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e gloire, o limprimerie traduit votre sagesse, en quelque lieu que vous soyez, dans les splendeurs de la ville ternelle ou dans les brumes des pays rveurs que console Cambrinus, improvisant des chants de dlectation ou dineffable douleur, ou confiant au papier vos mditations abstruses, chantre de la Volupt et de lAngoisse ternelles, philosophe, pote et artiste, je vous salue en limmortalit! Dear Liszt, through the mists, beyond the rivers, above the cities where the pianos sing your praise, where the printing-press translates your wisdom, wherever you may be, in the splendors of the Eternal City or in the mists of those dreamy lands consoled by Cambrinus, improvising songs of delight or of ineffable sorrow, or confiding to paper your abstruse meditations, singer of eternal Pleasure and eternal Anguish, philosopher, poet and artist, I salute you in immortality! (Charles Baudelaire: Le Thyrse, 1863)
I. Invocation
III. Canzonetta del Salvator Rosa VII. Aprs une lecture du Dante: Fantasia quasi Sonata
Henri Lehmann, Portrait de Franz Liszt, 1839 (Muse Carnavalet, Paris). Reproduced from Histoire Image, http://www.histoire-image.org.
The Invocation opens with a gentle single-note melody that seemingly floats atop the series of repeated chords in E major, a key that Liszt often associated with music on religious and contemplative themes. Both the shape of the melody and the dynamic start at a low point, then rise higher as the piece progresses, giving this movement a sense of transcendence. In addition, Liszts cross motif features prominently in all the major themes of this movement. Taken from the Gregorian chant Crux fidelis, a hymn from the mass of Good Friday, the motif consists of a combination of the chants opening notes. Finally, the ending of the piece features repeated Amen cadences in fortississimo.
Canzonetta del Salvator Rosa, from Annes de plerinage Deuxime anne: Italie
Liszt settled in Florence for the winter of 1838. This Tuscan city was home to many extraordinary artists and intellectuals, one of whom was the famous seventeenth century artist, poet, and musician Salvator Rosa (1615-1673). Alleged to have taken part in the popular Neapolitan uprising against the Spanish, myths and legends surrounded Rosa both during and after his life, and he was a popular figure in French romanticism. In the , Liszt transcribed the text and the canzonetta, melody:
Vado ben spesso cangiando loco Ma non si mai cangiar desio. Sempre listesso sar il mio fuoco E sar sempre listesso anchio. Often I change my location, But I shall never change my desire. The fire within me will always be the same. And I myself will always be the same.
Though Liszt had believed that this was a work by Rosa, it was revealed a half century later that it was Giovanni Battista Bononcini who composed it. The song itself is a simple and cheerful march, and Liszts transcription consists of strophic variations of the melody, moving from A major to its relative key of F# minor, then returning to A major, and finally ending with a small coda.
Dante & Virgil: the infernal hurricane tormenting the souls of the lustful (Inf V).
Gustave Dor, Plate XIV: Inferno Canto V, 1857. Reproduced from Gustave Dor, The Dore Illustrations for Dante's Divine Comedy (New York: Dover, 1976), 24.
George Peter Alexander Healy, Franz Liszt, 1887 (The Longfellow House, Cambridge). Reproduced from Edward N. Waters, Liszt and Longfellow, The Musical Quarterly, 41,1 (1955): 4-5.
Les jeux deaux la Villa dEste, from Annes de plerinage Troisime anne
In 1883, Liszt published the third year of his . Perhaps the finest collection of Liszts late piano works, it exemplifies his preoccupation with faith and death. In an 1877 letter, Liszt described his state of mind using the words of Christs agony in the garden of Gethsemane: Tristis est anima mea! He finally found inspiration upon his return to the Villa dEste in August, and composed , among other works. One of the pivotal pieces of Romantic piano repertoire, Jeux deaux uses double-note tremolos and thirty-second notes along with refined left-hand trills to create the exquisite effect of the shimmering water flowing from the Villa dEstes fountains. However, it is much more than simply a painting of the fountain. Midway through the piece, at the point when the staff first breaks into three, Liszt inscribed: Sed aqua, quam ego dabo ei, fiet in eo fons aquae salientis in vitam aeternam (But the water that I will give him, shall become in him a fountain of water, springing up into life everlasting). From the Gospel of John, the verse also alludes to Paul, for in one Spirit were we all baptized into one bodyand in one Spirit we have all been made to drink. The fountains of Villa dEste thus represented the water of baptism, the grace of the Holy Spirit washing away the sins of man and his rebirth into the divine life.
~ Allen Yu
Brunswick, Maine Feast of Saint Isidore of Seville 4 April 2014
BOWDOIN CHORUS
Thursday & Friday, 1-2 May at 7:30pm Studzinski Recital Hall Anthony Antolini 63, director Bowdoin Chorus and Mozart Mentors Orchestra, under the director of Anthony Antolini '63, will present Mendelssohn's Psalm 114 and Stravinsky's Symphony of Psalms.
Pianist Allen Wong Yu, 21, is an acclaimed performer, recognized for his mature musicianship, elegant tone, and charismatic stage presence. Born in California and a native of Beijing, Allen began studying piano at the age of six and won his first major competition at ten. Since then, he has appeared many times as a solo recitalist, as a soloist with distinguished orchestras, and as a chamber musician. Allen also claimed numerous first prize awards including the Ithaca College Piano Concerto Competition, the Bertha F. Lang Empire State Competition, the New York Music Teachers National Association Baldwin Competition, and the Manchester Young Artist Competition. Allen delivered his solo debut at age twelve and his critically acclaimed orchestral debut a year later.
An accomplished performer, Allen appeared as a soloist in major venues in Albany, Schenectady, Rochester, Oneonta, Ithaca, Binghamton, Saratoga, Springfield, Portland, and Brunswick. During his time abroad in Italy, he also presented solo recitals in Milan and Ferrara. Among his appearances as guest soloist, he performed with the Ithaca College Symphony Orchestra under Jeffery Meyer, the Amadeus Chamber Orchestra under Findlay Cockrell, and the Schenectady Symphony Orchestra under the baton of Maestro Charles Schneider. In February 2012, Allen appeared on National Public Radios From the Top for the second time; his first appearance on NPR was in 2008 when he performed as a Jack Kent Cooke Young Artist. Allen was also featured as a performer and host on China Radio International in Beijing, which was aired across China and around the world. Allen Yu is currently a senior at Bowdoin College in Brunswick, Maine, where he is pursuing his AB in Government & Legal Studies and Music, studying with pianist George Lopez, Bowdoins Beckwith Artist-in-Residence. Along with his studies, he is actively performing. Highlights from his past seasons include Mozart and Haydn Sonatas,
Schumanns Carnaval and Fantasiestcke, Mendelssohns Fantasies or Caprices, and Mussorgskys Pictures at an Exhibition. He is also an active chamber musician at Bowdoin, having performed the Schumann and Dvorak Piano Quintets, Brahms Variations on a Theme by Joseph Haydn for two pianos, and Dvoraks Slavonic Dances for four hands. At Bowdoin, he has been recognized as a Sarah & James Bowdoin Scholar, and was elected three times as Vice President of the student body on Bowdoin Student Government. He previously graduated from Shaker High School in Latham, New York and received a Liberal Arts diploma with high honors. He is a Past Distinguished Governor of New York for Key Club International, a service leadership program of Kiwanis International. Having spent four years at Bowdoins historic campus on the beautiful coast of Maine, Allen will move to New York City following graduation to begin the next chapter of his life.
My senior recital would not have been possible without the many people who have supported me along the way. To you all, I would like to express my eternal gratitude.
First, I am indebted to Mr. George Lopez, my dedicated teacher and mentor, for radiating so much passion and optimism during every lesson that we have had, for helping me mature as a student and musician, and for always making me realize what a joy it is to have music in my life; To Professors Arielle Saiber & Dallas Denery, for always inspiring me with great literature; To my advisors, Professors Paul Franco, Jean Yarbrough, & Robert Greenlee, who have imparted to me so much great wisdom over the years; To Professor Mary Hunter, who taught me the importance of being not just a performer, but also a scholar of music; To Bill, for showing me the true meaning of, once a Polar Bear, always a Polar Bear; To Iris, Zach, Megan, Paola, Marina, & all who were part of my time abroad, for making my experience in Italy so much more meaningful; To all my Bowdoin friends who have made a profound difference in my life, who have put up with my awful jokes, stood by me through thick & thin, and made the last four years the best years yet; And lastly, to my loving family, for instilling in me a great love of music. Though it has certainly not always been easy, thank you for fifteen years of unending support in my musical endeavors. I could not have done it without you.
In consideration of the performer and those around you, please kindly switch off your cellular phones, pagers, and watch alarms during the recital. Thank you. Visit: www.allenwyu.com Follow on Twitter: @allenyu92