Update and thoughts on Pumpkin Magic (+Program Notes)

What is magic to you?

Some of my cheesy reflections here.

And on a more scholarly note (wink, wink)…

Program Notes!

W. A. Mozart (1756 – 1791) - Piano Sonata in F Major, KV. 280

At the age of 19, Mozart was already considered to be in his mature years when he composed his first group of six piano sonatas in 1775. These virtuosic works are full of the energy, drama, and witty humor that is distinctive of Mozart’s voice. At the same time, they have moments of deep expression and intimacy. The third sonata in B-flat major has the only slow movement with the marking Andante amoroso, and the second sonata in F major is the only piano sonata with a slow movement written in a minor key.

The first movement Allegro assai opens with a lively menuet that establishes the courtly and joyful quality of F major. The first theme of inquisitive eighths alternating with sparkling descending sixteenths is followed by a contrasting character of lyrical triplets, first outlining the tonic and dominant, then quickly modulates through chromatic harmonies and a suspended improvisatory line to arrive at the second theme in C major. The second theme illustrates an orchestral-like dialogue between the lower strings and bassoon playing octaves in forte and a solo flute chirping a flurry of light sixteenth notes.

The Adagio second movement in f minor uses a slow siciliano rhythm to create a mournful mood. This solemn opening phrase ends with a suspended silence, then transforms into a warm A-flat major with gently flowing accompaniment and a single vocal melody soaring above. The phrase continues to wander through unexpected, diminished harmonies to express a sense of melancholy and lament oscillating with longing and hope.

The third movement Presto brings back the lively spirit of the opening movement, now with even more gusto and humor. The brief finale is full of charm, exuberance, playfulness, suspense, and eyebrow-raising jokes that are at times witty, at times silly.

Sergei Prokofiev (1891 – 1953) – Piano Sonata No.9 in C Major, Op.103

The ninth and final piano sonata by Prokofiev is bound by an introspective tone that drastically contrasts the previous group of three “War Sonatas”. Although the piece contains moments of drama and motoric energy representative of Prokofiev’s music, the overall character is lyrical, meditative, and serene. Sviatoslav Richter, to whom the work is dedicated, says that the ninth sonata is “a radiant, simple, and even intimate work. In some ways it is a Sonata domestica. The more one hears it, the more one comes to love it and feels its magnetism. And the more perfect it seems. I love it very much.”

The first movement opens like the narrator introducing a fairy tale. The entire work unfolds with each movement introducing the theme of the next, and the coda of the finale movement returning to the melody of the opening phrase as if concluding this deeply touching and personal story with a sense of bittersweet nostalgia. Mira Mendelson-Prokofieva calls the work “calm and deep”, with both Russian and Beethoven-esque elements. “The texture of this ending, its spirit, and even its key cannot fail to bring to mind the conclusion of Beethoven’s last piano sonata” (Op. 111).

The atmosphere of magic and childhood that pervades the work reveals Prokofiev’s lifelong fascination with childhood-related themes. The ninth sonata, like many story-inspired works such as Cinderella, Peter and the Wolf, Winter Bonfire, and the Ugly Duckling reveals emotional qualities of innocence, simplicity, naiveté, carefree playfulness, and a sense of a child’s wide-eyed wonder in observing, discovering, and interacting with the world.

Franz Liszt (1811 – 1886) - Ballade No. 2

Liszt’s Second Ballade in B Minor is a dramatic saga that is often associated with Gottfried August Bürger’s Lenore, a 18th century gothic ballade that tells the story of a woman waiting for her fiancé who has left to fight with King Frederick in the Seven Years’ War. When he does not return at the end of the war, Lenore rebukes and blames God for her unjust fate. That night, a stranger resembling her fiancé offers to take her to their marriage bed, and Lenore happily obliges, riding with him feverishly into the dark and eerie landscapes. At sunrise, they arrive at the cemetery where the stranger reveals that he is Death in disguise and the marriage bed is the grave of her fiancé. Lenore is condemned to Hell as the ground crumbles beneath her feet and spirits dance around her in the moonlight.

Meanwhile, another interpretation by Claudio Arrau argues that the Ballade was based on the Greek myth of Hero and Leander, lovers who sustained their secret love affair by Hero lighting a lamp at the top of her tower each night to guide Leander to swim across the Hellespont strait. However, one stormy night, the wind blows out the light. Leander loses his way and drowns, and Hero jumps off the tower to join him in death.

The two main themes in Liszt’s ballade could illustrate both epic tales, with the roaring chromatic ostinato representing the rumbling sea as Leander struggles to swim across the water or the wind blowing in the night while Lenore rides towards her grave on the horse of Death. In both stories, the contrasting theme of the sweet, sensuous, and luminescent chorale illustrate the romantic yearning between the lovers. The music journeys through alternating episodes of ghastly, tempestuous chromaticism and lulling, tender lyricism, arriving at a heroic and triumphant climax built on the opening theme, now transformed into B major, before finally ending quietly with a last restatement of the intimate second theme, still full of an intense, sweet, yet painful sense of unresolved longing and desire.  

Earl Wild (1915 – 2010) - Reminiscences of Snow White

Earl Wild was an American pianist and composer known for his transcriptions and arrangements. His variety of transcriptions reinterpret classical works as well as jazz, film, and popular Disney songs. This work reimagines Frank Churchill’s score for the Disney’s 1937 animation Snow White and the Seven Dwarves. A sparkling introduction sets up the magical fantasy world of the fairy tale and wanders through improvisatory jazz harmonies and whimsical staccato figurations before arriving at the first theme. Sweeping arpeggios in the bass create a dreamy atmosphere to accompany the vocal melody, echoed by glittering pianissimo chords in the high register. A Maestoso section introduces the next theme, but quickly gives way to a variation back in the dolce atmosphere. The next Allegretto theme in the low bass with a dry, staccato articulation announces the arrival of the dwarves with their silly and grotesque dance. This theme is developed playfully with childlike pranks that explode in sudden triple fortes only to immediately retreat into a sneaky pianissimo theme bouncing above a mischievous, noodling chromatic line. The last theme uses the melody of the iconic song from the animation, Someday My Prince Will Come, and traverses through increasingly passionate and sentimental developments to build up to a gushing, grandiose full orchestra finale. The coda launches back into the vivo tempo of opening and concludes the journey with a dazzling sprinkle of glitter and glamour.