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1341_WESF - Arts Sponsorship Campaign 2014 - Musica Viva_Ad 2015_240x150_V2_UPDATE 03.02.15.indd 1 3/02/15 9:51 AM

Angela Hewitt piano

Musica Viva is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body. Musica Viva is assisted

by the NSW Government through Arts NSW.

ADELAIDEADELAIDE TOWN HALL THURSDAY 25 MAY, 7.30PM Pre-concert talk, 6.45pm (Prince Alfred Room) Meet the Artist and CD signing after concert

BRISBANECONSERVATORIUM THEATRE GRIFFITH UNIVERSITY, SOUTH BANK WEDNESDAY 10 MAY, 7PMRecorded for broadcast on ABC Classic FMPre-concert talk, 6.15pm (Boardroom)CD signing after concert

CANBERRALLEWELLYN HALL, ANU SCHOOL OF MUSIC THURSDAY 11 MAY, 7PMPre-concert talk, 6.15pm (Athenaeum [foyer])Meet the Artist and CD signing after concert

MELBOURNEELISABETH MURDOCH HALL, MELBOURNE RECITAL CENTRE TUESDAY 16 MAY, 7PMPre-concert talk, 6.15pm (Boardroom, Level 2)Meet the Artist and CD signing after concert

SATURDAY 20 MAY, 7PMPre-concert talk, 6.15pm (Boardroom, Level 2)CD signing after concert

NEWCASTLEHAROLD LOBB CONCERT HALL, NEWCASTLE CONSERVATORIUM OF MUSIC THURSDAY 18 MAY, 7.30PMPre-concert talk, 6.45pm (Room 118 – entry via foyer)Meet the Artist and CD signing after concert

PERTHPERTH CONCERT HALL TUESDAY 23 MAY, 7.30PMPre-concert talk, 6.45pm (Corner Stage, Riverside, Terrace Level)CD signing after concert

SYDNEYCITY RECITAL HALL MONDAY 8 MAY, 7PMPre-concert talk, 6.15pm (Function Room, Level 1)CD signing after concert

SATURDAY 27 MAY, 2PMPre-concert talk, 1.15pm (Function Room, Level 1)Meet the Artist and CD signing after concert

Pantone 709 CP

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ADDITIONAL ACTIVITYAngela Hewitt will perform in Federation Concert Hall, Hobart, on Saturday 13 May at 7.30pm as part of Musica Viva’s CountryWide program.

Angela Hewitt will present the following masterclasses during this tour:

Brisbane: Tuesday 9 May, 6.30–8pm, Ian Hanger Recital Hall, Queensland Conservatorium

Melbourne: Monday 15 May, 5–7pm, Australian National Academy of Music

Perth: Monday 22 May, 4.30–6.30pm, Music Auditorium, Western Australian Academy of Performing Arts

Sydney: Friday 26 May, 5.30–7pm, Customs House, Circular Quay

Musica Viva’s Masterclass program is supported by principal patrons Stephen Johns & Michele Bender, the Sydney Conservatorium Association (NSW), Lyn Hamill & Ian Dover (QLD), Wesfarmers Arts (WA) and Mary Turner oam (Newcastle).

FROM THE ARTISTIC DIRECTOR

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ARTISTIC DIRECTOR MUSICA VIVA AUSTRALIA

On her last concert tour for Musica Viva in 2013, Angela Hewitt played Bach’s complete Art of Fugue spread over two concerts. In 2017 we find her in the middle of a round-the-world odyssey performing every piece of keyboard music Bach ever composed, often, as in this case, in the company of sympathetic repertoire by other composers.

We refer to Angela as Canadian, but she has lived for substantial periods in England, France and Italy, and is a true world citizen with a global reputation that commands an army of devotees around the planet. She regards winning the 1985 International Bach Piano Competition as the launch of her career, and the clarity, subtlety and assuredness of her Bach performances still secure her status at the peak of the profession.

In the first program, Bach’s first and fourth Partitas are accompanied by music of Domenico Scarlatti, Ravel and Chabrier. As Angela points out, Scarlatti and Bach were both born in 1685, and their stylistic differences are intriguing, while the dance forms used throughout the Partitas find rich echoes in the work of both Ravel and Chabrier.

In the second program, Bach’s second and fourth Partitas find friendly warmth among

Beethoven sonatas. Beethoven, a great admirer of Bach, often played the complete Well-Tempered Clavier, and his approach to counterpoint was deeply influenced by Bach throughout his career. The program ends with Beethoven’s most famous sonata, the ‘Moonlight’, but also includes a sonata rarely heard in concert halls any more – op 2 no 1, the very first he wrote for piano.

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FROM THE CHIEF EXECUTIVE OFFICERMusica Viva’s hallmark is bringing the finest international musicians to tour across Australia. Not only do these musicians perform brilliantly on the public stage, but they inspire our best and brightest teachers and young musicians through masterclasses. Fitting all this into an already tight touring schedule can be gruelling, but the performers all speak of these classes as some of the most rewarding work of all.

Angela Hewitt is a stellar example of this tradition, generously giving of her precious time while on tour to impart her remarkable wisdom to musicians both emerging and professional. I first recall observing her brilliance in masterclasses at our first Musica Viva Festival in 2008, where word quickly spread that her masterclasses were the ‘must attend’ events of the year. It was true!

We are very fortunate that others have been so moved by the life-changing capacity of masterclasses that they have chosen to ensure their sustainability. Michele Bender and Stephen Johns are the exclusive patrons of the Sydney Masterclass series, Lyn Hamill and Ian Dover are the generous supporters behind the Brisbane series,

MARY JO CAPPSCHIEF EXECUTIVE OFFICER MUSICA VIVA AUSTRALIA

and we also acknowledge the other state supporters and all the university and training institution partners. Do not miss this opportunity to see Angela Hewitt in a different sort of action: Brisbane (9 May), Melbourne (15 May), Perth (22 May) and Sydney (26 May).

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MEET THE ARTIST

ANGELA HEWITT

two albums of Mozart Piano Concertos (the most recent of which, with the National Arts Centre Orchestra, won a Juno Award in Canada), the Schumann Piano Concerto with the DSO Berlin, and Messiaen’s Turangalîla-Symphonie with the Finnish Radio Symphony. New releases include her first disc of Scarlatti Sonatas, and her sixth volume of Beethoven Sonatas (including Les Adieux). Last year Angela Hewitt was inducted into Gramophone magazine’s ‘Hall of Fame’, thanks to her popularity with music lovers around the world. Her second recording of Bach’s ‘Goldberg’ Variations was released in September last year.

At the invitation of London’s Wigmore Hall, Angela Hewitt is performing the complete keyboard works of Bach in a series of 12

One of the world’s leading pianists, Angela Hewitt appears in recital and with major orchestras throughout Europe, the Americas and Asia. Her interpretations of Bach have established her as one of the composer’s foremost interpreters of our time.

Angela Hewitt’s award-winning cycle for Hyperion Records of all the major keyboard works of Bach has been described as ‘one of the record glories of our age’ (Sunday Times). Her much-awaited recording of Bach’s Art of Fugue appeared in 2014, and immediately hit the charts in the UK and USA. Her discography also includes albums of Couperin, Rameau, Mozart, Beethoven, Chopin, Schumann, Liszt, Fauré, Debussy, Chabrier, Ravel and Granados. With conductor Hannu Lintu she has recorded

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recitals over four years, which began in September 2016. The ‘Bach Odyssey’ will also be presented complete in New York (92nd Street Y), Tokyo and Ottawa. Recitals in the 2016-17 season have taken her to such diverse places as Tallinn, Copenhagen, Vienna (her solo debut), Madrid, Bilbao, Aldeburgh (Snape Maltings), Rotterdam, Bath, Florence and Singapore. Concerto appearances have included the National Arts Centre Orchestra in Ottawa (with Alexander Shelley), the Baltimore Symphony (with Hannu Lintu), the Montreal Symphony, a tour of the UK with the Vienna Tonkünstler Orchestra, and concerts with the Lucerne Festival Strings in Munich (conducting from the keyboard). She also continues to perform with authors and actors, most recently

with Ian McEwan (in Vienna and New York), Julian Barnes (in Vienna’s Konzerthaus) and Roger Allam (at Shakespeare’s Globe in London).

Born into a musical family, Angela Hewitt began her piano studies aged three, performing in public at four and a year later winning her first scholarship. She then went on to learn with French pianist Jean-Paul Sévilla. In 1985 she won the Toronto International Bach Piano Competition.

In 2005, Angela Hewitt launched the Trasimeno Music Festival in the heart of Umbria, near Perugia. An annual event, it draws an international audience to the Castle of the Knights of Malta in Magione, on the shores of Lake Trasimeno, for seven concerts in seven days featuring Angela Hewitt as recitalist, chamber musician, song accompanist and conductor, working with both established and young artists of her choosing.

Angela Hewitt is an Ambassador for Orkidstra, a Sistema-inspired social development program in Ottawa’s inner city which, through the joy of learning and playing music together, teaches children life-skills such as commitment, teamwork and tolerance. She is also in great demand for masterclasses around the world, generously sharing her knowledge and experience with young pianists.

Named Artist of the Year at the 2006 Gramophone Awards, she was awarded an OBE in the Queen’s Birthday Honours in 2006. In 2015 Angela Hewitt was promoted to the rank of Companion of the Order of Canada. She is a member of the Royal Society of Canada, has seven honorary doctorates, and is a Visiting Fellow of Peterhouse College in Cambridge.

www.angelahewitt.com

This is Angela Hewitt’s second national recital tour for Musica Viva.

© Peter Hundert

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After his arrival in Brisbane he auditioned for the ABC and was accepted on its roster of soloists. He also established a successful dental practice.

When business and personal commitments necessitated the family’s move to Sydney many years later, Dr Kinston remained a passionate supporter of Musica Viva and of the arts in general. His achievements were made possible through the support and encouragement of his wife, Lena. Throughout their 53 years together, he was intensely devoted to her and to their two children.

His lifetime commitment to his adopted country was epitomised by one of his favourite sayings: ‘The soul of a country is expressed in its art.’

David Colville

Dr Steven Kinston (1908–1996)

The Brisbane concert on Wednesday 10 May is presented in memory of Dr Steven Kinston.

A dental practitioner and a fine pianist, Dr Steven Kinston was one of a number of European immigrants whose contribution to Australia’s artistic life in the 1950s and 1960s helped transform the soul and face of the nation.

When he and his younger brother, Paul, arrived in Brisbane in 1938 as Jewish refugees, they found a place where the arts were struggling to gain a foothold in a relatively new nation. Over the next decade, Dr Kinston contributed substantially to the development of Brisbane’s artistic life, founding the Brisbane branch of Musica Viva Australia.

Born in 1908 in the small town of Kolomea, Romania, Steven Kinston grew up in Czernowicz (Cernau,ti) where anti-Semitism and discrimination marred his childhood. Although possessing high intelligence and musical ability, he was barred entrance to any local university. He travelled to Italy, where anti-Jewish feeling was less pronounced, and was welcomed into both the University of Florence and, simultaneously, that city’s Luigi Cherubini Conservatorium of Music. In 1933 he graduated with an unprecedented two degrees: one in medicine, with a speciality in dentistry, and another from the Conservatorium, where he also won a national piano competition.

At this time it became obvious to Dr Kinston that his family needed to find a new life and a new country if they were to survive Mussolini’s alliance with Hitler. He was granted refugee status by Australia and before emigrating, returned to Romania to say farewell to his parents. The Romanian government immediately conscripted Dr Kinston into the army and prevented his leaving the country. Only a series of undercover arrangements allowed him and his brother to cross the border to freedom.

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No history of Musica Viva could be written without paying tribute to a man whose enthusiasm for chamber music was unbounded, and who worked tenaciously to see it grow and flourish in Australia – the late Charles J Berg am obe.

Charles Berg was born in Berlin in 1917, son of an orchestral conductor who was a champion of the works of Richard Strauss and Alban Berg. Charles studied violin, piano and composition, developing a deep love of music from an early age. A growing tide of anti-semitism, however, became an overwhelming influence in his teenage years, and he was forced to leave his studies at the age of 16 to undertake an accountancy apprenticeship in Berlin with a heavy industry firm owned by a Jewish family. It was this that took him to London in 1937, where he became fluent in English.

In September 1937, Charles Berg came to Australia with £200 : £50 of his own and £150 borrowed. After a short period in Melbourne he went to Sydney where he decided to stay, selling his beloved violin for £30 to help finance his new life. While working full time he studied accountancy at night, and he established his own accountancy practice in 1945.

On 8 December 1945, Charles attended the first Musica Viva concert at the NSW Conservatorium, never dreaming (he admitted later) that he would be involved with the organisation for so much of his life. Two years later he joined the Committee of the fledgling organisation.

Difficult economic circumstances forced the organisation into recess from 1951 to 1954, in which year Charles and a number of his local colleagues (including Musica Viva’s former Patron, the late Kenneth Tribe) each gave £100 as a guarantee against loss to reinstate chamber music presentations by visiting overseas artists. Charles acted as Committee Secretary, keeping a watchful eye on finances as the organisation began to thrive again.

Musica Viva branches were quickly established by enthusiastic volunteers in Melbourne and Adelaide, and the organisation’s impressive national network began to grow. It did so under Charles Berg’s watchful, often conservative (but never timid) direction. He was President of the Musica Viva Society from 1962. In 1973, Charles stepped down from his Musica Viva office to take up another arts challenge – the Chairmanship of The Australian Opera (now Opera Australia), which he took up in 1974. He served with great personal commitment in that voluntary capacity for a record 12 years, weathering with grace the often tumultuous upheavals inherent in any artistic organisation’s growth to depth and maturity.

Throughout his years at the Opera, and after his retirement as Chairman, Charles continued to exhibit a keen interest in, and concern for, Musica Viva Australia. His death in 1988 was a loss not only to Musica Viva, but to the Australian arts community as a whole.

Charles Berg’s son, Tony Berg am, was Chairman of Musica Viva Australia from 1986 to 1999 and is now the organisation’s Patron.

CHARLES J BERG am obe (1917–1988)

In loving memoryThe concert in Sydney on Monday 8 May commemorates Charles J Berg’s contribution to the development of Musica Viva Australia.

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PROGRAMSPROGRAM 1(Brisbane, Melbourne 16 May, Newcastle, Perth, Sydney 8 May)

PROGRAM 2(Adelaide, Canberra, Melbourne 20 May, Sydney 27 May)

Johann Sebastian BACH (1685–1750)

Partita no 1 in B-flat major, BWV825 (1726) 18 min

Partita no 4 in D major, BWV828 (1728) 32 min

I N T E R VA L

Domenico SCARLATTI (1685–1757)

Sonata in D major, Kk491 5 min

Sonata in D major, Kk492 4 min

Sonata in B major, Kk377 3 min

Sonata in E major, Kk380 4 min

Sonata in A major, Kk24 7 min

Maurice RAVEL (1875–1937)

Sonatine (1903–05) 12 min

I Modéré (At a moderate speed)

II Mouvement de menuet

(In the tempo of a minuet)

III Animé (Animated)

Emmanuel CHABRIER (1841–1894)

Bourrée fantasque (1891) 7 min

Johann Sebastian BACH (1685–1750)

Partita no 2 in C minor, BWV826 (1726) 20 min

Ludwig van BEETHOVEN (1770–1827)

Sonata in F minor, op 2 no 1 (1793–95) 25 min

I Allegro (Fast)

II Adagio (Slow)

III Menuetto: Allegro (Fast)

IV Prestissimo (Extremely quick)

I N T E R VA L

Johann Sebastian BACH Partita no 4 in D major, BWV828 (1728) 32 min

Ludwig van BEETHOVEN Piano Sonata no 14 in C-sharp minor, op 27 no 2 ‘Moonlight’ (1801) 15 min

I Adagio sostenuto

(Slow and sustained)

II Allegretto (Fairly fast)

III Presto agitato

(Quick and agitated)

Angela Hewitt will be performing on Fazioli pianos in Brisbane, Perth, Melbourne and

Sydney. Special thanks for providing these instruments go to:

Brisbane – Vivace Music

Perth – St George’s College

Melbourne and Sydney – Piano World

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PROGRAM 1 (Sydney 8 May, Hobart, Brisbane, Melbourne 16 May, Newcastle, Perth)

ABOUT THE MUSICThe first Partita, in B-flat major, appeared alone in 1726, and one followed each year until the six were published together and put on sale at the 1731 Leipzig Fair. These works were to form Part I of the Clavierübung (‘Keyboard Exercise’).

Although they were never reprinted during Bach’s lifetime, they were, according to the composer’s first biographer, Forkel, a success: ‘This work made in its time a great noise in the musical world. Such excellent compositions for the clavier had not been seen and heard before. Anyone who had learnt to perform well some pieces out of them could make his fortune in the world, and even in our time [1802], a young artist might gain acknowledgement by doing so, they are so brilliant, well-sounding, expressive and always new.’

In publishing his Opus 1, Bach most probably wanted to begin with something highly accessible and attractive, yet worthy of his art. Partita no 1 in B-flat major is certainly the most approachable of the six, and the one most pianists attempt first. It continues in the spirit of the French Suites, combining grace, agility, sprightliness and nobility. The trill at the opening of the Praeludium is the first problem to solve – especially since it has to be played with equal precision later on by the left hand. This is a movement of beautiful proportions, with a built-in crescendo at the end (Bach doubling the left hand in octaves). The themes of almost all the subsequent dance movements are centred around a broken B-flat major chord – the Allemande with its unbroken line of semiquavers, the Corrente with triplets, the first Menuet in quavers. The Sarabande unfolds with great dignity and calm despite Bach’s florid melody and trills. To finish, Bach wrote what has surely become one of his greatest hits: the brilliance of the hand-crossing in the Giga, once mastered, is exciting to both player and audience alike.

Partita no 4 in D major is a glorious work. It has both intimacy and grandeur in abundance and, with the sixth Partita, is the longest of the set. The French Ouverture with which it begins

Johann Sebastian BACH (1685-1750) Partita no 1 in B-flat major, BWV825 (1726)

Partita no 4 in D major, BWV828 (1728)

It was during his early Leipzig years that Bach took it upon himself to publish a work for the first time. It now seems incredible to us that out of 1,000 or so compositions, only a dozen were published in his lifetime. Even more astounding is the fact that the six ‘Brandenburg’ Concertos (nowadays almost pop music) had to wait 100 years after the composer’s death for publication. Bach’s contemporaries who wrote more accessible music, such as Telemann and Handel, had no trouble getting their music published, and even received royalties.

Bach’s Opus 1 (as he called it, even though he had already been composing for 20 years) was a set of six partitas for keyboard, ‘offered to music lovers in order to refresh their spirits’. ‘Partita’ is simply another name for a suite of dance movements in the same key, formed to make a satisfactory whole. As Bach never strayed far from home (in his whole life he never went beyond a radius of 200 miles), he only became acquainted with the music of France – the leader in the field of dance music – and of Italy by copying scores he found in various libraries. Albinoni, Vivaldi, Corelli, Couperin: all were absorbed by him, but then turned into something greater.

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ABOUT THE MUSICimmediately captures our attention with its flourishes, trills and double-dotting. Orchestral in nature, it moves on to a fugal section in concerto style that is nevertheless wonderfully dance-like. One of my favourite moments in all of the Partitas is the D major Allemande, with its long singing phrases and beguiling intimacy. A calm but flowing tempo is needed for the ear to follow the harmonic progressions under the florid melody. After a joyful, rhythmically inventive Courante, Bach does the unusual and inserts an Aria before the Sarabande. It has been suggested that this was just to fill up some blank space on the engraver’s page, but for me this is a perfect way to prolong the lively mood established by the Courante before returning to intimate feelings with the Sarabande. The opening motif of this movement, with its ascending flourish, seems to ask a question – which is then answered in the following two bars. The delicate, two-part counterpoint roams about, again – like the Allemande – in long, poignant phrases. A brief Menuet, deftly combining duple and triple rhythms, is followed by a Gigue sharing Bach’s infectious vigour and zest for life.

© Angela Hewitt / Hyperion Records

Domenico SCARLATTI (1685-1757)

Sonata in D major, Kk491

Sonata in D major, Kk492

Sonata in B major, Kk377

Sonata in E major, Kk380

Sonata in A major, Kk24

The keyboard sonatas of Domenico Scarlatti are unique in the history of music. The sheer volume of them – some 555 in all – is astounding. It takes about 34 hours to play through them all. Beethoven’s complete piano works would only take half that time. Bach comes close, but only if you include the organ works. The great majority of Scarlatti’s sonatas are written as single-movement works in binary form – two sections, both repeated.

It seems they were also largely written for one person, Scarlatti’s very gifted pupil, patron and friend Princess Maria Barbara of Portugal, who became the Queen of Spain. None exists in the composer’s hand. They have all been passed down to us – thanks to the famous castrato Farinelli, who transported them back to Italy from Spain – in manuscripts copied by others. It is also exceptional that most of them were written after Scarlatti had reached the age of 50.

Only the first 30 sonatas (as numbered in Kirkpatrick’s 1953 biography of Scarlatti) were published during Scarlatti’s lifetime, and these were issued in London, thanks to the Irish composer and organist Thomas Roseingrave. At the end of the preface to these Esercizi per il gravicembalo, presumably written by the composer, appear words which set the stage for this music so full of life: Vivi felice (‘Live happily’). The first complete edition appeared in 1906, published by Ricordi and edited by Longo. It is notable that Brahms owned seven volumes (containing 308 sonatas) in manuscript copies.

Kirkpatrick was convinced that many of the sonatas were meant to be paired. W Dean Sutcliffe, in his book on Scarlatti’s sonatas, published in 2003, does not agree. I tried making sense of this, but often found that one sonata in a pair was not nearly as interesting as the next and rather diminished the effect. Instead I have arranged them in groups that make a satisfying whole when performed in concert.

© Angela Hewitt / Hyperion Records

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awkward overlapping position, but which must sound easy and fluid. The second movement, Mouvement de menuet, should neither drag nor hurry. Ravel didn’t want it to sound commonplace. The third movement is brilliant yet lyrical, giving the opportunity to produce some magical sonorities.

© Angela Hewitt/Hyperion Records

Emmanuel CHABRIER (1841-1894) Bourrée fantasque (1891)

The Bourrée fantasque is Chabrier’s final work for the piano and justifiably the most celebrated. It was composed in 1891, following a journey Chabrier made to his native Auvergne, the traditional dance of which is the Bourrée. The epithet ‘fantasque’ seems badly chosen, unless Chabrier used the word in the German sense of ‘fantasy’ and ‘phantasmagoric’. There seems to be a connection between this work and the celebrated frescoes of the Dance of Death in the Chaise-Dieu Abbey, close to Chabrier’s home town.

Chabrier dedicated the work to the 18-year-old pianist Édouard Risler, warning him that each note presented a particular difficulty to be overcome, and that he had counted 113 different sonorities in the piece! The first part consists almost entirely of motifs of repeated notes (similar to the Andalusian zapateado) interspersed with tiny ascending phrases, played staccato. Chabrier had an inordinate penchant for staccato playing, which gives a percussive and very modern character to his works. The second section is, as it should be, more lyrical and expressive, with sporadic violent episodes and repeats of the initial zapateado. The end is a veritable firework display in sound.

© Angela Hewitt / Hyperion Records

Maurice RAVEL (1875-1937) Sonatine (1903–05)

I Modéré (At a moderate speed) II Mouvement de menuet (In the tempo of a minuet) III Animé (Animated)

Ravel loved challenges, and his Sonatine, like many of his other works, owes its existence to one. His friend, the critic M D Calvocoressi, mentioned to him in 1903 that a music magazine had announced a competition for the composition of a first movement of a sonatina, 75 bars in length. Ravel, delighted with the prospect, set himself to work. He was, however, disqualified for two reasons: first of all, he was the only candidate; secondly, his movement ended up being a few bars longer than the rules permitted. The entire work was not published until 1905. Ravel played it fairly frequently on his foreign tours as it was more or less within his technical grasp.

The word ‘sonatine’ should not mislead us. The diminutive implies – as with Roussel later on – a composition reduced in length, but not in technical difficulty or expressive content. It should by no means be played as a trivial work, limiting the nuances and the contrasts. After all, the indication passionné appears at the climax of the first movement for the first and only time in Ravel’s piano music (excluding its brief appearance in the pastiche À la manière de Borodine).

The Sonatine is also noted for its unity of form: the descending fourth which opens the piece reappears in the other two movements, as does the initial theme. Most students will stumble over the opening, which finds the hands in an

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ABOUT THE MUSIC

PROGRAM 2 (Adelaide, Canberra, Melbourne 20 May, Sydney 27 May)

Johann Sebastian BACH (1685-1750) Partita no 2 in C minor, BWV826 (1726)

For further background to the Partitas, see page 9.

Great musical and technical challenges are present in the Partita no 2 in C minor. The Sinfonia is remarkable for the drama of its opening Grave adagio, the lyrical beauty of the Andante (a rare tempo marking in Bach), and the energetic counterpoint of the two-part fugue that brings this movement to a close. After this powerful beginning, the Allemande and Courante can seem slightly sober, but the counterpoint is masterful and always imaginative. The Sarabande is calm and flowing, with a steady stream of semiquavers. Then the excitement begins to build up – first with a jaunty Rondeaux, the theme of which is characterised by leaps of a seventh, and then, in place of the customary jig, a Capriccio of tremendous strength, ingenuity and humour. It is not at all hard to imagine a stringed-bass player having fun with the pizzicato leaps of a tenth in the left hand. Though difficult to play (Malcolm Boyd has called it ‘a graveyard for all but the most nimble-fingered executants’), it is one of Bach’s most enjoyable pieces.

© Angela Hewitt / Hyperion Records

Ludwig van BEETHOVEN (1770-1827)Sonata in F minor, op 2 no 1 (1793–95)

I Allegro (Fast) II Adagio (Slow) III Menuetto: Allegro (Fast) IV Prestissimo (Extremely quick)

Beethoven did not write a great deal of piano music during his first years in Vienna, but it seems that the first three piano sonatas at least were on the ‘drawing-board’ at this stage. These sonatas, op 2, were published in March 1796 and were dedicated to ‘Mr Joseph Haydn, Doctor of Music’. Beethoven’s personal relationship with the great master was rather problematic – Beethoven sought teaching elsewhere after his first few lessons with Haydn, and Haydn found the young Beethoven decidedly hard to take – but in purely musical terms the debt to Haydn in these sonatas is unmistakable.

The arpeggio flourish which opens the first movement of the first sonata is quite clearly influenced by Haydn, as is the theme from the Adagio second movement. But even in these early works, Beethoven’s own distinct personality is in evidence, not least in the relentless, hammering chords in the finale. The opening movement is pervaded by a restlessness which was to characterise much of Beethoven’s subsequent development, yet there is still an occasional hint of submission, as in the passage marked con espressione at the end of the first section.

The slow movement is a kind of child’s prayer, full of peace and beauty. Echoes of both Haydn and Mozart can be heard. It is likely that the main section of this movement was taken over from one of the piano quartets which Beethoven had composed some time earlier in Bonn.

Restless yearning, which had characterised the first movement, returns in the minuet. It moves temporarily to the major mode for the Trio, before a passage in sixths rises to fortissimo, sinks away, and then returns to F minor.

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The final Prestissimo is one of Beethoven’s earliest ‘storm and tempest’ finales. The heroic tone is approached with sweeping trills and a distinctive main theme. During the development, relief comes in the form of a dolce melody, before the return of the passionate main theme.

© Musica Viva

Johann Sebastian BACH Partita no 4 in D major, BWV828 (1728)

See page 9.

Ludwig van BEETHOVENPiano Sonata no 14 in C-sharp minor, op 27 no 2 ‘Moonlight’ (1801)

I Adagio sostenuto (Slow and sustained) II Allegretto (Fairly fast) III Presto agitato (Quick and agitated)

Is there anything left to say about this, the so-called ‘Moonlight’ Sonata? Every pianist, professional or amateur, has had a go, at least at the first movement. It is one of the most famous pieces ever written, and was so even in Beethoven’s day. Czerny reports that the composer remarked: ‘People are always talking about the C-sharp minor Sonata. Really, I have written better things.’ And poor old Rellstab, the poet and music critic, would probably be very angry to know that he went down in history mostly for being the person who dropped on it the title of ‘Moonlight’. It is not at all certain that Beethoven was dreaming of his latest amour when he wrote it in 1801;

it was dedicated to the 16-year-old Countess Giulietta Guicciardi (with whom he had fallen in love by November of that year) only as an afterthought when another piece he had dedicated to her had to be given to somebody else.

In the opening movement of this sonata quasi una fantasia, Czerny sees a ‘night scene, in which the voice of a complaining spirit is heard at a distance’. There is much discussion about Beethoven’s pedal marking senza sordino. On the instruments of his day, you could hold the pedal down without clouding the harmonies too much, giving a very special effect. On today’s pianos that would sound very strange indeed. Czerny recommends changing it with each bass note, which seems more sensible. The most important thing is to capture a magical mood, to play it with a beautiful touch, thinking of the long lines and the alla breve time signature (two to a bar, not four).

The short Allegretto that comes next cannot immediately be unconditionally happy. Its cheerfulness is still tinged with regret. But then all hell breaks loose in the final Presto agitato. Something which I find often overlooked is that much of this tempestuous movement is actually marked piano. The loud bits are then in contrast even more dramatic. In a letter to Wegeler, in which he also confessed his love for La Guicciardi, Beethoven wrote of his determination: ‘For some time now my physical strength has been increasing more and more, and therefore my mental powers also. Every day brings me nearer to the goal which I feel but cannot describe … I will seize Fate by the throat; it shall certainly not bend and crush me completely.’ This sonata proves that abundantly.

© Angela Hewitt / Hyperion Records

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FURTHER EXPLORATIONAngela Hewitt has recorded extensively on Hyperion Records. Her many recordings are available on CD, iTunes and as direct mp3 or high resolution FLAC downloads from the Hyperion website: www.hyperion-records.co.uk

Nearly all the repertoire on her 2017 tour program is available to own on disc. These all come highly recommended: the recordings are spacious and sonically detailed, and all come with excellent liner notes written by Angela herself:

Bach: The Six Partitas (1997, CDA67191/2) – Gramophone Editor’s Choice 1997

Scarlatti: Sonatas, vol 1 (2016, CDA67613) – no 2 album in the UK Specialist Classical Chart

Ravel: The Complete Solo Piano Music (2002, CDA67341/2)

Chabrier: Piano Music (2006, CDA67515)

Beethoven: Piano Sonatas op 10 no 2, op 26, op 27 no 2 (‘Moonlight’) & op 90 (2009, CDA 67797)

For more Bach, we also recommend two of Angela’s more recent discs. Her recording of The Art of Fugue for solo piano (2014, CDA67980) is the astonishing culmination of years of study on Bach’s masterpiece of counterpoint. Angela’s 2015 recording of the ‘Goldberg’ Variations (CDA68146) also met with considerable critical praise upon its release; the work has played, and continues to a play, a central role in her life as an artist, and this come across vividly in the recording.

For pianists, Angela Hewitt’s Bach Book (Boosey & Hawkes M060122583) is a lovingly assembled compendium and well worth seeking out. The book includes three of Angela’s own transcriptions of Bach organ choral preludes, and a series of six newly commissioned works inspired by Bach, including pieces by Australians Brett Dean and Elena Kats-Chernin.

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INTERVIEW WITH ANGELA HEWITTAngela Hewitt lives in the international fast lane of the piano world. The celebrated Canadian musician gives around 100 concerts a year (‘though I try not to count,’ she remarks), but in addition runs her own festival in Trasimeno, Italy, has made more than 50 recordings over the years, and enjoys a reputation for Bach playing that is second to none.

Her current projects include a Bach Odyssey, in which she is performing the composer’s complete keyboard works in a twelve-recital program over four years. Meanwhile she has a complete Beethoven sonatas cycle to finish recording, plus continuing love affairs with French music and with the sonatas of Scarlatti. These composers are all represented in the two programs she is touring with Musica Viva.

Hewitt says she loves visiting Australia; she has been here a number of times, performing with the Melbourne and Sydney Symphony Orchestras and for Musica Viva, among others. ‘As a Canadian I feel there are a lot of similarities,’ she notes. ‘It’s a big country, a lot of it empty; the people are open and friendly, and there’s a relaxed atmosphere and fantastic scenery.’

Her career launched in earnest when she won the Toronto International Bach Competition in 1985; although her repertoire is extensive, Bach has been the heart of it since the beginning. Each of her recital programs for Musica Viva features two of Bach’s Partitas: substantial suites of dance movements that display the composer’s rich, sophisticated keyboard writing in its full glory. In Program 1, Partitas 1 and 4 are followed by a Scarlatti selection, Ravel’s Sonatine and the Bourrée fantasque by Chabrier; in Program 2, Partitas 2 and 4 feature alongside two Beethoven sonatas.

The influence of Bach is certainly a linking theme, especially in the Beethoven program.

‘Beethoven apparently could play all of The Well-Tempered Clavier by the age of 11,’ Hewitt says. ‘When you put his music alongside Bach’s you can hear those contrapuntal roots coming out, whereas in a program with Liszt and Chopin it sounds completely different – and is often played that way.

‘In the “Moonlight” Sonata,’ she adds, ‘as is the case with many of the famous sonatas, a lot of people do not play what’s actually in the score. For instance, a lot of the last movement is marked piano [quiet], yet often it’s just bashed out. If you play it as it’s written, then when the outbursts do arrive, they’re explosive.’

Her other Beethoven selection is the composer’s first sonata, op 2 no 1 in F minor, which appears in recitals all

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too rarely: ‘Early Beethoven is one of the most underrated things around,’ she says. ‘The slow movements are wonderful and there’s so much life in it. People assume it’s like Mozart – but I don’t think so. It’s total Beethoven.’

Hewitt’s studies with Frenchman Jean-Paul Sévilla have left her with an abiding affection for French music. In her tour, the French link with Bach comes largely through dance – and, at a tangent, through Scarlatti. ‘Scarlatti and Bach were both born in 1685, but in completely different worlds,’ she says. ‘I don’t think there’s much Scarlatti that you’d mistake for Bach – though there is perhaps some Bach you could mistake for Scarlatti, such as the Gigue of the First Partita.

‘The Bach partitas are full of dance rhythms, and the Chabrier piece I’m playing is a bourrée, one in which you can almost hear the clogs of the Auvergne rustic dancers. Chabrier was a great influence on Ravel, who also had a book of Scarlatti sonatas on his piano and clearly had played some. There’s a Spanish link between the three of them, too: Scarlatti, originally Neapolitan, lived much of his life in Spain and Portugal; and Ravel and Chabrier both loved Spain and wrote wonderful Spanish-themed works.’

Hewitt’s passion for Bach took root early and several crucial influences fed into it – notably dance. ‘I started both ballet and piano at the age of three and I did ballet for 20 years,’ she reveals. ‘I went to live in Paris when I was 20 and I had some lessons there; I eventually had to give it up because I couldn’t go to class often enough, but I loved it. My teacher had danced with the Ballets Russes de Monte Carlo and knew all the original choreography.

‘From my earliest years music and dance were inseparable,’ she adds. ‘I was always prancing around my bedroom, whether it was to Bach or Ravel – it was a natural way of expressing the music. When it’s formed so young, it doesn’t leave you.’

Her father was a church organist in Ottawa, and consequently she was steeped in church music as a child. ‘That was indispensible,’ she says. ‘To play Bach well, you don’t have to be a believer – but I think if you have a knowledge of polyphony, singing in a choir and realising that, for Bach, music was an expression of his faith, that’s essential to understanding it. I was lucky that I grew up listening to Bach from the beginning; learning the violin and the recorder also helped. All of those things came together to make me the musician that I am.’

Busy though she is, Hewitt has no intention of slowing down any time soon. ‘I am becoming more demanding,’ she reflects, ‘trying to do just the concerts and the repertoire I really want to do. As you get older, you need more time to yourself. But on the other hand it’s nice to be out there, playing. It’s slightly addictive!’

© Jessica Duchen 2016

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activity. This student volunteered to join the percussion ensemble, and it was clear from the expression on his face how much he was enjoying making music with the other children, unhindered by language barriers.’

– Emily Kelly, Musica Viva State Manager, South Australia.

In 2017 MVIS SA is conducting residencies in a number of schools including Alberton Primary School, Aldinga Beach School, Elizabeth Downs Primary School and Elizabeth South Primary School. The program provides students with new instruments, weekly music making lessons with professional musicians, advanced classes for students who wish to deepen their instrumental skills, live performances

STORIES TO INSPIRE

When schools receive the gift of music, they often find every aspect of the school culture can be improved. A great example of impact is the Musica Viva In Schools (MVIS) extended-residency program, which ambitiously aims to provide year-round engagement with music making for disadvantaged students, as well as professional development support for their teachers.

The program began in South Australia in 2014 at Playford Primary School, located at Craigmore, about an hour northwest of Adelaide. Previously the school had provided basic music education, but through this three-year program, music flourished. Since this initial residency at Playford, extended-residency programs in South Australia have quadrupled, thanks to the support of our highly engaged local donor community: not only have they supported these new residencies, they have also become ambassadors for MVIS, actively seeking new partners to expand this program.

‘We are so thankful to our group of passionate SA donors for supporting four schools this year with music residencies that continue for three years. This allows us to provide high-quality live music programs for disadvantaged schools every week, and supports teachers over the long term to build thriving music programs.

We know that there are so many ways that learning music benefits students. It increases wellbeing, improves academic achievement and provides a much-needed creative outlet.

I was at Elizabeth Downs Primary School today and watched a new student, who had been at the school for just two weeks and doesn’t speak English, connect with other students through a group percussion

The power of music for positive change

Adam Page working with students in South Australia

27

is when you’re playing a performance to an audience because after all that practice, you finally get to do it.’

– Student at Alberton Primary School

‘I like music at school because it has taught me to be persistent, and I get to play music with my friends.’

– Student at Alberton Primary School

Each residency is tailored to the unique needs of the school and responds to the individual interests of each student cohort. The future of the residencies program is looking bright, with plans to develop and expand the program further.

If you are interested in learning more about how you can support our work, please contact Alice Enari 1300 786 186 or aenari@musicaviva.com.au

from Musica Viva In Schools ensembles, and teacher workshops to support teachers to further enable music making in everyday classroom activities.

Alberton Primary School has already recognised the huge benefit of this program, which has led them to engage a music specialist teacher to support the delivery of this residency, following on from its first year in 2016. Student feedback to the residency over this first year has been overwhelmingly positive.

‘My favourite thing about music at school

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Pre-Concert Insights is Musica Viva’s program of events, resources and concert information that will enhance your concert experience. At every International Concert Season concert, we present Pre-Concert Talks (45 minutes prior to each concert), as well as a selection of CD signings, Meet the Artists, and a variety of other interactive events and experiences. Details are published in the weeks leading up to the start of each tour.

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