Yale Collection of Musical Instruments presents
S c h n e i d e r m a n -Y a m aYa d u o John Schneiderman, terz guitar Hideki Yamaya, terz guitar, Romantic guitar and Milanese mandolino
in
Beethoven for Two Guitars
15 Hillhouse Avenue New Haven 3 December 2017 3:00 p.m.
cover painting Joseph Willibrord Mähler Portrait of Beethoven Oil on canvas, 1804-1805. Vienna Museum, Vienna
This concert is being recorded and streamed live over the internet. Please turn off all cellphones and electronic devices.
Yale Collection of Musical Instruments 15 Hillhouse Avenue New Haven
3 December 2017 3:00 pm
Schneiderman-Yamaya Duo Beethoven for Two Guitars Ferdinando Carulli (1770-1841)
Ferdinando Fantasy, Op. 157 from Piano Sonata, WoO 69 Variations & Rondo, Op. 155 from Piano Sonata, Op. 26
Ivan Klinger
Rondo, from Rondo for Violin & Piano
Vincenz Schuster
Variations, Op. 3, from Septet, Op. 20
(1815-1897) (1800-?)
Andante, Op. 5, from Quartet, Op. 59 No. 3
INTERVAL
Arr. Hideki Yamaya (b. 1972)
Adagio for Mandolin & Piano, WoO 43b Sonatine for Mandolin & Piano, WoO 43a Sonatine for Mandolin & Piano, WoO 44a
Anonymous
Andante from Piano Sonata, Op. 28
Vincenz Schuster
Variations, Op. 4, from quartet, Op. 18 No. 3
(1800-?)
This concert is made possible by the generous support of the Associate Members of the Collection.
The Guitar in Beethoven’s Milieu ‘Mein wohlfeilster Baron! sorgen sie, daß der guitarist noch heute zu mir komme…’ ‘My humble Baron! Take care, that the guitarist still comes to me today…’ So writes the 28 year-old Beethoven in 1798/9 in a note to his trusted friend Baron Nikolaus Zmeskall, imploring him to ask their friend Karl Friedrich Amenda to send singer/guitarist acquaintance Gottfried Heinrich Mylich to visit him. Among his earliest friends in newly arrived Vienna, Beethoven had both personal and professional relationships with guitarists including Raimund von Wetzlar (of whom he wrote ‘plays the guitar beautifully and with feeling’), Austrian government official and musicologist Raphael Georg Kiesewetter, Countess Maria Wilhelmine von Thun (dedicatee of Beethoven’s Piano Trio Op. 11, described as ‘one of our best guitarists’). Besides these affable friendships, Beethoven also pursued love interests with women who had connections to the guitar, including Antonie Brentano (accomplished amateur pianist and guitarist), Therese Malfatti (daughter of Beethoven’s physician whose sister was a guitarist and for whom Beethoven was to send a guitar part to a song), Countess Maria Carolina Anna von Thun (daughter of Maria Wilhelmine, and said to [excel] as a singer and guitarist’), and Regina HitzelbergerLang (‘A proficient guitarist and singer’). Despite, or maybe because of Beethoven’s acquaintance with casual guitarists, he did not compose for the guitar: perhaps his encroaching hearing loss did not enable him to value guitar performances, perhaps the instrument was not sonorous enough for his interests, or perhaps he did not cultivate the direct personal associations with professional players necessary to master an unfamiliar medium. His four compositions for mandolin and harpsichord of 1796 are a natural result of his experience with string writing prompted by personal patronage. Alongside informal awareness of the guitar, professional virtuoso performers also moved within Beethoven’s circle in immediate and indirect contact. A true golden era of guitar art was flourishing in Vienna at the dawn of the 19thcentury. Guitarists from Italy, France, Bohemia, and across Germanic territories were drawn to the imperial city. Among them, Wenzel Matiegka, Vincenz Schuster, Simon Molitor, and Anton Diabelli were well-schooled in composition, and often also served as piano instructor, organist, vocalist, or string instrumentalist. Vienna’s prodigious music scene was capably embodied by its guitar denizens: between 1792–when Beethoven settled in Vienna–and Mauro Giuliani’s arrival in late 1806, serious composition practice was becoming the norm for the guitar, with pervasive use of sonata form, its representation in chamber music, and its use in art song. Performance level was exceptional, reflected in the quality of its artists and quantity of music printed by Vienna’s unrivaled publishing houses. Matiegka, Schuster, and Diabelli all had various dealings with Beethoven and published or made arrangements of his works. Diabelli’s firm produced the Op. 8 and 25 Serenades as rendered by Matiegka; Diabelli also published a handful of his lieder in highly effective arrangements, and a potpourri of popular instrumental movements for flute and guitar.
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Additionally, over forty Beethoven songs were published with guitar since 1807, predating the infamous ‘Immortal Beloved’ crisis. And obsessions with female guitarists– many of whom were candidates for the Immortal Beloved–may have led him to permit certain lieder to be arranged with guitar. Parisian guitarists also fell under Beethoven’s spell; Ferdinando Carulli undertook the task of arranging Beethoven for two guitars or guitar with piano, though they do not display the rigor and specificity as practiced by the more proximate Viennese. Another wave of Beethoven guitar activity can be discerned in late 19th-century Russia: Yuri Diakov, Vladimir J. Morkov, and Ivan Klinger (whose work is represented here) all transcribed his works for guitar. It is well known that Beethoven was angered by unapproved arrangements of his works; yet skilled guitarists in his circle prepared adaptations that must have been known to the composer. Both Viennese and Parisian arrangements were made ca. 1820: mostly early period works are represented (Piano Sonata No. 12, Op. 26 of 1801, Andante favori, WoO 57 of 1805, and the Quartet Op. 59 No. 3 of 1808 being notable exceptions), focusing on a musical style that their arrangers found most appropriate to their medium.
program noteS Arrangements by Ferdinando Carulli (1770-1841): Fantasy, Op. 157 (Fantaisie tirée des ouvrages de Beethoven) Ferdinando Carulli was born the same year as Beethoven. Around 1822, he published two duos in freely arranged settings directed towards advanced amateurs with equally distributed parts. Carulli often alters Beethoven’s notes, rhythms, and harmonies to suit his needs, with brief sections of original material linking quotations. The Fantasy is a mishmash of three Beethoven piano works: Sonata Op.2 No. 2, Variations on a Theme of Paisiello, WoO 69, and Andante favori, WoO 57. Carulli quotes the exposition of the Rondo from the sonata, but then truncates it and ushers in an adaptation of sections from the Andante favori, then referring back to a short quote of the sonata. After an expectant pause, he immediately launches into an arrangement of the variations, reordering and omitting material. There is a final aide-mémoire of the sonata and andante, and Carulli closes his presentation with number five of the variations. Variations and Rondo, Op. 155 (Andante varié et Rondeau) The Variations and Rondo is a loose setting of segments from the Piano Sonata No. 12, Op. 26–the first movement Andante con variazioni and its final Allegro, transposed from Ab to C major. In the adaptation, octave textures are absent and many freedoms are taken with regard to voicing, ties, and other details. Pianistic effects such as rapid back-and-forth movements between the hands or articulations are abandoned in favor of simpler textures. Variation IV is omitted and the following variation radically changes figurations and rhythmic values. The Rondo is abridged from the original, with many structural changes, exclusions, and addition of original passages; in a repeated section, thematic material is switched between players. He chooses to write a new ending, bypassing Beethoven’s dramatic denouement in favor of a more typical conclusion. 5.
Arrangements by Vincenz Schuster (1800-?) Schuster was a respected guitar virtuoso who was engaged by Diabelli to produce three Beethoven duo arrangements to be published by his firm between 1819 and 1821. They include variations from the Gran Septour, Op. 20 and the String Quartet, Op. 18 No. 5, and the remarkable Andante con moto quasi allegretto from the middle period String Quartet, Op. 59 No. 3. Schuster wisely chose instrumentation featuring the higher-pitched terz guitar paired with a normal guitar, extending the range and adding brilliance to the sound. He meets the challenges inherent in arranging ensemble music with creative and idiomatic solutions. Schuster is consistent in reaching decisions that are in keeping with the Beethoven style, never altering the structure or harmonic language. In 1823, Schuster wrote a brief method for Guitare-Violoncells (better known as the Arpeggione), a guitar bowed like a cello, built by Viennese luthier Georg Stauffer. While the Arpeggione was short lived, Franz Schubert wrote a magnificent sonata for this instrument in 1824. Given Schuster’s reputation, his position as a conduit between the guitar and bowed instrument worlds is fascinating, lending great insight into his arranging practices. Variations, Op. 3 (Variations favorites pour deux Guitarres, tirées d’un Gran Septour de L. van Beethoven) The perennial Septet, Op. 20 for winds and strings was arranged by Beethoven himself for clarinet trio and appeared in versions for flute and string quartet, piano quartet, piano with flute, piano with violin, and piano four hands by other arrangers including Hummel, Liszt, and Czerny. Diabelli prepared a version of this work for violin and guitar, which is now lost. Schuster renders it in a straightforward manner, observing textural details, but adhering to his unique arrangement practices such as repeating pitches to sustain longer note values and avoidance of physical impracticalities. Schuster may have used previously made arrangements as a model for this setting. Variations, Op. 4 (Variations tirées d’un Quatuor de Louis van Beethoven) This arrangement of String Quartet Op. 18 No. 5 further documents Schuster’s success at bridging string and guitar writing. Part identity from the quartet is largely duplicated, although longer notes in the lower strings are shortened in order to maintain propulsion - and some notes exceeding comfortable range are brought into practicality. When musical textures become extremely active or melodic motifs jump between instruments, the arranger has cleverly dispersed ideas amongst guitar parts. The simple theme, marked andante cantabile, is set with little revision. The layering effect of variation I is retained, although some higher notes in first violin have been reined in. Variation II, with its wide-ranging solo part and modest accompaniment, lies well among the two guitars. The next variation’s expressive lines and lively accompaniment are also quite effective. The more restive variation IV makes use of repeated notes in order to create the illusion of greater sustain. For listeners familiar with the exciting march-like fifth variation, the omission of the high trill in violin I is the most noticeable change. Octaves between second violin and viola are also somewhat altered, but the variation still retains its essential character. The abrupt change of key, extended material, and return of the theme at the end of this final variation are handled with confidence in this fine arrangement. 6.
Andante, Op. 5 (Andante favorit tiré d’un Quatuor de Louis van Beethoven) The third of the Rasumovsky quartets (Op. 59 No. 3) contains a remarkable Andante con moto quasi allegretto which proved to be of great popularity, being arranged for piano four hands, two guitars, and even solo piano by Saint-Saëns. But unlike the sunnier variations from the Op. 20 septet or Op. 18 No. 5 quartet, the Op. 59 Andante explores deeper emotional regions, delving into obscure harmonic expanses where sudden sforzandi lend an air of unease–and among the guitar arrangements of this period, stands as a unique achievement. The Andante requires an unusual instrumental setup: a terz guitar with at least nineteen frets capoed at the second fret, pitching it a full fourth above the second guitar. In the present recording, the terz guitar was used without a capo, but with a normal guitar tuned a whole tone lower (in D), keeping the same intervallic relationship. The combination of the high notes on the first guitar and a deeper pitch of the second guitar suits very well the musical and expressive demands of this work–quite possibly the most profound piece amongst the 19th-century guitar duo repertoire.
Arrangements by Alexandre Heeser (19th c.), Ivan Klinger (?-1897), and others Andante (Andante sur Sonate Op. 28 af L. van Beethoven) The slow movement of Piano Sonata Op. 28, the “Pastoral’ of 1801 was arranged for string quartet and for organ, in addition to this version for two guitars. Its stately, measured pace, sustained melody, and moving bass line are highly suitable for the duo medium. In this anonymous Danish arrangement, the original key of D minor is observed in the terz guitar, transposing the actual key to F minor. Right and left hand parts are preserved closely, with some octave doublings in the second part. In its density and adherence to the original text, it displays the hallmarks of later arrangements. Rondo, Op. 23 (Rondo von L. van Beethoven) In 1792, following a disagreement with his patron and amateur pianist friend Eleonore von Breuning, Beethoven sent her a manuscript of the Rondo for violin and piano, WoO 41 (which he called ‘a small retaliation for your kind thoughts of me…’) as an apology for his poor behavior. The writing is lucid and well within the means of an advanced amateur pianist, and eminently suitable for guitar arrangement. Ivan Klinger, a general in the Imperial Russian Army, was also a dedicated guitar composer and arranger. He was associated with Russian nobleman and guitarist Nicolai Petrovic Makaroff and the St. Petersburg guitar society. Klinger also arranged works of Weber, Mendelssohn, and C. P. E. Bach for guitar duo, as well as Russian works. His Beethoven arrangement demonstrates characteristic features of his work: idiomatic writing, often unexpected or original fingerings, and mostly even distribution among the parts. Interestingly, it calls for a second guitar with a seventh string tuned to D, a whole tone below the sixth string E. It does not attempt to replicate all the figures from the left hand of the piano: idiomatic playability is the primary function, with voice leading being an afterthought.
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Klinger is an adept arranger, finding sonorous yet playable means to present this attractive work. It is lamentable that Beethoven, widely regarded as one of the greatest composers in the history of music, never wrote specifically for guitar, even though he was associated with guitarists–all the more reason that guitar arrangements of his music made by his contemporaries and quite possibly known to him should be acknowledged and celebrated. With this concert and their recent recording, the Schneiderman–Yamaya Duo attempt to bring to light duo arrangements of exceptional quality that are today mostly unknown to audiences and guitarists alike. --Dr. Alexander Dunn
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About the Performers Critically acclaimed virtuoso of plucked instruments since age nine, John Schneiderman specializes in the performance practice and repertoire of eighteenth-century lutes and nineteenth-century guitars. Based in California, Mr. Schneiderman is in demand as a soloist and chamber musician collaborating on recordings and performances throughout North America. Beginning his performance career as a banjo, guitar, bass and fiddle player, the young Schneiderman was a familiar face on the stages of bluegrass and folk festivals throughout California. Mr. Schneiderman studied with British guitar pedagogue and author Frederick Noad, and continued his studies at the Schola Cantorum in Basel, Switzerland, with the great modern pioneer of the baroque lute, Eugen Dombois. Mr. Dombois’ precise and detailed approach to the repertoire continues notably to influence Schneiderman’s interpretations today. He is a member of Galanterie, The Czar’s Guitars, Les Deux Amis, and the Schneiderman-Yamaya Duo. He has performed with the Los Angeles Opera, L.A. Chamber Orchestra, L.A. Philharmonic, L.A. Master Chorale, L.A. Baroque Orchestra, Musica Angelica, Seattle Baroque, Philharmonia Baroque Orchestra, Chanticleer, Musica Pacifica, El Mundo and the American Bach Soloists. His extensive discography, much of it rarely or never before recorded lute and guitar music, includes CDs on the Titanic, AudioQuest, Centaur, VGo, Dorian Sono Luminus, Brilliant Classics, Profil:Edition Günter Hänssler, and Hänssler Classic labels. Mr. Schneiderman is currently on the faculties of the University of California, Irvine and Claremont Graduate University, and has been on the faculties of Irvine Valley College, Orange Coast College, California State University, Long Beach and the San Francisco Conservatory of Music. www.johnschneiderman.com Hideki Yamaya is a lutenist and early guitarist based in Portland, Oregon, USA. Born in Tokyo, Japan, he has lived all over the United States before settling in Portland, where he is a freelance performer and teacher. He has a B.A. in Music and an M.A. in Ethnomusicology from University of California, Santa Cruz, where he studied with Robert Strizich, and an M.F.A. in Guitar and Lute Performance from University of California, Irvine, where he studied with John Schneiderman. He also studied with James Tyler at University of Southern California and with Paul Beier at Accademia Internazionale della Musica in Milan, Italy. He has had master classes with the foremost lutenists of today, including Robert Barto, Victor Coelho, David Dolata, Ronn McFarlane, Richard Savino, and Stephen Stubbs. In demand both as a soloist and as a continuo/chamber player, Hideki has performed with and for Portland Baroque Orchestra, Portland Opera, Santa Cruz Baroque Festival, Baroque Northwest, Musica Angelica Baroque Orchestra, Los Angeles Master Chorale, Los Angeles Opera, California Bach Society, Oregon Bach Festival, and Astoria Music Festival. He is one half of the Schneiderman-Yamaya Duo and is the artistic director for Musica Maestrale, an early music collective based in Portland. He is an internationally acclaimed musician and has performed in Canada, Japan, Great Britain, Germany, and Italy. www.hidekiyamaya.com 9.
Celebrating the FiFtieth anniversary oF the MuseuM’s ConCert series forthcoming performanceS:
February 4 3:00 pm
- muSic inSpired bY bach Bach, Beethoven, Mendelssohn, Brahms, and Reger Julius Berger, harpsichord Christoph Hammer, piano
March 4 3:00 pm
- revolutionarY muSic for the Sun King: 1689 Paolo Pandolfo, viola da gamba Amelie Chemin, viola da gamba Thomas Boysen, lute Markus Hunniger, harpsichord
April 22 3:00 pm
- SmithSonian chamber plaYerS Schubert: Quartet in G minor, D173; Octet in F Major, D803 Thomas Boysen, lute Steven Dann, viola Kenneth Slowik, violincello Anthony Manzo, double bass Charles Neidich, clarinet Andrew Schwartz, bassoon William Purvis, natural horn
Tickets should be ordered by telephone at the Yale School of Music box office at (203)432-4158 or over the Internet at: www.yale.edu/music Tickets
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$25.00 each, reserved seating $100.00, series of 5 concerts $20.00 each, senior citizens & Yale staff $10.00 each, students