Avi Avital, mandolinKenneth Weiss, harpsichord

Thursday, February 9, 2017Kimbell Art Museum Piano Pavilion

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CLIBURN AT THE KIMBELL: VIRTUOSOS

KIMBELL ART MUSEUM PIANO PAVILIONTHURSDAY, FEBRUARY 9, 2017 AT 7:30 PM

AVI AVITAL, mandolin KENNETH WEISS, harpsichord

SCARLATTI Sonata in D Minor, K. 90 Grave Allegro Lento Allegro

VALENTINI Sonata in D Minor for Mandolin and Basso Continuo, op. 12, no. 2 Adagio Allegro Adagio amorosa Allegro

BEETHOVEN Andante con variazioni in D Major, WoO 44, no. 2

VIVALDI Trio Sonata in G Minor, RV 85 (originally for violin, lute, and basso continuo) Andante molto Larghetto Allegro

Intermission

BACH “Chaconne” from Violin Partita No. 2 in D Minor, BWV 1004

COUPERIN Les Barricades mystérieuses Les Tours de passe-passe Le Dodo ou l’amour en berceau Le Tic-Toc-Choc ou les Maillotins

BACH Sonata in E Minor, BWV 1034 (originally for flute and basso continuo) Adagio Allegro Adagio amorosa Allegro

Mr. Avital and Mr. Weiss appear by arrangement with Opus 3 Artists, LLC.

These concerts have been made possible by generous contributions fromTarrant Tech

The Meadows Foundation*

*Made possible by a generous gift to the Cliburn Endowment

Please silence all electronic devices. This concert is being webcast for CLIBURN LIVE and recorded for broadcast. It will be available for on-demand

viewing at Cliburn.org in one week, pending artist approval.

The Board of Directors of the Cliburn salutes with gratitude the generosity of

TARRANT TECH

THE MEADOWS FOUNDATION*

for supporting the performance of

AVI AVITAL and

KENNETH WEISS

*Made possible by a generous gift to the Cliburn Endowment

The first mandolin soloist to be nominated for a classical Grammy Award, Avi Avital is one of the foremost ambassadors for his instrument. Passionate and “explosively charismatic” (New York Times) in live performance, he is a driving force behind the reinvigoration of the mandolin repertory. More than 90 contemporary compositions—15 of them concertos—have been written for him, while his inspired re-imaginings of music for other instruments include the arrangements heard on his 2015 ECHO Klassik Award-winning recording for Deutsche Grammophon, Vivaldi. Enhanced by his infectious spirit of adventure and the warm rapport he fosters with his audience, Mr. Avital’s path-breaking championship of his instrument is taking the mandolin center stage. “The exciting part of being a classical mandolin player,” he says, “is that it opens a wide field for creative freedom. When I commission new pieces and engage with different musical styles, I feel that I am bringing to light new faces of this unique instrument, uncovering what is hiding there.”

Mr. Avital’s unprecedented Grammy nomination honors his recording of Avner Dorman’s Mandolin Concerto, a work he commissioned in 2006, with New York’s Metropolis Ensemble under Andrew Cyr. As the first mandolin soloist to become an exclusive Deutsche Grammophon artist, he has made three recordings for the label to date; besides the award-winning 2015 release Vivaldi, these are his 2012 debut, featuring his own Bach concerto transcriptions, and the 2014 album Between Worlds, a genre-crossing chamber collection exploring the nexus between classical and traditional music. He previously recorded for SONY Classical and Naxos, winning his first ECHO Klassik Award for his 2008 collaboration on the SONY Classical label with the David Orlowsky Trio.

Mr. Avital’s inspired music making has electrified audiences throughout Israel, Europe, Australia, Asia, and the Americas. Recent highlights include performances at Beijing’s National Centre for the Performing Arts, London’s Wigmore and Royal Albert Halls, the Berlin Philharmonie, Zurich’s Tonhalle, the Paris Philharmonie, and the Palais de Versailles, which was telecast on Arte. In spring 2016, Mr. Avital undertook an international tour with a program of arrangements for mandolin, accordion, and percussion drawn primarily from Between Worlds, giving more than 70 performances in Europe, Asia, South America, and across the United States.

Mr. Avital has partnered with leading artists in a variety of genres, including singers Dawn Upshaw and Juan Diego Flórez, clarinetist Giora Feidman, violinist Ray Chen, pianist David Greilsammer, harpsichordist Mahan Esfahani, accordionists Richard Galliano and Ksenija Sidorova, percussionist Itamar Doari, and the Enso and Danish String Quartets, as well as a host of international orchestras from the Mahler Chamber Orchestra to the Israel Philharmonic. He is also a favorite on the international festival circuit, having appeared at the Aspen, Salzburg, Tanglewood, Spoleto, and Verbier Festivals, among others.

Born in Be’er Sheva, southern Israel in 1978, Mr. Avital began learning the mandolin at age 8 and soon joined the flourishing mandolin youth orchestra founded and directed by his charismatic teacher, Russian-born violinist Simcha Nathanson. He later graduated from the Jerusalem Music Academy and the Conservatorio Cesare Pollini in Padua, Italy, where he studied original mandolin repertoire with Ugo Orlandi. First prize winner of the Doris and Mori Arkin Award at Israel’s prestigious Aviv Competitions in 2007, Mr. Avital is the first mandolinist in the history of the competition to be so honored. He plays on a mandolin made by Israeli luthier Arik Kerman (1998), strings by Thomastik-Infeld (154, Medium).

AVI AVITALMANDOLIN

March 26–June 25, 2017Free Admission

kimbellart.org

The exhibition is organized by the Vitra Design Museum, Germany, in collaboration with the Architectural Archives of The University of Pennsylvania and the Netherlands Architecture Institute, part of the New Institute, Rotterdam. It is globally sponsored by Swarovski. Additional sponsorship support is provided by The Beck Group.

Global Sponsor Promotional support is provided by

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KENNETH WEISSHARPSICHORD

Kenneth Weiss was born in New York City, where he attended the High School of Performing Arts. After studying with Lisa Goode Crawford at the Oberlin Conservatory, he continued his studies with Gustav Leonhardt at the Sweelinck Conservatorium in Amsterdam.

Mr. Weiss focuses on recitals, chamber music, teaching, and conducting. From 1990–1993, he was musical assistant to William Christie at Les Arts Florissants for numerous opera productions and recordings. He later conducted the ensemble in Doux Mensonges by the choreographer Jiri Kylian at the Paris Opera, and he was co-director with William Christie of the first three editions of Les Arts Florissants’ Jardin de Voix program.

In collaboration with the choreographer Trisha Brown, Mr. Weiss was musical director of M.O., a ballet on Bach’s Musical Offering, first performed at La Monnaie in Brussels. He was also musical director of the Aix-en-Provence European Music Academy’s staged productions of Purcell’s Dido and Aeneas and a Monteverdi madrigal program. Both productions were revived at the Lille, Monte Carlo, and Bordeaux operas. He has conducted staged performances of Mozart’s Marriage of Figaro at the Cité de la musique in Paris and Monteverdi’s L’incoronazione di Poppea in Bilbao and Oviedo. He has also conducted The English Concert Orchestra, Concerto Copenhagen, Israel Camerata, Orquesta de Salamanca, Divino Sospiro, Orchestre de Rouen, Orchestre National des Pays de Loire, the Orchestre des Pays de Savoie, and the Orchestre d’Auvergne.

In recent seasons, Mr. Weiss performed the Well-Tempered Clavier at the Cité de la musique in Paris, the Théâtre de Caen, in New York and Tel Aviv, on tour throughout Japan, and at the La Roque d’Anthéron, Lanvellec, and Villevieille Festivals. He also took part in the Centre de Musique Baroque de Versailles Rameau project (2014), gave a Bach birthday recital at the Théâtre de la Ville in Paris (2015), and has appeared in recitals in Spain, Belgium, France, Switzerland, and New York. As chamber musician, he has toured with the Chamber Music Society of Lincoln Center, as well as with violinists Lina Tur Bonet, Fabio Biondi, Daniel Hope, and Monica Huggett. In 2017, Mr. Weiss will give recitals with the cellist Marc Coppey and the violinist Lina Tur Bonet, and he returns to conduct the Orchestre de l’Opéra de Rouen in a program including the Brandenburg Concertos and the Art of the Fugue.

Satirino Records released Mr. Weiss’ Bach Partitas in 2001, the first in a series of highly acclaimed solo harpsichord recordings. This was followed by the Scarlatti Sonatas; Rameau Opera and Ballet transcriptions (on two of the historical instruments in the Musée de la musique in Paris); an album including Bach’s Italian Concerto, French Overture, and the Chromatic Fantasy and Fugue; Scarlatti’s Essercizi per gravicembalo in coproduction with the Madrid Caja Bank’s Spanish music label, Los SIGLOS de ORO; a live recording of Bach’s Goldberg Variations; and most recently A Cleare Day, a live recording of selections from the Fitzwilliam Virginal Book. In June 2013, a new album of extracts from the Fitzwilliam Virginal Book, Heaven & Earth, was released. That year also saw him record the violin sonatas of Élisabeth Jacquet de la Guerre with the violinist Lina Tur Bonet, and Bach’s Well-Tempered Clavier, recorded at the Cité de la musique in Paris on the historic Ruckers-Taskin instrument belonging to the Musée de la musique. The album was released in 2014 to wide acclaim and awarded a “Choc” in the French magazine Classica.

Mr. Weiss has held teaching positions at the Norwegian Academy of Music in Oslo, the Barcelona Conservatory, and The Juilliard School in New York. He currently teaches at the Paris Conservatory.

1400 Eighth Ave., Fort Worth, TX 76104

For more information or for a physician referral, call 1.800.4BAYLOR or visit BaylorHeartHospital.com/FortWorth

Fort Worth is at the heart of cardiovascular care.

We have a 100-year history of healing hearts.

Advanced cardiovascular care is in the heart of Fort Worth.

Introducing Baylor Heart and Vascular Services at Fort Worth.

Our team of heart specialists on the medical staff are experienced

and respected. They use minimally invasive and sophisticated

interventional techniques and advanced cardiac surgery

to treat a range of heart and vascular conditions.

Notice Regarding Physician Ownership: Baylor Jack and Jane Hamilton Heart and Vascular Hospital is a hospital in which physicians have an ownership or investment interest. The list of the physician owners or investors is available to you upon request. Physicians provide clinical services as members of the medical staff at one of Baylor Scott & White Health’s subsidiary, community or affiliated medical centers and do not provide clinical services as employees or agents of those medical centers or Baylor Scott & White Health. Baylor Scott & White Health (“BSWH”) complies with applicable civil rights laws and does not discriminate, exclude, or otherwise treat individuals differently on the basis of race, ethnicity, color, religion, sex, sexual orientation, gender identity, national origin, age, disability, genetic information, veteran status, or any other protected characteristic under applicable law. ©2017 Baylor Scott & White Health. BSWHHVH_219_2016 CE 01.17

PROGRAM NOTES by Eric Bromberger

Domenico Scarlatti composed well more than 500 keyboard sonatas during his long career in Italy, Portugal, and Spain. But he failed to indicate his choice of an instrument to perform certain sonatas, including this D-Minor Sonata. Thus, this sonata is now performed by a wide variety of instrumental soloists, with an accompanying musician to provide its harmonic background and bass line.

The sonata is set in four large sections or movements. It harks back to the end of the Baroque era with a succession of slow-fast-slow-fast tempos, but it looks forward to the emerging Classical era by including the lighthearted rhythms of 18th-century dance music in the final two sections.

It opens with a lengthy, serious slow movement decorated with numerous trills and quick, intricate flourishes in its melody line. The remaining three movements are all faster, with stronger rhythms, and they are all divided into two sections, both of which are repeated.

The vigorous second movement is set in a two-beat meter, with little running notes enlivening the beginning of its measures and leaping melody lines enhancing climactic moments. The pace relaxes into the rhythm of a gently rollicking gigue in the third movement, followed by a fast minuet that brings the sonata to an abrupt conclusion.

Approximately 11 minutes.

Sonata in D Minor, K. 90DOMENICO SCARLATTIb. October 26, 1685, Naples, Italyd. July 23, 1757, Madrid, Spain

Though Robert Valentini was born and raised in England, he failed to find employment in his native land. So he moved to Rome and Italianized his name in the late 17th century. He was a flutist, oboist, and composer, and his resettlement in Italy was assisted by British diplomats who served there.

Like many composers in the Baroque era, he designed works that could be performed either on stringed or wind instruments. Thus, the D-Minor Sonata heard in this program is designated for performance on the flute, violin, mandola (mandolin), or oboe.

The sonata is a late work, composed within 10 years of Valentini’s death, and its large design adheres to the standard plan of four movements—slow, fast, slow, fast—associated with the Baroque sonata da chiesa or “church sonata” as this genre was known.

Sonata in D Minor for Mandolin and Basso Continuo, op. 12, no. 2ROBERTO VALENTINI b. 1671, Leicester, Englandd. May 26, 1747, Rome, Italy

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For more information or for a physician referral, call 1.800.4BAYLOR or visit BaylorHeartHospital.com/FortWorth

Fort Worth is at the heart of cardiovascular care.

We have a 100-year history of healing hearts.

Advanced cardiovascular care is in the heart of Fort Worth.

Introducing Baylor Heart and Vascular Services at Fort Worth.

Our team of heart specialists on the medical staff are experienced

and respected. They use minimally invasive and sophisticated

interventional techniques and advanced cardiac surgery

to treat a range of heart and vascular conditions.

Notice Regarding Physician Ownership: Baylor Jack and Jane Hamilton Heart and Vascular Hospital is a hospital in which physicians have an ownership or investment interest. The list of the physician owners or investors is available to you upon request. Physicians provide clinical services as members of the medical staff at one of Baylor Scott & White Health’s subsidiary, community or affiliated medical centers and do not provide clinical services as employees or agents of those medical centers or Baylor Scott & White Health. Baylor Scott & White Health (“BSWH”) complies with applicable civil rights laws and does not discriminate, exclude, or otherwise treat individuals differently on the basis of race, ethnicity, color, religion, sex, sexual orientation, gender identity, national origin, age, disability, genetic information, veteran status, or any other protected characteristic under applicable law. ©2017 Baylor Scott & White Health. BSWHHVH_219_2016 CE 01.17

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PROGRAM NOTES continued

This set of six variations is a delicate footnote to the composer’s mind-expanding career as the creator of monumental symphonies, concertos, string quartets, and piano sonatas. All these pieces were apparently composed for performance by his early ardent admirer and good friend Wenzel Krumpholz, who became a violinist in the Vienna court orchestra in 1796, the year the variations were written. According to Beethoven’s first biographer Alexander Thayer, Krumpholz was also a “virtuoso” performer on the mandolin, an instrument that was undergoing a revival of interest among the Viennese musical community during those years. The theme is a sprightly march tune, neatly divided into two parts, each of which is repeated. The six variations adhere to the typical design of ornamental variations throughout the late 18th-century classical period. The mandolin decorates the melody line in triplet rhythms during the first variation; the solo keyboard answers back, further dividing the rhythm into quadruplets during the second. Both instruments share the melodic conversation in quadruplet rhythms during the third variation. Jerky long-short dotted rhythms, broken-chord arpeggios and a slower speed are hallmarks of the fourth variation, while Variation Five features the mandolin playing some creeping chromatic tones to tint its plaintive minor-key melody. The final variation returns to a cheerier major key with a quaint return to the theme in its short coda.

Approximately 9 minutes.

Andante con variazioni in D Major, WoO 44, no. 2LUDWIG VAN BEETHOVENb. December 16, 1770, Bonn, Germanyd. March 26, 1827, Vienna, Austria

The first movement is the most serious of the four, and its intricate melody line provides considerable opportunities for trills, turns, and other ornamental figures. But lighter dance rhythms, consistent with Italian music of Valentini’s adopted country, pervade the remaining three movements. The faster second and fourth movements are both enlivened by quick two-step meters, while the expressive “amorous Adagio” in the third movement is set as a gentle Italian pastorale or “Siciliana,” as its lightly skipping rhythm is sometimes labeled.

Approximately 9 minutes.

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PROGRAM NOTES continued

Trio Sonata in G Minor, RV 85 (originally for violin, lute, and basso continuo)ANTONIO VIVALDIb. March 4, 1678, Venice, Italyd. July 28, 1741, Vienna, Austria

This sonata is adapted from a trio sonata Vivaldi composed for violin and lute (mostly playing the melody line together in unison), accompanied by one or more instruments providing the background harmony and bass line. As with much of Vivaldi’s music, there are only three movements, instead of the four-movement plan heard in the Scarlatti and Valentini sonatas. Thus, it belongs in the category of a Baroque chamber sonata, rather than a church sonata. However, the movements are all neatly divided into two parts, as they are in the final three movements of the Scarlatti sonata. The two outer movements are vigorous pieces, with strong rhythms, flanking a gentle slow movement at the center of the work.

Composed in 1716. Approximately 9 minutes.

“Chaconne” from Violin Partita No. 2 in D Minor, BWV 1004JOHANN SEBASTIAN BACHb. March 31, 1685, Eisenach, Germanyd. July 28, 1750, Leipzig, Germany

The Chaconne, concluding Bach’s Second Partita, is one of the heroic monuments of musical literature. Over the years, this virtuoso piece has been transcribed for many different instruments, including arrangements for solo guitar by Andrés Segovia and for piano by Johannes Brahms and Ferruccio Busoni. The piece follows the standard pattern for a chaconne: a series of continuous variations based upon a short theme and a succession of chords that are repeated over and over, without pause. In Bach’s Chaconne, the variations often unfold in thematically related pairs and the large three-part design of the piece begins in D minor, changes to D major at the center, and returns to D minor toward the end. As is characteristic of the varied expressive character of the chaconne, Bach’s work embraces a wide spectrum of emotional states, from heroic power and passionate emotion to delicate tenderness. Historically, the chaconne began as a seductive street dance in Italy and the Iberian Peninsula during the early 17th century, with possible roots in the colonies of North and South America. It spread through Italy—notably in the keyboard works of Frescobaldi—remained very popular throughout Spain, and became a standard feature of operas by Lully in the French court of Louis XIV. Eventually, the chaconne found its way into German and English music, and has remained a viable form in concert works of European composers in the centuries since then.

Composed in 1720. Approximately 14 minutes.

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PROGRAM NOTES continued

Les Barricades mystérieuses Les Tours de passe-passeLe Dodo ou l’amour au berceauLe Tic-Toc-Choc ou les MaillotinsFRANÇOIS COUPERINb. November 10, 1668, Paris, Franced. September 11, 1733, Paris, France

François Couperin was the most celebrated master in a seven-generation, three-century dynasty of French musicians. He followed the careers of his ancestors as harpsichordist, organist, and composer of sacred and secular vocal music, chamber music, and a huge quantity of French harpsichord music. Delicacy and good taste were the hallmarks of his style. Couperin’s four large volumes of keyboard music Pièces de clavecin were published over a 17-year period lasting nearly until his death, and each one was subdivided into numerous “ordres”—collections of short pieces intended to be played together. Many of them have descriptive titles that are difficult to translate and may carry hidden meanings related to his special time period and social milieu. Overall, these four pieces alternate musical sections in a pattern of verses and repeated refrains. The performer’s hands move over the keyboard in close proximity to one another, sometimes overlapping or crossing over each other. The first and fourth pieces explore tone colors in the lower half of the harpsichord’s range, while the two middle pieces are centered upon the higher notes. Delicate trills and ornamental turns are sprinkled throughout and are especially prevalent in the fourth piece.

Composed from 1717–1730. Approximately 10 minutes.

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PROGRAM NOTES continued

Sonata E Minor, BWV 1034 (originally for flute and basso continuo)JOHANN SEBASTIAN BACHb. March 31, 1685, Eisenach, Germanyd. July 28, 1750, Leipzig, Germany

Traditionally, it has been thought that Bach composed this sonata around 1720, during the six years his career was devoted to orchestral and instrumental music at the court of Köthen. Now, some scholars think it was written four years later, shortly after the composer had moved to Leipzig and was writing considerable chamber music.

Either date places it as a work of Bach’s mature years. It is a vigorous, extended piece with intricate inner workings, and it is cast in the four-movement, slow-fast-slow-fast plan, like the Scarlatti and Valentini sonatas heard at the beginning of this program. It is significant that the keyboard player shares a great portion of the thematic material with the performer playing the melodic line. Thus the work becomes a musical conversation, rather than a soloist playing all the themes over a harmonic background and bass line. While the mandolin states the opening theme of the first movement, the harpsichord issues the response four measures later, and much of the movement becomes an active duet between the two instruments. The bouncy second movement is a lengthy fugue. The mandolin does carry the melody throughout the slow, lyrical third movement, but this movement has special features. It is set in the related key of G major and is divided into three parts, with a middle section that wanders through various tonalities. The harpsichord leads off with a six-measure ground plan which is then repeated several times while the mandolin starts to spin forth its themes. Like the first two movements, the brisk finale is again divided into two large sections, involving a vigorous conversation between the two instruments.

Composed in 1720. Approximately 15 minutes. ©2017 Carl R. Cunningham

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