Janina Fialkowska, piano| January 21, 2024 | House Program

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Piano<br />

JANUARY <strong>21</strong>, <strong>2024</strong>, AT 2:30 PM<br />



Piano<br />

JANUARY <strong>21</strong>, <strong>2024</strong>, AT 2:30 PM



Piano<br />

JANUARY <strong>21</strong>, <strong>2024</strong>, AT 2:30 PM<br />


SCHUBERT Piano Sonata No. 7 in E Flat Major, Op. 122, D. 568<br />

Allegro moderato<br />

Andante molto<br />

Minuetto: Allegretto – Trio<br />

Allegro moderato<br />

BRAHMS Intermezzo in B Flat Major, Op. 76, No. 4<br />

Rhapsodie in B Minor, Op. 79, No. 1<br />

Intermezzo in A Major, Op.118, No. 2<br />

Intermezzo in B Flat Minor, Op. 117, No. 2<br />

Capriccio in D Minor, Op. 116, No. 7<br />


CHOPIN Polonaise in C Sharp Minor, Op.26, No. 1<br />

Ballade No. 2 in F Major, Op. 38<br />

Mazurka in B Flat Major, Op. 7, No 1<br />

Mazurka in E Minor, Op. 17, No. 2<br />

Scherzo No. 4 in E Major, Op. 54


Franz Schubert (1797-1828) was a prolific<br />

composer who lived his entire short life in Vienna.<br />

While he appeared to write songs with great ease<br />

and imagination, he seems to have laboured more<br />

when composing piano sonatas than almost any<br />

other genre, completing only eleven of the almost<br />

two dozen he started. Still, the completed works<br />

are richly rewarding, often displaying an emphasis<br />

on lyrical melodic writing as can be heard in<br />

the E-Flat Major Sonata that opens this concert.<br />

Curiously, this work began with three movements<br />

of sketches from 1817 for a D-Flat Major Sonata<br />

but, with the prospect of publication a decade<br />

later, these movements were transposed to E-Flat<br />

Major, extensively rewritten, and increased to four<br />

movements with the addition of a minuet. The lilt<br />

of this minuet’s graceful triple meter displays a<br />

genteel charm more akin to an Austrian Ländler<br />

than usually heard in the more classical minuets<br />

of Mozart or Haydn. This dance flavour continues<br />

to resonate in some of the 6/8 metered passages<br />

of the final movement which, in understated<br />

fashion, ends softly as the main theme’s final<br />

appearance drifts gently away.<br />

From 1869 until his death, Johannes Brahms<br />

(1833 – 1897) also called Vienna home. Being<br />

blessed with a lifespan twice as long as<br />

Schubert’s, Brahms lived long enough to occupy<br />

the same exalted position Beethoven had held<br />

as one of the city’s preeminent living composers.<br />

In his short piano pieces, Brahms uses the<br />

title, “Capriccio,” for compositions built from<br />

rhythmically exciting musical material, while<br />

“Intermezzo” is used to convey a somewhat<br />

emotionally introspective piece. The central<br />

A-Major Intermezzo heard in today’s group of<br />

five pieces, is one of his most popular works<br />

of this kind and has a motivic ingenuity that is<br />

remarkably integrated in the way the opening<br />

pitches (C#-B-D, C#-B-A) are continually reused,<br />

including being turned upside down. The B-Minor<br />

Rhapsodie is an expansive work that uses a<br />

rather systematic rondo design of ABACABA<br />

instead of a free, episodic structure often found<br />

in rhapsodies. What is perhaps rhapsodic is the<br />

way the chiselled profile of the opening theme<br />

is continually adapted to generate transitions<br />

between passages of remarkable dramatic<br />

intensity, and how the central section<br />

is so contrastingly slow and expressive.<br />

Recognizing Vienna’s musical and cultural<br />

importance, Frédéric Chopin (1810 –1849) left<br />

Poland in 1830 to establish a pianist/composer<br />

career in Vienna. Within a year he moved to<br />

Paris, finding the more openly supportive and<br />

progressive salon scene in that city to be a better<br />

fit for his music and temperament. Throughout<br />

his career, Chopin’s Polish roots are often on<br />

display in his music, particularly in his original<br />

compositions based on the character of Polish<br />

folk dances, such as widely varied mazurkas and<br />

the more regal polonaises. Chopin wrote a total<br />

of four Ballades and four Scherzos during his<br />

lifetime, and all these works are highly virtuosic<br />

and display an original approach to integrated<br />

musical form.<br />

©<strong>2024</strong> by John Burge for the Isabel<br />


For 50 years, concert pianist <strong>Janina</strong> <strong>Fialkowska</strong><br />

has enchanted audiences and critics around<br />

the world. She has been praised for her musical<br />

integrity, her refreshing natural approach and her<br />

unique piano sound thus becoming “one of the<br />

Grandes Dames of piano playing” (Frankfurter<br />

Allgemeine).<br />

Born in Canada, she began her piano studies<br />

with her mother at age 4 continuing on in her<br />

native Montreal with Yvonne Hubert. In Paris she<br />

studied with Yvonne Lefébure and in New York<br />

at the Juilliard School with Sascha Gorodnitzki,<br />

experiencing the best of both French and Russian<br />

piano traditions. Her career was launched in 1974,<br />

when the legendary Arthur Rubinstein became<br />

her mentor after her prize-winning performance<br />

at his inaugural Master Piano Competition,<br />

calling her a “born Chopin interpreter” laying<br />

the foundation for her lifelong identification<br />

with this composer.<br />

Since then she has performed with the foremost<br />

orchestras worldwide under the baton of such<br />

conductors as Zubin Mehta, Bernard Haitink,<br />

Lorin Maazel, Sir Georg Solti, Sir Roger Norrington

and Yannick Nézet-Séguin, to name one of<br />

the younger generation. She has won special<br />

recognition for a series of important premieres,<br />

notably Liszt’s newly discovered Third Piano<br />

Concerto with the Chicago Symphony and several<br />

contemporary piano concertos. Ms <strong>Fialkowska</strong>’s<br />

discography includes many award-winning discs,<br />

e.g. the BBC Music Magazine’s 2013 “Instrumental<br />

CD of the Year” award as well as the Canadian<br />

“Juno Award” in 2018.<br />

Her native Canada has bestowed upon her<br />

their highest honors: “Officer of the Order of<br />

Canada”, the “Governor General’s 2012 Lifetime<br />

Achievement Award in Classical Music” (Canada’s<br />

equivalent to the US Kennedy Centre Awards),<br />

as well as three honorary doctorates. She passes<br />

on her wide musical experience in master classes<br />

and at her annual “International Piano Academy”<br />

in Bavaria, where she now resides and makes<br />

frequent appearances as a juror of the world’s<br />

most prestigious piano competitions.<br />

At the end of April 2022 <strong>Janina</strong> <strong>Fialkowska</strong> went<br />

on a tour of four Canadian provinces starting in<br />

Halifax with Symphony Nova Scotia, followed<br />

by a recital in Quebec City for the Club Musical.<br />

After concerts with the Calgary Philharmonic she<br />

performed in Ontario at the Guelph Festival as<br />

well as for the in Kitchener-Waterloo Chamber<br />

Music Society and at the Hamilton Conservatory<br />

for the Arts and at Montreal’s Salle Bourgie<br />

ending in Saskatchewan with the Regina<br />

Symphony and a recital in Saskatoon for Gustin<br />

<strong>House</strong>. After that she returned to Europe to<br />

perform at the Berlin Piano Festival in Germany’s<br />

Capital as well as the prestigious Klavierfruehling<br />

Deutschlandsberg in Austria followed by<br />

several recitals in Germany and a concert with<br />

the Rijeka Symphony (Croatia). Highlights in<br />

2023: Rerturning to the Klavierfestival Ruhr<br />

(Düsseldorf), a concert with the Cologne<br />

Chamber Orchestra, recitals in the UK as well<br />

as a tour of summer festivals and a winter tour<br />

in Ontario, Canada. ●<br />

Dominique<br />

Beauséjour-Ostiguy<br />

with Jean-Michel<br />

Dubé, piano<br />



Sunday, Jan 28, <strong>2024</strong>, 2:30 pm<br />

Recipient of the 2018 Prix d’Europe, the 20<strong>21</strong><br />

Choquette-Symcox Award, the 2017 Peter Mendell<br />

Award, and a semi-finalist of the 2020 Bader &<br />

Overton Canadian Cello Competition, soloist and<br />

composer Dominique Beauséjour-Ostiguy has<br />

been ranked among the “30 hot Canadian classical<br />

musicians under 30” by CBC Music in 2018. Joining<br />

him on stage is Jean-Michel Dubé, who is standing<br />

out as one of the most promising Canadian pianists<br />

in the country according to CBC / Radio-Canada.<br />

General Public $30-$35 / Faculty/Staff $27-$32 / Student $10<br />

TICKETS: queensu.ca/theisabel · 613-533-2424

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