Program
G. Verdi - F. Liszt: Rigoletto Paraphrase
Liszt drew on three themes from Verdi’s “Rigoletto” in this glittering virtuoso work; its climax is the finale with the theme in the quartet from Act III “Bella figlia dell’amore”.
If one ignores the fact that at this point in the opera the betrayal of Gilda's love is made known, the work offers no sign that it was written at a time of deep depression: Liszt’s hope of legally marrying Princess von Sayn-Wittgenstein was slowly disappearing. Maybe Liszt's opera paraphrases are therefore to be understood as memories of happier times in Weimar.
Liszt drew on three themes from Verdi’s “Rigoletto” in this glittering virtuoso work; its climax is the finale with the theme in the quartet from Act III “Bella figlia dell’amore”.
If one ignores the fact that at this point in the opera the betrayal of Gilda's love is made known, the work offers no sign that it was written at a time of deep depression: Liszt’s hope of legally marrying Princess von Sayn-Wittgenstein was slowly disappearing. Maybe Liszt's opera paraphrases are therefore to be understood as memories of happier times in Weimar.
M. Ravel: La Valse
Ravel described La valse with the following preface to the score:
"Through whirling clouds, waltzing couples may be faintly distinguished. The clouds gradually scatter: one sees at letter A an immense hall peopled with a whirling crowd. The scene is gradually illuminated. The light of the chandeliers bursts forth at the fortissimo letter B. Set in an imperial court, about 1855."
The work has been described as a tribute to the waltz; the composer George Benjamin, in his analysis of La valse, summarized the ethos of the work: "Whether or not it was intended as a metaphor for the predicament of European civilization in the aftermath of the Great War, its one-movement design plots the birth, decay and destruction of a musical genre: the waltz."
Ravel himself, however, denied that it is a reflection of post-World War I Europe, saying, "While some discover an attempt at parody, indeed caricature, others categorically see a tragic allusion in it – the end of the Second Empire, the situation in Vienna after the war, etc... This dance may seem tragic, like any other emotion... pushed to the extreme.
But one should only see in it what the music expresses: an ascending progression of sonority, to which the stage comes along to add light and movement." He also commented, in 1922, that "It doesn't have anything to do with the present situation in Vienna, and it also doesn't have any symbolic meaning in that regard. In the course of La Valse, I did not envisage a dance of death or a struggle between life and death."
Ravel described La valse with the following preface to the score:
"Through whirling clouds, waltzing couples may be faintly distinguished. The clouds gradually scatter: one sees at letter A an immense hall peopled with a whirling crowd. The scene is gradually illuminated. The light of the chandeliers bursts forth at the fortissimo letter B. Set in an imperial court, about 1855."
The work has been described as a tribute to the waltz; the composer George Benjamin, in his analysis of La valse, summarized the ethos of the work: "Whether or not it was intended as a metaphor for the predicament of European civilization in the aftermath of the Great War, its one-movement design plots the birth, decay and destruction of a musical genre: the waltz."
Ravel himself, however, denied that it is a reflection of post-World War I Europe, saying, "While some discover an attempt at parody, indeed caricature, others categorically see a tragic allusion in it – the end of the Second Empire, the situation in Vienna after the war, etc... This dance may seem tragic, like any other emotion... pushed to the extreme.
But one should only see in it what the music expresses: an ascending progression of sonority, to which the stage comes along to add light and movement." He also commented, in 1922, that "It doesn't have anything to do with the present situation in Vienna, and it also doesn't have any symbolic meaning in that regard. In the course of La Valse, I did not envisage a dance of death or a struggle between life and death."
W. A. Mozart: Fantasia in D minor K 397
Mozart’s Fantasy in D minor for solo piano is a wonderful example of the use of specific devices to create a work of great drama and emotional depth, making it an incredibly rewarding piece to play or hear.
Composed in c1782, the Fantasy was only published after Mozart’s death and was unfinished, ending on the fermata (pause) at bar 97. When the Breitkopf & Hartel edition appeared some years later, the fantasy included an ending, presumably composed by an editor, and this version is the one which appears most commonly in subsequent publications and performances.
Mozart’s Fantasy in D minor for solo piano is a wonderful example of the use of specific devices to create a work of great drama and emotional depth, making it an incredibly rewarding piece to play or hear.
Composed in c1782, the Fantasy was only published after Mozart’s death and was unfinished, ending on the fermata (pause) at bar 97. When the Breitkopf & Hartel edition appeared some years later, the fantasy included an ending, presumably composed by an editor, and this version is the one which appears most commonly in subsequent publications and performances.
L. van Beethoven: Sonata No. 31 in A flat major Opus 110
The Piano Sonata No. 31 in A♭ major, Op. 110, by Ludwig van Beethoven was composed in 1821 and published in 1822. It is the middle piano sonata in the group of three (Opp. 109, 110, and 111) that he wrote between 1820 and 1822, and is the penultimate of his piano sonatas.
The work is in three movements. The Moderato first movement follows a typical sonata form with an expressive and cantabile opening theme. The Allegro second movement begins with a terse but humorous scherzo, which Martin Cooper believes is based on two folk songs, followed by a trio section. The last movement comprises multiple contrasting sections: a slow introductory recitative, an arioso dolente, a fugue, a return of the arioso, and a second fugue that builds to a passionate and heroic conclusion.
The Piano Sonata No. 31 in A♭ major, Op. 110, by Ludwig van Beethoven was composed in 1821 and published in 1822. It is the middle piano sonata in the group of three (Opp. 109, 110, and 111) that he wrote between 1820 and 1822, and is the penultimate of his piano sonatas.
The work is in three movements. The Moderato first movement follows a typical sonata form with an expressive and cantabile opening theme. The Allegro second movement begins with a terse but humorous scherzo, which Martin Cooper believes is based on two folk songs, followed by a trio section. The last movement comprises multiple contrasting sections: a slow introductory recitative, an arioso dolente, a fugue, a return of the arioso, and a second fugue that builds to a passionate and heroic conclusion.
F. Chopin: 2 Nocturnes Op. 32
The Nocturne in B major is initially marked andante sostenuto and is in 4/4 meter. There are several ritardando markings throughout, followed by a tempo marking in the next measure. The piece transitions to adagio in the last two measures. The piece is 65 measures long and, unusually, ends in the tonic minor key, B minor, although some editions and performances end with a B major chord. There has also been confusion over a key in the first bar of the last line.
Chopin's Nocturne Op. 32 No. 2 in A-flat Major is a mesmerizing musical journey that intertwines melancholic introspection with bursts of exuberant passion. This piece captures the essence of Chopin's genius, weaving together breathtaking beauty and dramatic intensity to create an exhilarating journey for both the pianist and the eager listener.
The Nocturne in B major is initially marked andante sostenuto and is in 4/4 meter. There are several ritardando markings throughout, followed by a tempo marking in the next measure. The piece transitions to adagio in the last two measures. The piece is 65 measures long and, unusually, ends in the tonic minor key, B minor, although some editions and performances end with a B major chord. There has also been confusion over a key in the first bar of the last line.
Chopin's Nocturne Op. 32 No. 2 in A-flat Major is a mesmerizing musical journey that intertwines melancholic introspection with bursts of exuberant passion. This piece captures the essence of Chopin's genius, weaving together breathtaking beauty and dramatic intensity to create an exhilarating journey for both the pianist and the eager listener.
F. Chopin: Three Waltzes Op. 64
The Waltz in D-flat major, Op. 64, No. 1, is popularly known in English as the Minute Waltz. Its nickname was intended to mean "small" in the sense of a "miniature" waltz.
Waltz No. 2 was composed by Frédéric Chopin in 1847, and was dedicated to Madame Nathaniel de Rothschild.
It consists of three main themes:
Theme A tempo giusto chordal with a walking pace feel;
Theme B più mosso (faster) — theme stated in running eighth notes, with all harmony in the left hand.
Theme C più lento (slower) — a sostenuto in the parallel key of C♯ major (D♭ major, enharmonic equivalent to C♯ major). Besides the slower general pace, the melody is in quarter notes except for a few flourishes in eighth notes, giving this section the quality of an interlude before the dramatic restatement of Theme B.
Waltz No. 3 was dedicated to the countess Katarzyna Branicka and was the last of Chopin's waltzes published in his lifetime.
The Waltz in D-flat major, Op. 64, No. 1, is popularly known in English as the Minute Waltz. Its nickname was intended to mean "small" in the sense of a "miniature" waltz.
Waltz No. 2 was composed by Frédéric Chopin in 1847, and was dedicated to Madame Nathaniel de Rothschild.
It consists of three main themes:
Theme A tempo giusto chordal with a walking pace feel;
Theme B più mosso (faster) — theme stated in running eighth notes, with all harmony in the left hand.
Theme C più lento (slower) — a sostenuto in the parallel key of C♯ major (D♭ major, enharmonic equivalent to C♯ major). Besides the slower general pace, the melody is in quarter notes except for a few flourishes in eighth notes, giving this section the quality of an interlude before the dramatic restatement of Theme B.
Waltz No. 3 was dedicated to the countess Katarzyna Branicka and was the last of Chopin's waltzes published in his lifetime.
ABOUT THE ARTISTS
Letizia Michielon
Piano, USA
Venetian pianist, composer, and philosopher of music, Letizia Michielon is a multifaceted artist with a truly unique background. Her creative profile is the result of a dialogue between different disciplines, always seeking an innovative and endlessly expanding aesthetic direction.
She debuted at the young age of fourteen in the Wiener Saal of the Mozarteum in Salzburg and graduated with honours at sixteen from the “B. Marcello” Music Conservatory in Venice under the guidance of Maestro Eugenio Bagnoli. She later perfected her art with masters such as M. Tipo and K. Bogino, embarking upon a vibrant concert career that has led her to the world's most prestigious stages: from the Schönberg Centre in Vienna and the Chopin Academy in Warsaw to the Abravanel Hall in Salt Lake City and New York University.
A holder of two PhDs (in Pedagogical and Didactic Sciences from the University of Padua, and in Philosophy of Music from Ca’ Foscari University), Letizia's interpretative proficiency is firmly intertwined with her compositional and academic experience. Her works are often inspired by philosophy and poetry and have been commissioned by prominent international festivals, including the Music Biennale and La Fenice Opera House.
For some years, she has dedicated herself to expounding upon Beethovenian thought, recording his complete sonatas for the Limen Record Company. This monumental work-in-progress has forged the "Beethoven Project," a series of concerts and scientific research aimed at deepening neo-humanistic Bildung. At the same time, she has launched the recording of the complete works by Chopin.
Currently, she teaches Piano Performance at the “B. Marcello” Music Conservatory of Venice, where she is also the Coordinator of the Music, Performance and Technological Innovation Ph.D. Course. Her enthusiasm for teaching has led her to hold master classes at prestigious international institutions such as MDW in Vienna, the Trinity Laban in London, and the Royal Conservatory in Madrid.
Piano, USA
Venetian pianist, composer, and philosopher of music, Letizia Michielon is a multifaceted artist with a truly unique background. Her creative profile is the result of a dialogue between different disciplines, always seeking an innovative and endlessly expanding aesthetic direction.
She debuted at the young age of fourteen in the Wiener Saal of the Mozarteum in Salzburg and graduated with honours at sixteen from the “B. Marcello” Music Conservatory in Venice under the guidance of Maestro Eugenio Bagnoli. She later perfected her art with masters such as M. Tipo and K. Bogino, embarking upon a vibrant concert career that has led her to the world's most prestigious stages: from the Schönberg Centre in Vienna and the Chopin Academy in Warsaw to the Abravanel Hall in Salt Lake City and New York University.
A holder of two PhDs (in Pedagogical and Didactic Sciences from the University of Padua, and in Philosophy of Music from Ca’ Foscari University), Letizia's interpretative proficiency is firmly intertwined with her compositional and academic experience. Her works are often inspired by philosophy and poetry and have been commissioned by prominent international festivals, including the Music Biennale and La Fenice Opera House.
For some years, she has dedicated herself to expounding upon Beethovenian thought, recording his complete sonatas for the Limen Record Company. This monumental work-in-progress has forged the "Beethoven Project," a series of concerts and scientific research aimed at deepening neo-humanistic Bildung. At the same time, she has launched the recording of the complete works by Chopin.
Currently, she teaches Piano Performance at the “B. Marcello” Music Conservatory of Venice, where she is also the Coordinator of the Music, Performance and Technological Innovation Ph.D. Course. Her enthusiasm for teaching has led her to hold master classes at prestigious international institutions such as MDW in Vienna, the Trinity Laban in London, and the Royal Conservatory in Madrid.
Michael Bulychev-Okser
Piano, USA
Hailed as "...the New Liszt...", "...highly Musical..."(Fanfare Magazine), and "...enticing and brilliant..." (New York Times) Michael Bulychev-Okser is an internationally acclaimed American pianist, composer, and producer.
A recipient of “Who’s Who in Music”, Mr. Bulychev-Okser performed at the world’s most prestigious stages: Carnegie Hall, Merkin Hall, Kennedy Center, La Salle Pleyel (France), Wigmore Hall (London), Estonia Concert Hall (Estonia), and Centermex Theater (Mexico). Bulychev-Okser organizes international music events: Gershwin International Music competition in New York and Classical Hugs Music Festival in Estonia.
Michael is a guest performer at numerous music festivals, competitions, and concert series in England, France, Germany, Mexico, Israel, Estonia, Georgia, Ukraine, Austria, Finland, South Korea, China, Serbia, Singapore, and the United States.
Piano, USA
Hailed as "...the New Liszt...", "...highly Musical..."(Fanfare Magazine), and "...enticing and brilliant..." (New York Times) Michael Bulychev-Okser is an internationally acclaimed American pianist, composer, and producer.
A recipient of “Who’s Who in Music”, Mr. Bulychev-Okser performed at the world’s most prestigious stages: Carnegie Hall, Merkin Hall, Kennedy Center, La Salle Pleyel (France), Wigmore Hall (London), Estonia Concert Hall (Estonia), and Centermex Theater (Mexico). Bulychev-Okser organizes international music events: Gershwin International Music competition in New York and Classical Hugs Music Festival in Estonia.
Michael is a guest performer at numerous music festivals, competitions, and concert series in England, France, Germany, Mexico, Israel, Estonia, Georgia, Ukraine, Austria, Finland, South Korea, China, Serbia, Singapore, and the United States.
📅 October 18, Saturday
Hungarian House, 213 E 82nd St, New York (Upper East Side)**
Hungarian House, 213 E 82nd St, New York (Upper East Side)**