Music Chamber

Christopher Sayles (piano)

 

Robert Schumann(1810-1856)             Arabeske in C Major, Op 18

Johannes Brahms (1833-1897))          Two Rhapsodies in B minor & G minor Op 79

Ludwig van Beethoven (1770 – 1827)  Sonata for Piano No 23 in F minor, Op 57 'Appassionata'

                                                              Allegro assai ~ Andante con moto ~ Allegro, ma non troppo

 

Schumann’s deep love of literature is probably owed in part to his father, an author of chivalric romances who also translated Byron and Walter Scott into German. Schumann devoured a wide range of classic literature in his youth, and even tried his hand at lyric poetry, drama, and translation. At age 20, he was still unsure whether to devote himself to music or poetry, feeling he was equally capable in both areas. The title of Arabeske is a poetic metaphor; the word originally referred to a florid element in Arabian architecture. The work reverses the popular idea of architecture as frozen music to suggest that music can be a fluid structure, reflecting the fact that the work does not fit perfectly into any of the pre-made classical forms. Schumann felt that the dissolution of classical forms, like the sonata and the concerto, was a necessary step in the evolution of new, often fragmentary forms that would better reflect the "half-torn page" quality of life itself. Despite this conviction, he appears to dismiss his Arabeske as "for ladies" in a letter from 1839, shortly after its completion. The criticism seems odd, not only because of the charm and beauty of the music, but because a great number of his finest compositions were quite literally written for a lady: his beloved wife Clara, one of the great pianists of her time. This piece from 1828 was written for her while they were separated and prior to their marriage.

 

The two Rhapsodies, Op. 79, are strong, dramatic works that date from Brahms' full compositional maturity. They differ from each other in their formal layouts much more than in their expressive mode, for which reason they are rarely performed together. The first of the pair, in B minor, is in the ABA form of a scherzo; indeed, there is a palpable affinity between the Rhapsody and Chopin's Scherzo in B minor, Op. 20. As in Chopin's work, the main section of the Rhapsody is an emotional cry for which the much quieter middle section provides needed relief; here, Brahms invests the harmonies with a particular subtlety. The second Rhapsody, in G minor, is one of the composer's most popular and effective piano works, tautly written and darkly dramatic. It is cast in a sonata-allegro form; the cascading chords of the first subject cloud the work's tonality in ambiguity, while the second subject, which unfolds in the piano's lower registers, provides a dramatic contrast rather than a lyrical one. This six-minute work, only half as long as its predecessor, foreshadows the tragic but proud mode of larger-scale works like the Symphony No. 4 in E minor

 

The ‘Appassionata’ sonata – not Beethoven’s nickname, but ascribed by a publisher – is one of his landmark works. There is completeness to the structure and harmonic invention which makes the three movements seemingly lead on from each other – indeed the finale, follows without a break from the second. The first movement establishes an air of mystery and darkness, but the opening theme is tempered by a more lyrical second subject. However, any warmth and light is never allowed to linger as frequent outbursts break up the flow. The second movement begins with a chorale like theme in the lower registers of the keyboard, which is then treated to a series of variations, the music moving higher and higher up the keyboard, until a sudden descent and the return of the theme. The toccata like finale returns us to the pathos of the first movement, before a final Presto leads inevitably to the end. In this sonata there is none of the melodiousness found in much of Beethoven. Indeed there is no recognisable tune to speak of, but instead Beethoven creates out of melody and harmony a stunning example of what the piano is capable of.

 

Christopher Sayles was born in Redhill, Surrey and was educated at St Bedes school. He studied piano at Leeds College of Music under the tuition of Marion Raper and Julian Cima. In October 2007 he graduated with an MA in Music Studies, performing Beethovens 3rd Piano Concerto in C Minor, amongst other reputable works. In the same year he performed in the Leeds International Concert Season Lunchtime Series, for which he was awarded the Robert Tebb Trophy for Outstanding Performance. In December 2008 he was awarded the LTCL Recital Diploma from Trinity College of Music with distinction. Recent recitals have included Southwark Cathedral, Sheffield Cathedral, The Foundling Museum, St Mary le Bow and several City churches.