SCARLATTI, Domeni co

(1685 1757)



HAYDN, Franz Joseph
(1732 1809)




MENDELSSOHN, Fel i x
(1809 1847)






LISZT, Franz
(1811 1886)

Sonata in G Major, K 13
Sonata in A Major, K 322
Sonata in G Major, K. 455


Sonata in Eb Major
I. Allegro (Moderato)
II. Adagio
III. Finale: Presto


Drei Phantasien oder Capricen
(Three Fantasias or Caprices), op. 16
I. Andante con moto
Allegro vivace
II. Scherzo: Presto
III. Andante


Soires de Vienne: Valse caprice for
piano No. 6, S. 427/6, based on
Franz Schubert

Stndchen (from Schwanengesang),
S. 560/7, of Franz Schubert

Widmung (Liebeslied), S. 566,
of Robert Schumann 1
Keyboard Sonatas
Domenico Scarlatti
Born in 1685, the same year as J. S. Bach and G. F. Handel, Domenico Scarlatti was a
native of Naples and the son of Alessandro Scarlatti, an Italian composer influential for the
establishment of Neapolitan opera. For the first 33 years of his life, Domenico studied mainly
with his father, publishing few works of his own. In 1719, Domenico left home for the royal
court of Portugal in Lisbon. In addition to his post in the patriarchal chapel, he became the
music-master to the kings daughter, the talented Infanta Maria Barbara, who left Lisbon for
Madrid to marry into the Spanish royal family, eventually becoming Queen of Spain.
Upon arriving in the Spanish court, Maria Barbara filled it with music. The princess
commissioned Scarlatti to provide her constantly with new music to play, and Scarlatti
composed at least 555 keyboard sonatas for her, which are today the works on which
Scarlattis fame is based.
The Sonata i n G Maj or, K. 13 is part of a set of thirty sonatas published in 1738 in
London, dedicated to King John of Portugal. In his preface, Scarlatti described these works
as Jesting with Art (lo scherzo ingegnoso dellArte). It features a binary form with imitation
between the hands and voices, repeated notes, and melodies formed by arpeggios and chord
tones.
The Sonata i n A Maj or, K. 322 is extremely graceful and courtly, and I find no
better word to describe it other than sprezzatura, which originated in the medieval Italian
court meaning a certain nonchalance or studied carelessness. The sonata conjures up
images of a royal ball, with couples of high society in powdered wigs and lavishing dresses
taking a bow and moving in uniform dance-steps before the King.
Scarlatti once concluded a preface to an anthology of his works with the words Vivi
felici! (Live happily!). If any sonata truly captures the joyfulness of Scarlattis character, then it
is the final sonata of this selection, the Sonata i n G Maj or, K. 455. This sonata, with its
deceptive simplicity, demands an extremely high level of technical skill, especially in its
seemingly never-ending trail of repeated notes. The sonata is full of passages that are very
rhythmic, yet it sounds elegantly simple and blissful. It is a marvelous display of Scarlattis
absolute mastery of the harpsichord. 2
Keyboard Sonata in E-flat, Hob. XVI/52
Franz Joseph Haydn
Franz Joseph Haydn, one of the most influential and prolific composers of the 18
th

century, wrote no fewer than 60 keyboard sonatas but was himself no virtuoso keyboardist.
Haydn was nonetheless known to have said, I have never been a wizard on any instrument,
but I knew the power and effects of all of them. Haydns music, ranging from symphonies
for orchestra to sonatas for solo piano, certainly reflects his musical genius and is universally
recognized for its contrast, individuality, and wit.
Unlike baroque music, in which each piece emphasized a single character, the new
classical style of Haydns time featured contrast, unexpected pauses, sudden dynamic
changes, and syncopations. The new Hammerklaviers (hammer-action fortepianos) also
gradually replaced the harpsichord and clavichord. The English Broadwood fortepianos had a
wider range and richer sound, as well as the ability to use the una corda pedal and an early
version of the sustaining pedal. This allowed Haydn to incorporate new registers of the
keyboard, fuller and richer chords, and surprising dynamic contrasts in his later
compositions.
The Keyboard Sonata i n E-fl at Maj or Hob. XVI/52 is Haydns final sonata,
which incorporates the best of all the classical styles and is a culmination of wit, humor, grace,
and creativity that wholly characterizes Haydns musical brilliance. Dedicated to the pianist
Therese Jansen-Bartolozzi, one of the most gifted pupils of Muzio Clementi, this sonata
ranks among Haydns most technically demanding works.
The first movement opens with grandiose chords characteristic of overtures, but
quickly develops into a myriad of ideas, including brilliant passages and lyric motifs,
interrupted by the surprising use of fermatas and sudden dynamic variations. The slow,
Adagio movement shifts to an unexpected key of E major. It is in this movement that Haydn
pays tribute to the baroque era, using the form of a sarabande dance passionately lyrical and
serious, in triple-meter, with an emphasis on the second beat. The Finale opens with a single
repeated note, as if hesitating or simply humorously stuck. However, the repeated note
quickly develops into a brilliant melody filled with virtuosity and wit that brings the sonata to
a very happy end indeed.
With this sonata, Haydn passes the baton to the young Beethoven, whose composition
of op. 2 piano sonatas were rightly dedicated to Joseph Haydn, the man who, in over four
decades, had wholly shaped and mastered the classical keyboard sonata. 3
Three Fantasias or Caprices, op. 16
Felix Mendelssohn-Bartholdy
The son of a banker and the grandson of the great Jewish philosopher Moses
Mendelssohn, Felix Mendelssohn was born in Hamburg in 1809. Felix was baptized a
Lutheran in 1816 as a ticket of admission into European high society. Undeniably brilliant,
the young Felix was gifted in everything as an organist, violinist, violist, conductor, pianist,
and composer. Felixs father Abraham encouraged Felix to go abroad to launch his musical
career, and from 1829 to 1832, Felix toured all over Europe. It is during this journey that
Felix wrote the Three Fantasias or Caprices, op. 16.
Following his tour of England, Felix proceeded on to Scotland and Wales, where he
stayed with the Taylor family in their country residence Coed Du (Black Wood). For much of
his stay, he spent time enjoying the scenery, drawing, and flirting with Mr. Taylors three
daughters, for whom Felix composed these fantasias.
Both the terms fantasia and caprice are used to describe pieces that are free from an
established form, instead relying purely on imagination and inspiration. No. 1, which opens
with a wistful A minor Andante to a graceful A major Vivace, was inspired by Annes roses and
carnations, with the rising and falling arpeggiations suggesting a wafting of the flowery scent.
No. 2, a rapid E minor Scherzo, was composed for Honora. The fanfare-like opening was
inspired by trumpet-like flowers in the garden, and the Scherzo has a marked resemblance to
Mendelssohns Overture to A Midsummer Nights Dream as well as a scent of Scarlatti in the very
light and rhythmic melody. The final fantasia, No. 3 in E major, was composed for the most
beautiful daughter, Susan. Titled The Rivulet, the fantasia traces a flowing stream in which
Felix had sketched with his hostess, and the running Andante was inspired by the elegant
sounds of the Welsh harp.
Selected transcriptions
Franz Liszt
Franz Liszt, perhaps the greatest piano virtuoso in history, was also a prolific
transcriber. Whether the melody was a simple folk song, a beautiful operatic aria of Verdi, a
symphony of Beethoven, or a song of Schubert, the music of other composers was Liszts to
transcribe, popularize, and mold into some of pianos most well-known repertoire. 4
Of all the composers, Liszt had a special admiration for Franz Schubert, whom he
called his cherished hero and whose music he referred to as the divine treasures. In 1853,
he published Soires de Vienne: 9 Val ses capri ces d aprs Schubert (Evenings in
Vienna: 9 Valses Caprices based on Schubert). Depicting a dinner party in Biedermeier
Vienna, the sixth waltz borrows themes from two of the twelve Valse nobles (Noble Waltzes)
for piano, op. 77. Full of the Viennese energy and delicacy, Liszt enriched the harmonies with
elegant ornamental passages and a signature Liszt cadenza that features his incredible finger
velocity and virtuosity.
Among Liszts song transcriptions, the most familiar is the Stndchen (Serenade),
from Schuberts posthumous song cycle Schwanengesang (Swan Song). Based on a poem by
Ludwig Rellstab, a young man sings earnestly of his love to his beloved:
German
Leise flehen meine Lieder
Durch die Nacht zu dir;
In den stillen Hain hernieder,
Liebchen, komm zu mir!

Flsternd schlanke Wipfel rauschen
In des Mondes Licht;
Des Verrters feindlich Lauschen
Frchte, Holde, nicht.

Hrst die Nachtigallen schlagen?
Ach! sie flehen dich,
Mit der Tne sen Klagen
Flehen sie fr mich.

Sie verstehn des Busens Sehnen,
Kennen Liebesschmerz,
Rhren mit den Silbertnen
Jedes weiche Herz.

La auch dir die Brust bewegen,
Liebchen, hre mich!
Bebend harr' ich dir entgegen!
Komm, beglcke mich!

English
Softly my songs implore
You through the night;
Down into the quiet grove,
Beloved, come to me!

Slender treetops rustle, murmur
In the moons radiance;
Dont fear the hidden listeners
malice, my dearest.

Do you hear the nightingales singing?
Ah, they appeal to you,
With their sweet plaintive tones
Theyre pleading for me.

They understand the hearts yearning,
They know the pain of love,
Touch with their silvery tones
Every feeling heart.

Let them move you, too,
My darling, listen to me!
Trembling, I await you!
Come, dearest, enrapture me.


5
In this transcription, Liszt first presents the melody in the upper voice, then moves the
melody to the lower voice along with the instruction quasi violoncello (like a cello), before
moving on to more elaboration in the final stanza culminating in a rapid and decorative
cadenza.
Of the composers in the Romantic era, Robert Schumann is perhaps the most lyrical
and poetic of them all. In 1840, Schumann married his beloved Clara Wieck. In an
outpouring sign of affection, Schumann laid a bouquet of songs at the feet of Clara as a
wedding present. Among this collection is Widmung (Dedication), a passionate and
beautiful hymn of love to his bride based on a poem by Friedrich Rckert:

German
Du meine Seele, du mein Herz,
Du meine Wonn, O du mein Schmerz,
Du meine Welt, in der ich lebe,
Mein Himmel du, darein ich schwebe,
O du mein Grab, in das hinab
Ich ewig meinen Kummer gab.

Du bist die Ruh, du bist der Frieden,
Du bist vom Himmel mir beschieden.
Da du mich liebst, macht mich mir wert,
Dein Blick hat mich vor mir verklrt,
Du hebst mich liebend ber mich,
Mein guter Geist, mein beres Ich!
English
You are my soul, my heart,
My bliss, And my pain,
You are the world in which I live,
My heaven into which I am suspended,
My grave into which
I have laid forever my sorrow.

You are my repose, and my peace,
You are bestowed to me from heaven.
That you love me makes me of worth,
Your gaze transfigures me,
Lovingly you raise me above myself,
My good spirit, my better self!


Liszt transcribed this love song for piano in 1848. Of Robert and Clara Schumann,
Liszt declared:
There was no union happier or more harmonious in the world of art than that of the inventing husband
and the interpreting wife. The annals of art will not be able to separate the memory of the two in any way
or mention their names separately; the future will adorn both their heads with a single golden nimbus, and
only one star will shine over both their brows.


~ Allen Yu
Brunswick, Maine
March 2012 1
COMMON HOUR: CHAMBER ENSEMBLES
Friday, April 20 at 12:30pm
Studzinski Recital Hall
Chamber ensembles coached by Roland Vazquez, Mary Hunter, & George Lopez
STEPHEN WAGNER 12 VIOLIN RECITAL
Wednesday, April 25 at 6:00pm
Studzinski Recital Hall
BOWDOIN CHORUS
Thursday & Friday, May 3 & 4 at 7:30pm
Studzinski Recital Hall
Under the direction of Anthony Antolini 63, the Chorus, student soloists and the Mozart Mentors Orchestra will
perform works including Karl Jenkins Requiem (2005).
BOWDOIN CHAMBER CHOIR
Saturday & Sunday, May 5 & 6 at 3:00pm
Bowdoin Chapel
Robert K. Greenlee, director
MAREN ASKINS 12 CELLO RECITAL
Saturday, May 5 at 7:30pm
Studzinski Recital Hall 2
AN EVENING OF CHAMBER MUSIC
Sunday, May 6 at 7:30 pm
Studzinski Recital Hall
Ensembles coached by Mary Hunter, George Lopez, Anita Jerosch, and Kathleen McNerney
YOWON YOON 14 PIANO RECITAL
Monday, May 7 at 6:00pm
Studzinski Recital Hall
AN AFTERNOON OF CHAMBER MUSIC
Thursday, May 10 at 4:00pm
Studzinski Recital Hall
Ensembles coached by Roland Vazquez & George Lopez
KATARINA HOLMGREN 13 VOICE RECITAL
Saturday, May 12 at 7:30pm
Studzinski Recital Hall
PIANO STUDENTS OF GEORGE LOPEZ
Sunday, May 13 at 7:30pm
Studzinski Recital Hall
Nineteen-year-old pianist Al len Wong Yu is an acclaimed
performer, recognized for his mature musicianship, elegant tone, and
charismatic stage presence. Born in California and a native of Beijing,
Allen began studying piano at the age of six and won his first major
competition at ten. Since then, he has appeared many times as a solo
recitalist, as a soloist with distinguished orchestras, and as a chamber
musician. Allen also claimed numerous first prize awards including the
Ithaca College Piano Concerto Competition, the Bertha F. Lang
Empire State Competition, the New York MTNA (Music Teachers
National Association) Baldwin Competition, and the Manchester
Young Artist Competition. Allen delivered his solo debut at age twelve
and his critically acclaimed orchestral debut a year later.
An accomplished performer, Allen appeared as a soloist in major venues in Albany,
Schenectady, Rochester, Oneonta, Ithaca, Binghamton, Saratoga, Springfield, Portland, and
Brunswick. Among his appearances as guest soloist, he performed with the Ithaca College
Symphony Orchestra under Jeffery Meyer, the Amadeus Chamber Orchestra under Findlay
Cockrell, and the Schenectady Symphony Orchestra under the baton of Maestro Charles Schneider.
In February 2012, Allen appeared on National Public Radios From the Top for the second time; his
first appearance on NPR was in 2008 when he performed as a Jack Kent Cooke Young Artist.
Allen was also featured as a performer and host on China Radio International in Beijing, which was
aired across China and around the world.
Allen Yu is currently a sophomore at Bowdoin College in Brunswick, Maine, where he is
pursuing his studies in political science and piano performance, studying with pianist George Lopez,
Bowdoins Artist-in-Residence. Along with his studies, he is actively performing. Highlights from
his last season include the Schumann Carnaval and Mussorgskys Pictures at an Exhibition, as well as the
Schumann and Dvorak Piano Quintets.
At Bowdoin, he is involved in many activities, from serving as a Vice President on Bowdoin
Student Government to mentoring primary school students at a local elementary school. He
previously graduated from Shaker High School in Latham, New York and received a Liberal Arts
diploma with high honors. He is a Past Distinguished Governor of New York for Key Club
International, a service leadership program of Kiwanis International.



I would like to thank the faculty and staff of the Bowdoin College Department of Music for
making tonights recital possible.

I am especially grateful to my teacher, George Lopez,
whose passion for music and optimism for the world continues to inspire me every day.
A special thanks to Professor Robert Greenlee
for his unending support as I continue my musical journey at Bowdoin.

I hope youve enjoyed this performance. Please visit www.bowdoin.edu/music for a listing of
upcoming events.



In consideration of the performer and those around you, please kindly switch off your
cellular phones, pagers, and watch alarms during the recital.
Please do not take pictures during the performance. Flashes, in particular, are distracting to
the performer and other audience members.
Thank you.

Visit: www. al l enwyu. com
Follow on Twitter: @al l enyu92