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.