Here - Tyalgum Festival of Classical Music

CONCERT C5
STEINWAY CONCERT
Saturday 3 September 7.30 pm
Oleg Stepanov – piano
Schubert
Fantasia for piano in C (Grazer Fantasie) D605a
Liszt
Nocturne in A flat major 'Liebesträume'
Liszt Hungarian Rhapsody No 12
Fantasia for piano in C (Grazer Fantasie) D605a
Franz Schubert (1797-1828)
Schubert probably composed the Grazer Fantasie in 1818. It was found in 1962 and published for the first time in 1971. The
concept of a "Fantasy", where the improvisational character is the dominant force was accomplished in an original way. From
the dream-like beginning to a Weber style polonaise and virtuosic passage work, it contains the whole range of musical
improvisation. Schubert creates musical coherence by taking the opening phrase and using its rhythmic and melodic patterns
throughout. The Grazer Fantasie is an important document of early Schubert and an interesting variation to the Wanderer
Fantasie.
Nocturne in A flat major 'Liebesträume'
Franz Liszt (1811-1886)
There are three Liebesträume (Dreams of Love), and the third is by far the most popular. Each is a transcription of a song Liszt
had written about three years before. The song upon which the third of the Liebesträume is based is "O Lieb, so lang du lieben
kannst", a setting of the poem by Ferdinand Freiligrath.
A more purely Lisztian creation would be hard to imagine than the passionate, sentimental melody that is clearly behind the
work's popularity. It has a sweetness and directness at the outset and then grows impassioned in the middle section. After a
climax that features some bravura writing, the melody returns to its more tranquil opening mood, though now more reflective
and sadder. While this is undeniably a simple formula, it is nonetheless an effective one that Liszt makes the most of in the five
minutes or so of music.
Hungarian Rhapsody No 12
Franz Liszt (1811-1886)
Expressing both electrifyingly patriotic and more gentle familial feelings, this piece also presents elements (such as variations
on gestural fragments and presaging of themes) of Liszt's unique one-movement form. The work opens with a powerfully
dramatic statement in octaves of a Maestoso theme in C sharp minor. The melody is played with that same kind of doublestroke
or fanfare-like gesture, a grace note to the primary tone on the same pitch, which Liszt employed in the Hungarian
Rhapsody cycle. A low rumbling tremolo, which crescendos from piano to fortissimo, follows the first phrase. The second
phrase answers the first a fifth higher. An ascending theme, surrounded by accented arpeggio offbeats, builds the excitement.
After a held chord, a furious descending fanfare passage leads to a roaring bass trill and fast scale run introducing an even
more dramatic descending passage in double-stroke chords.
The theme is then stated again, but is harmonised this time, creating a more tragic air. A passage, alternating between E major
and its relative C sharp minor, provides a mix of reflection and regret that concludes with a dolce passages ending in a
staccato chord as if the player is abandoning the thought before becoming lost in a lyrical sadness. In fact, the music
immediately returns to the dramatic theme stated with full chords above a roaring chromatic bass. This passage also
concludes with a staccato chord plus a long pause allowing the feeling of pathos to fade away.
Completely changing the mood, but seeming to be a development of the previous few major-key measures, is an Allegro
zingarese, a fast, lively tune in a gypsy violin style, played in the high treble. But the previous minor drama remains silent in the
background to re-emerge briefly in the minor cadences at the end of each statement of the lively tune. A high treble variation,
quasi campanelle (like bells), over busy and buoyant Alberti figures, concludes, however, with a bright C sharp major (Picardy
third) chord.
A second subject, played dolce con grazia (sweetly with grace), alternating between A major and F sharp minor follows.
Rondo-like, the initial dramatic subject returns with chromatic on-rushing bass octaves with right-hand tremolos above. The
previous major passage is now played quasi Marcia (like a march), and the descending double-stroke chords are extended in a
commanding strepitoso (clamorous) passage.
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