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Music at the Art Chamber
Art Chamber
Galeria de Belas Artes
Art Chamber Galeria de Belas Artes

Meagan Alphonso

in concert at Art Chamber


Brahms Two Rhapsodies, Op.79 15mins
(1833-1897) i. Agitato 9mins ii. Molto passionato, ma non troppo allegro 6mins

Eduard Schütt Carnaval Mignon op.48 14.40mins
(1856-1933) i. Prélude
ii. Sérénade d'Arlequin
iii.Tristesse de Columbine
iv.Polichinelle (Burlesque)
v. Pierrot Rêveur (Nocturnette)

Ravel Sonatine 11mins
(1875-1937) i.Modéré
ii. Mouvt de menuet
iii. Animé

Listz Hungarian Rhapsody No.11 5.40mins
(1811 - 1886)

Béla Bartók Two Romanian Dances, Op.8a No.1 4.25mins
(1881-1945) Allegro Vivace

Gottschalk Meditation - The Dying Poet 7.15mins
(1829 - 1869) Caprice - Pasquinade Op.59 4mins
Etude de Concert - Manchega 4mins

Donations pass, Rs 300

Art Chamber presents:

A classical piano recital
great Indian talent

Meagan Alphonso
Thursday 11th December 2014
time: 8.00 pm
venue Art Chamber, Calangute

It my immense pleasure to announce a piano recital by the young Indian talent Meagan Alphonso on Sunday 14th December 2014.

Meagan attended summer school for piano at the Chetam's International Summer School and Festival for Pianists, Manchester and the Royal Conservatoire of Scotland in 2013 where she received masterclasses from Fali Pavri, Aaron Shorr, Sam Wong, Jan Kadlubski, Leslie Howard and Carlo Grante. She was one of the few selected for a masterclass with Steven Osborne and was offered admission for the B.Mus course at the Royal Conservatoire of Scotland (RCS).
Meagan was selected to be the Young Musician of the Year 2014, an award granted by the Olga and Jules Craen Foundation (OJCF). As part of the OJC -YMOY award, she attended summer school in Nice and Paris in France and worked with Pascale Roge, Phillip Entremont and Shani Diluka. She also received training from Rena Shereshevskaya and Bruno Rigutto both professors at the prestigious Ecole Normale de Musique de Paris.

Programme Notes

Fantasie Op. 77 Ludwig van Beethoven
Theater an der Wien

Completed in October 1809, in Vienna, Austria, the Fantasie for Piano in G minor, Op. 77 was
commissioned by Muzio Clementi. Scholars believe that the Fantasie developed from an improvisation that Beethoven played at a famous benefit concert in the Theater-ander-
Wien on December 22nd, 1808.
Beethoven committed the improvisation to paper at a time when the French had relentlessly bombarded and invaded Vienna. In a letter Beethoven wrote at the time he states: 'What a destructive, disorderly life is here around me, nothing but drums, cannons and human misery in every form.'
That Beethoven composed the Fantasie when he did is somewhat ironic, for he was attempting, for the first time in his life, to settle down, live without hotels and restaurants and establish a real 'home'. Carl Czerny (1791-1857), a composer who studied piano with Beethoven in 1801-3, described the Fantasie as "variations in a mixed form, one idea following into another as in
a potpourri." The Fantasy passes through three changes of metre and numerous changes in tempo. Possibly no other work reflects Beethoven's tendency toward improvisation as much as this composition!

Two Rhapsodies Op. 79

Johannes Brahms

Brahms penned the Rhapsodies Op. 79 in 1879 when he was at the height of his career. Originally titled 'Capriccio', there is a certain Lisztian 'gypsy'character to the first rhapsody in B minor. In contrast to its exuberant opening theme is a quieter, less rhythmically compelling one - the contrast reminiscent of the contrasting themes of sonata form. Brahms however introduces a third theme in the major for a contrasting gentle middle section, creating an over-all ABA form with a coda.

Four distinct ideas which vary greatly in texture and dynamic make up the outer sections of the second rhapsody in G minor. Each phrase motif begins on the upbeat stepping up a second in the outer sections and reverses, stepping down a second in the development. The middle section is filled with chromatic harmonies lending even more to the sonority of the work. The continuous unremitting triplets run like a thread throughout the piece weaving all the ideas seamlessly into a beautiful tapestry. The two pieces embody Brahms' ability to balance intense emotional, harmonic and melodic language within the boundaries of Classical form.

Carnaval Mignon Op. 48 Eduard Schütt
Eduard Schütt was born in St. Petersburg on 22nd October 1856. He was a Russian virtuoso pianist, composer and conductor. Although he wrote a comic opera and a Serenade for strings and orchestra, Schütt's main compositional output was piano music.
Schütt almost fully devoted himself to composition from 1886 spending a considerable amount of time at his villa in Meran, northern Italy. In the Carnival Mignon he composed in 1895, Schütt depicts the typical characters of the Commedia dell'Arte or Italian Comedy that travelled in troupes throughout Italy. Subsequently the art form spread throughout Europe, with many of its elements persisting in present-day theatre.


Maurice Ravel

Ravel was among the most significant figures of early twentieth century Impressionism along with Debussy. Although his compositional output was not very large, his compositions were always meticulously and exquisitely crafted. Widely regarded as one of France's most popular composers, Ravel studied music at the Paris Conservatoire under Gabriel Fauré.
The inspiration for composing the first movement of the Sonatine was a competition sponsored by the fine arts and literary magazine - Weekly Critical Review in 1903. Unfortunately,
the competition was cancelled, but Ravel went on to write the second and third movements and have them published in 1905.
The three movements namely the Modere, the Menuet and the Anime although very impressionist in nature pay homage to earlier musical periods. The last movement is a brilliant toccata-like virtuoso piece that Ravel himself did not feel technically adept to play. He dedicated the work to his close friends Ida and Cipa Godebski.

Hungarian Rhapsody No. 11

Franz Liszt

Liszt was an extraordinary musician of Hungarian origin who possessed prodigious talent in both
performance and composition. Growing up in Reiding, Hungary, Liszt developed a special affinity for the folk music he heard. The set of nineteen Hungarian Rhapsodies is a testament to Liszt's adoration for the folk music of his native land. Dedicated to Baron Fercy Orczy, Rhapsody No. 11 was composed in 1847 and published in Berlin in 1853. Liszt uses the two main structural elements of typical Gypsy improvisation - the lassan ("slow") and the friska ("fast") to introduce a great variety of themes and hence the different tempos to fit the character of the themes.
Liszt was concerned not only to preserve the melodies but also to convey the colour of the improvisation of the gypsy band, especially in his desire to faithfully imitate the cimbalom - that impossibly difficult instrument which gives the effect of a keyboard from the striking of the strings with hammers held in the hand.

Two Romanian Dances Op. 8a No. 1

Béla Bartók
One of Hungary's most famous composers, Bartók made his first notation of a Hungarian peasant song sung by a young girl in the Gömör district and this drew his attention to the treasury of indigenous folk music both vocal and instrumental that he felt could contain innumerable ideas for serious composition. This discovery was to send Bartók on an unrelenting
mission to systematically collect and analyze the folk music of Hungary, Slovakia, Romania and Bulgaria among many other others.
The outer sections of this piece make good use of ostinati, a device used in folk music all over the world, including the East. Use of bass ostinati in folk music used in the Ganpati festival in India, in prayer chants and in modern trance music serve to intoxicate the senses. They also have great rhythmic drive and energy which cannot but appeal to man's raw senses. The middle
section, similar to the hora lunga, the most expressive of Romanian styles, has an impassioned emotional quality that stands out in complete contrast to the lively dance that encircles it.

Meditation - The Dying Poet ;
Caprice - Pasquinade Op. 59

Louis Gottschalk
Born in New Orleans in 1829, Louis
Moreau Gottschalk's virtuosic talent as a pianist and innovation as a composer enabled him to establish himself as one of the first American musicians to achieve widespread recognition in both Europe and the Americas. His unparalleled success resulted not only from his immense
talent and musical passion but also from the opportunities he had to hear and study assorted music from Europe, Africa, the Caribbean, South America, and the United States.
Gottschalk's music was a synthesis, a hybrid of the musics he encountered, and he skillfully incorporated disparate styles of music into hiscompositions, producing some of the most highly original works written by an American composer at that time.

Programme notes by Meagan Alphonso