 19 June 2017

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

International Airline Partner Presenting Partner Learning Partner

Founding PatronThe Late Dame Elisabeth Murdoch ac dbe

ENCORE BEQUEST PROGRAMProviding sustained support for all aspects of the Centre’s artistic program through its Public Fund.

Anonymous (3)The Late Betty Amsden ao

Jenny Anderson Barbara BlackmanJennifer Brukner

Ken BullenJim Cousins ao & Libby CousinsDr Garry JoslinElizabeth O'KeeffeJanette McLellan

The Estate of Beverley Shelton & Martin SchönthalMary Vallentine ao

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

Principal Government Partner

Supporting Partners

Series Partner

Program Partners

GREAT PERFORMERS LEADERSHIP CIRCLE

LEGAL FRIENDS OF MELBOURNE RECITAL CENTRE

Foundations

Business Partners

Board Members

THE MARIAN & E.H. FLACK TRUST

THE SENTINEL FOUNDATION

THE VIZARD FOUNDATION

THE MERLYN MYER FUND

THE MARGARET LAWRENCE BEQUEST

THE URSULA HOFF INSTITUTE

THANK YOU

Kathryn Fagg, Chair Peter Bartlett Stephen Carpenter

Joseph Corponi The Hon Mary Delahunty Paul Donnelly

Margaret Farren-Price Eda Ritchie am