Ravinia 2019, Issue 4, Week 8

6:00 PM MONDAY, JULY 22, 2019 BENNETT GORDON HALL RAVINIA’S STEANS MUSIC INSTITUTE PROGRAM FOR PIANO & STRINGS This evening’s program will feature chamber works by Felix Mendelssohn and more. The participants’ biographies can be found in the RSMI program book distributed at this concert, and the evening’s complete repertoire in the included program insert. 7:30 PM MONDAY, JULY 22, 2019 MARTIN THEATRE GAUTIER CAPUÇON, cello † JEAN-YVES THIBAUDET, piano SCHUMANN Fantasy Pieces for cello and piano Zart und mit Ausdruck [ attacca ] Lebhaft, leicht [ attacca ] Rasch und mit Feuer BRAHMS Cello Sonata No. 1 Allegro non troppo Allegretto quasi Menuetto Allegro –Intermission– SIBELIUS Malinconia * SHOSTAKOVICH Cello Sonata Allegro ma non troppo Allegro Largo Allegro † Ravinia debut * First performance at Ravinia Ravinia expresses its appreciation for the generous support of Sponsor Sue and Tom Pick . ROBERT SCHUMANN (1810–56) Fantasiestücke , op. 73 Schumann began a series of chamber duos featur- ing various solo instruments with piano during 1848–49. Four collections sprang from his teem- ing imagination between February and Decem- ber: the Fantasiestücke (Fantasy Pieces), op. 73, for clarinet; Adagio and Allegro, op. 70, for horn; the Fünf Stücke im Volkston (Five Pieces in Folk Style), op. 102, for cello; and theThree Romances, op. 94, for oboe. These reflected the composer’s experimentation with instrumental combina- tions and his effort to produce lighter works that might appeal to the music-buying public. With marketability in mind, Schumann suggest- ed that the Fantasiestücke , op. 73, might be per- formed by clarinet, violin, or cello. This work’s three movements are presented in a sequence of increasing tempos and mounting tension. Schumann complements his natural expression with an impressive display of contrapuntal tech- nique. The minor-key Zart und mit Ausdruck (Delicate and expressive) begins with a piano introduction, which inverts the coming cello theme. Turning to a major key, his Lebhaft, leicht (Lively, light) explores other devices, such as modified imitation. Chromatic scales appear in the trio segment, and then the opening material resumes. The piece concludes with an impetuous finale, Rasch und mit Feuer (Fast and with fire). JOHANNES BRAHMS (1833–97) Cello Sonata No. 1 in E minor, op. 38 Brahms composed three movements of a cel- lo sonata in E minor in 1862, but mysteriously broke off work on the composition before the final movement. As he approached the age of 30, his reputation as a pianist and composer was firmly established, and he hoped this pop- ularity would earn him consideration when Friedrich Wilhelm Grund retired as conductor of the Hamburg Philharmonic Concerts. Real- izing that Hamburg officials might be reluctant to appoint a local musician, Brahms furthered Robert Schumann by Auguste Hüssener (1847) RAVINIA MAGAZINE | JULY 22 – JULY 28, 2019 90