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They are exquisite as they reappear again and again, clothed in shifting harmonies and in new levitating key relationships. The A-major sonata is a lyrical work. It begins with a declamatory chord sequence but quickly the tone changes. The remarkable development section of the first movement is a quasi-improvisation on a tiny phrase - almost insignificant at first hearing - that blossoms into wonderfully poetic writing.

The second movement is a gentle, placid song that sings the solitude of the composer and the boldly original storm passage that interrupts, depicts the turmoil in Schubert's soul. The third movement scherzo dances by quickly with untroubled gaiety. The finale borrows its theme from a much earlier work and endows it with new richness.

It is closely modeled on the last movement of Beethoven's Sonata Op.

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Judith Jáuregui

Nocturne in C- sharp minor, Op. Nocturne in C minor, Op. Chopin was the master of the small form, and more than anyone, found the soul of the piano. His harmonies, his forms, his melodies embellished with silver-garland ornamentations recollect a dream-world that only Chopin, the poet of the piano, could create. He wrote almost exclusively for the piano, yet the mere catalogue of Chopin formats brings to mind the varied moods and the exquisitely refined sensitivity of his personality.

He wrote 21 Nocturnes and these compositions are so strongly associated with Chopin's name that even cognoscenti of music tend to forget that he did not invent this particular format.

Liszt: Annee de Pelerinage (Suisse), Hungarian Rhapsodies & Piano Concerto No. 1

Music, evocative of night, existed as far back as the 17 th century, but it was John Field, a pianist and composer of some distinction who wrote 18 evocative Nocturnes before he died of acute alcoholism in Chopin heard him perform some of them, shortly after his arrival to Paris and was so impressed, not only by the compositions but also by Field's playing that he did not mind when later, after he achieved considerable fame, some people mistook him for a John Field student.

Of course Nocturnes in Chopin's hand were transformed into music of such intimacy and profundity that historical antecedents are only of passing interest. For Chopin's contemporaries his Nocturnes were the most characteristic and significant part of his entire oeuvre. It is hard to argue with this assessment.

The Op. In the first of these two Nocturnes, which is on tonight's program, Chopin places an explosive drama scene between the two almost mystical A sections. The long-sustained melody of this Nocturne is supported by widely placed harmonic accompaniment, giving it a rich, enlarged sonority. The c-minor Nocturne must be counted among Chopin's greatest achievements in this genre. Full of compelling sonorities, bursting with emotional tension and surprising modulations, it requires the hand of a sensitive, virtuoso pianist of the first order.

The Beethoven Tradition

In size and conception this is a small scale ballade — a funeral march and a triumphal march connected by a choral and a virtuoso, double octave embellishment of the central choral, highlighting the contrast. The c-sharp minor Nocturne was composed in , the C minor in Kinderszenen, Op. Kuriose Geschichte A Curious Story. Hasche-Mann Blind Man's Bluff. Bittendes Kind Pleading Child. Wichtige Begebenheit An Important Event. Am Kamin At the Fireside. Ritter vom Steckenpferd Knight of the Hobbyhorse.

Liszt: Consolation No. 1 in E Major: Andante con moto

Fast zu Ernst Almost Too Serious. Kind im Einschlummern Child Falling Asleep. Der Dichter spricht The Poet Speaks.

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The two lovers were forced to communicate with each other mainly through letters and music. A remark by Clara that Robert seemed to her at times like a child inspired these thirteen gems. From one of Schumann's letters we know that indeed he was thinking of children - and as he so succinctly put it later, "the music is about children, not for children," - but the musical inspiration came first, the titles later.

Still these titles are wonderfully descriptive. One cannot miss the playfulness of the "Catch me if you can" although it lasts only for about 30 seconds. The sweet tears of the "Pleading Child", the quick shadows of "Frightening", the contentment of "At the Fireside", the dreaminess of the most famous "Traumerei" and the lullaby-like gentleness of the "Child Falling Asleep" are titles so beautifully descriptive that they had to come to Schumann almost simultaneously with the music. Ernst von Dohnanyi, one of the greatest pianists and musicians of the first half of the last century stated aptly, that it takes either a child-prodigy or the greatest artist to capture the spirit of this deceptively innocent music.

Vous dira je. It was not an accident that variations were the few of his piano compositions that were published in his lifetime. For at least the first half of his life, keyboard performances as much as composition represented a livelihood and the seventeen sets of variations, ingenious although somewhat standard workings out of popular or diplomatically advantageous themes, were ideal recital pieces for Mozart.

Thus, his ambivalent attitude about piano and piano recitals in general, is quite understandable. For, although, by any measure these variations are not Mozart's most profound compositions, they are charming, imaginative and thoroughly entertaining. Sonata No. Andante con moto. Allegro ma non troppo.

Franz Liszt, Goran Filipec

The publisher added the name "Appassionata," in , after Beethoven's death. It is a destructive and creative tidal wave; it is a singular, stirring and cleansing emotion - it is as broadly impulsive and unbroken as if its movements were constructed by a single superhuman force. The entire vision of this sonata is built on the protean idea of the triad.


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The two-octave-encompassing, lightening main theme of the first movement; the shivering trill, the menacing knocking, first in the bass and then echoed in the treble, the ensuing windstorm and even the secondary theme which comes from the same red-hot forge, - they are all explanations and descriptions of the same protean genesis. Even the Andante theme of the middle movement is created from the same tense idea.

It is a barely moving, almost shapeless harmonic succession, virtually devoid of melody, that settles on the tonic chord in twenty of its thirty-two measures. It never concludes but is linked directly to the terrifying whirlwind of the finale. This, the most demonic sonata movement of Beethoven, was born during a long walk to Dobling.

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Beethoven's pupil Ferdinand Ries wrote: "Throughout the whole of the long walk, during which we lost our way, the Master had been muttering and sometimes howling to himself, always up and down without singing any specific notes. When I asked what he was doing he replied: 'I have just thought of a theme of the final Allegro. Soon he had forgotten my presence and he thumped away for more than an hour at the new finale. It rages like a ceaseless tempest; there is not even a gleam of light, no respite.

On the contrary, the prestissimo coda becomes an elemental catastrophe, an earthquake - an abyss that for Beethoven will never close again, but it led to his last sonatas that transcend music itself. Fantasy in F minor, Op. Introduction to 5 th Act Appiev Road.

The Betrayal. Execution and Death of Spartacus. Synopsis of the Ballet: The Roman consul Crassus returns to Rome from his latest conquests in a triumphal procession. Among his captives are the Thracian King Spartacus and his wife Phrygia. Spartacus laments his captivity and bids a bitter farewell to Phrygia, who is taken off to join Crassus' harem of concubines.

To entertain Crassus and his entourage, Spartacus is sent into the gladiatorial ring and is forced to kill a close friend.