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KLASSIKALISED TŠELLOSONAADID IV

9.10.2011 kell 14.00

Pärnu Raekoda


KAVA

Heirich Stiehl (1829-1886): Sonaat klaverile ja tšellole a-moll, op.37

Allegro appassionato
Scherzo quasi Capriccio. Allegro vivace
"Lass o Welt, o lass mich sein". Andante sostenuto
Allegro molto

Dmitri Šostakovitš: Sonaat tšellole ja klaverile d-moll, op.40 (1934)

Allegro non troppo
Allegro
Largo
Allegro
Aare Tammesalu, tšello
Piia Paemurru, klaver


Heinrich Stiehl (1829 Lübeck - 1886 Reval/Tallinn) was born in Lübeck and studied in Weimar and at the conservatory of Leipzig. He worked as a pianist, organist and pianoteacher in St. Petersburg. After staying in Italy, England and Ireland he returned to Russia, where he was organist at the Ola(v)ichurch and conductor of the Singakademie in Reval? untill his death. His pianowork are stylistically close to schumann.


Stiehl, Heinrich (Franz Daniel) (1829–1886) German organist, composer, and conductor. He studied with his father, Johann Dietrich Stiehl (1800–72), and was organist at Lübeck, at Weimar, and at Leipzig. He lived by turns in Russia, Austria, Italy, England, Ireland, England, and Russia, where he worked as an organist, conductor, and teacher. His brother Karl Johann Christian (1826–1911) was also an organist and conductor. Works operas Der Schatzgräber and Jery und Bätely (Goethe); The Vision and other orchestral pieces; string quartets, three piano trios; cello and piano sonata; Sonata quasi fantasia and other piano works.


Heinrich Stiehl on balti-saksa helilooja, kes tegutses elu lõpuaastatel Eestis helikeelt võiks võrrelda nagu Mendelssohni omaga, kuid on sellest magusam ja romantistlikum.

Sonaadi kolmas osa on inspireeritud Eduard Mörike luulest

Verborgenheit

Laß, o Welt, o laß mich sein! Locket nicht mit Liebesgaben, Laßt dies Herz alleine haben Seine Wonne, seine Pein! Was ich traure, weiß ich nicht, Es ist unbekanntes Wehe; Immerdar durch Tränen sehe Ich der Sonne liebes Licht. Oft bin ich mir kaum bewußt, Und die helle Freude zücket Durch die Schwere, so mich drücket Wonniglich in meiner Brust. Laß, o Welt, o laß mich sein! Locket nicht mit Liebesgaben, Laßt dies Herz alleine haben Seine Wonne, seine Pein!


EDUARD MÖRIKE Poet, novelist, clergyman, and scholar, author of the extraordinary novella Mozart's Journey from Vienna to Prague (1855), Mörike is not only one of the great German poets but also a writer who deeply inspired composers, including Schumann, Brahms, and especially Wolf. Born in 1804, Mörike studied theology at Tübingen, receiving his ordination as a Lutheran pastor in 1826. As a student, he had an unhappy love affair with Maria Meyer, a tragic wanderer, whom he immortalized in a poetic cycle and portrayed in his novella Maler Nolten (1832). Mörike found the career of clergyman pure torture; he retired in 1843 to devote himself to literature. He married in 1851 and settled in Stuttgart, where he taught literature until 1866. Mörike died in 1875. While all poetry is by nature musical, Mörike's musicality is truly exceptional. Not only are his poems replete with musical symbolism, but his extraordinary handling of sounds and rhythmic patterns evokes the magical fluidity of a musical composition. Like music, Mörike's writings introduce the reader to a rich world of ideas, feelings, images, and mystical insights resulting from the poet's effort to imaginatively transcend the limitations, spatial and temporal, of human existence. Not surprisingly, the composer who embodied Mörike's exalted idea of music was Mozart, another artist in whose work listeners discern signs of transcendence. Mörike's uncanny ability to translate the experience music into poetry is exemplified by his poem "An Wilhelm Hartlaub" (To Wilhelm Hartlaub), in which the poet vividly and suggestively describes his boundless joy in hearing his friend play a piano piece, perhaps by Mozart. Another example of Mörike's supreme mastery of the art of poetry is "Schlafendes Jesuskind" (Sleeping Christ-Child), set to music by Wolf (No. 25 of his Mörike-Lieder, in which the poet, serenely setting aside any religious skepticism caused by theological intellectualism, reveals, blending eloquent images and illuminating poetic harmonies, a vulnerable child's divine essence.



Sosti sonaat on varane ja kohati ootamatult romantiliste lõikudega (nagu 1. sümfoonia), milles on selgelt 1920-30.-ndate moodsad kõlad kuulda



The Sonata for Cello and Piano in D minor, Op. 40, was one of Shostakovich's early works, composed in 1934 just prior to his censure by Soviet authorities of his music, notably the opera Lady Macbeth of Mtensk, that was deemed too bourgeois and decadent for the Soviet people. It was also a period of emotional turmoil in his life, as he had fallen in love with a young student at a Leningrad festival featuring his Lady Macbeth. Their affair resulted in a brief divorce from his wife Nina, and it was in August, during their period of separation, that he wrote the cello sonata, completing it within a few weeks and giving its premiere in Moscow on 25 December with his close friend the cellist Viktor Kubatsky its dedicatee. By the next Autumn Shostakovich and Nina had remarried, with her being pregnant with their daughter, who was born in 1936.

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