Cynthia Dahlgren, piano
Program Notes
Ludwig van Beethoven wrote Sonata No. 21 in C Major, Op. 53 in 1804. This work is a quintessential
example of Beethoven's middle style period, which is characterized by his expansion of musical form and
bold expression of personal ideas. In this piano sonata, the composer demonstrates his propensity for
extended development of musical materials and unexpected harmonic modulations. The popular title of
this work is the "Waldstein" in honor of Beethoven's friend and patron, Count Ferdinand von Waldstein
of Vienna, to whom the piece is dedicated. Another nickname for this work is L' Aurora ("The Dawn" in
Italian). This descriptive name references the gentle opening of the final movement, which evokes the
image of a sunrise. Originally, Beethoven had written a lengthy middle movement for this work which is
known today as Andante favori, WoO 57. However, at the request of a publisher who felt it made the
sonata impractically long, Beethoven replaced his original second movement with the Introduzione:
Adagio molto. Therefore, one can make the argument that this is really a two-movement sonata, in which
the final movement is preceded by a slow introduction.

Frederic Chopin published two sets ofEtudes, Op. 10 and Op. 25 in 1833 and 1837, respectively.
"Etude" is a French word, meaning study. Several 191h century composers wrote etudes to help pianists
practice various technical challenges. However, Chopin is widely credited with elevating this form from
purely utilitarian exercises to masterfully artistic concert pieces. Both sets contain twelve short works,
each showcasing a specific technical challenge for the performer. Etude Op. 10, No. 11 in E-flat Major is
sometimes called the arpeggio or guitar etude because the texture consists of widely spaced arpeggiated
chords in both hands. Etude Op. 25, No. 10 in B Minor is the octave etude and features a three-part form,
with fast and loud outer sections and a quiet, calm middle section in the relative major key.

---Intermission---

Claude Debussy wrote Estampes, L. I 00 in 1903. Estampes translates to "prints" and refers to the artistic
technique of printing images from engraved copper or wood plates. These pieces were intended to portray
nature and faraway places. According to Debussy, "If one cannot afford to travel, one substitutes the
imagination."
The first piece, Pagodes (Pagodas) refers to small buildings that feature wide, sweeping ornamental roofs
in traditional Asian culture. Debussy was inspired by his experience at the Paris Exposition in 1889 where
he heard the Javanese gamelan and became enthralled with the exotic sounds from the Far East.
Marguerite Long wrote, "Here are the dances, the fish-ponds, even the enigmatic smile on the faces of the
gods of China. One sees pointed roofs, hears little bells, and the tinkle of transparent porcelain."

ARIZONA

STATE

UNIVERSITY

School of Music

La soiree dans Grenade (The Evening in Granada) transports the listener to Spain, where we hear the
repeating rhythm of the habanera dance, Arabic-influenced Andalusian melody, and guitar strumming
with far-away castanet effects. The Spanish composer Manuel de Falla offers high praise for his French
contemporary, writing that Debussy's, "power of evocation borders on the miracle when one realizes that
this music was composed by a foreigner ... the entire composition in its most minute details, conveys
admirably Spain."
Jardins sous la pluie (Gardens in the Rain) depicts a scene in Debussy's native France. This toccata-like
piece incorporates the melodies of two popular French nursery rhymes. One can picture a child watching
through a window as rain is falling in the garden. At times, the rain is gentle and soothing but there are
moments of stormy intensity. Finally, at the end of the piece the storm dissipates and, as Maurice Hinson
describes, ''the scene is bathed in glorious sunlight after its heavenly bath."

Franz Liszt's Mephisto Waltz No. 1 is subtitled The Dance at the Village Inn: Episode from Lenau's
"Faust." Liszt first encountered Goethe's Faust as a young man and the story made a lifelong impression
on him. Liszt wrote a variety of music based on this literature. Between 1859 and 1862, he composed
versions of Mephisto Waltz No. 1 for solo piano as well as orchestra and 4-hand piano. Inspired by the
popular success of these works, Liszt eventually published Mephisto Waltz No. 2-4 as well as a Mephisto
Polka for solo piano in 1885. This piece is an example of Romantic program music, which means the
music is intended to portray a specific story. In this case, Liszt takes his inspiration for the music from
Lenau's dramatic poem, which is described by this summary from David Ewen's Complete Book of
Classical Music:
"There is a wedding feast in progress in the village inn, with music, dancing, carousing.
Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the
festivities. Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws
from it indescribably seductive and intoxicating strains. The amorous Faust whirls about with a
full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the
open, away into the woods. The sounds of the fiddle grow softer and softer, and the nightingale
warbles his love-laden song."

Thank you so much for attending my recital. I want to especially thank Dr. Baruch Meir who has helped
me prepare this program. I would like to dedicate tonight's performance to my mother, Emilie Bova, who
was my first piano teacher and has always supported my love of piano. Thank you, Mom!