Starting on June 05, 2023 2:00 pm
At Good Shepherd Presbyterian Church
Drew Petersen. piano
Danbi Um. violin
Camille SAINT-SAËNS Clarinet Sonata in Eb Major Op. 167 • 1921
admired for its elegance, beauty, and impeccable composition
~ The absorbing work harks back to the galant style of the 18th century, yet is reminiscent of the neoclassical movement of his day. It was composed in the last year of his life and dedicated to August Perier, a fine clarinetist with an astonishing technique. Although it was not performed during his lifetime, Saint-Saëns had the satisfaction of knowing that the Sonata was approved by its dedicatee.
MENDELSSOHN String Quintet No. 1 in A Major Op. 18 • 1826
~ a remarkable Quintet, elegantly classical, and one of his most personal expressions, written at age 17
In 1832, while in Paris on a concert tour, Mendelssohn learned of the sudden death of Eduard Rietz, his violin teacher and close boyhood friend. As a farewell tribute, he replaced the original Minuet with an Intermezzo captioned “Nachruf” (In Memoriam)—a warm nostalgic remembrance rather than an elegy. It features the violin, which was Rietz’s instrument. The original Scherzo became the third movement, and the revised version was published as Op. 18.
BACH Sarabande from BWV 808 • 1710–1720
~ the 4th movement from the 3rd “English Suite in a gorgeous transcription by Saint-Saëns for violin and piano— Bach’s first biographer Johann Nikolaus Forkel noted, “they were made for an Englishman of rank.”
BACH Concerto No. 1 in D minor BWV 1052 • 1738
~ Bach loved it ~ Mendelssohn played it ~ Brahms wrote a cadenza for it
According to the early music specialist Martin Pearlman, “This concerto, Bach’s best known harpsichord concerto, is thought to be a transcription by him of a lost concerto from his years in Cöthen (1717–1723). The original was probably for violin, and there have been several hypothetical reconstructions made of a violin version. The earliest version that has actually survived, however, appears in two cantatas that date from later in the 1720s: Cantata 146 for the first two movements and Cantata 188 for the third. These cantata versions are for organ solo accompanied by an ensemble that is expanded to include oboes. The concerto then reappears as a harpsichord concerto in the mid-1730s in a manuscript written out in part by Carl Philipp Emanuel Bach. In that form, it was probably played by either Philipp Emanuel or by his father in concerts with the Collegium Musicum that Johann Sebastian was directing. Finally, there is a copy of this concerto in Bach’s own hand in a collection of all of his solo harpsichord concertos that he copied out in the late 1730s.”