Ravinia 2019, Issue 4, Week 8

7:30 PM THURSDAY, JULY 25, 2019 MARTIN THEATRE RICHARD GOODE, piano HAYDN Keyboard Sonata No. 24 * Allegro moderato Minuet al Rovescio Finale: Presto HAYDN Keyboard Sonata No. 22 Allegro Adagio [ attacca ] Finale: Presto MOZART Rondo in A minor BEETHOVEN Piano Sonata No. 28 (performed without breaks between movements) Etwas lebhaft, und mit der innigsten Empfindung Lebhaft. Marschmässig Langsam und sehnsuchtsvoll— Geschwind, doch nicht zu sehr und mit Entschlossenheit –Intermission– JANÁČEK In the Mists Andante Molto adagio Andantino Presto DEBUSSY Six selections from Préludes Les collines d’Anacapri (Book 1, no. 5) Des pas sur la neige (Book 1, no. 6) “Les fées sont d’exquises danseuses” (Book 2, no. 4) Les terrasses des audiences du clair de lune (Book 2, no. 7) Ondine (Book 2, no. 8) Feux d’artifice (Book 2, no. 12) * First performance at Ravinia Ravinia expresses its appreciation for the generous support of Sponsor Sharon and Eden Martin . JOSEPH HAYDN (1732–1809) Keyboard Sonata No. 24 in A major, H. XVI:26 Keyboard Sonata No. 22 in Dmajor, H. XVI:24 Haydn’s reputation underwent a tremendous transformation during the early 1770s—from a renowned middle-European musician whose compositions were known primarily through manuscript copies, to a composer of truly inter- national import with printed versions of his mu- sic disseminated rapidly beyond his provincial surroundings to England, Russia, and the Amer- ican colonies. During this transition, bootleg prints of music often wrongly attributed to Haydn appeared with great frequency in Paris, Amsterdam, and London. Unauthorized publi- cations were less likely in Austria, where Haydn lived and worked for the Esterházy family. Nikolaus I, Prince Esterházy—the music-loving Hungarian who maintained lavish residences in Vienna, Eisenstadt, and later at the palatial es- tate known as Esterháza—gradually loosened claims over Haydn’s compositions, allowing him to capitalize on demand for (until then, illicit) publications of his works. The composer autho- rized his first printed edition in 1774: a set of six keyboard sonatas (H. XVI:21–26) issued by Joseph Kurzböck in Vienna. Haydn respectful- ly dedicated these works to his patron, Prince Nikolaus. Five years passed before Haydn sanc- tioned another publication, this time by Artaria, who became his principal publisher thereafter. Haydn’s first published keyboard sonatas ad- opted a popular style for amateurs ( Liebhaber ), intentionally contrasted with more intellectual writing for connoisseurs ( Kenner ). This stylistic distinction originated with Carl Philipp Emanu- el Bach, an obvious indebtedness that stirred up trouble for Haydn. The European Magazine and London Review (October 1784) contended that these sonatas were “expressly composed in order to ridicule Bach.” The Allegro moderato that opens the Sonata No. 24 in A major, H. XVI:26, dwarfs its two partner movements, being nearly twice their Joseph Haydn by Christian Ludwig Seehas (1785) RAVINIA MAGAZINE | JULY 22 – JULY 28, 2019 96