Beethoven withdrew from this sonata and published separately. The

finale {Rondo:Allegretto moderate), with its lyrical opening theme, brings

the sonata toa rapturous conclusion.

Published in 1839, Schumann’s Sonata No.Z inG Minor took five

years to complete and is one of only three sonatas he wrote in this

genre (four, if his Fantasy in CMajor, Op. 17, with its formalized struc­

ture and inherent musical characteristics, could be so labeled).Although

the most successful ofthe three sonatas, this work caused Schumann

quitea bit of anxiety, owing to his depression over his relationship

with Clara Wieck and their impending marriage, anda fear of being

unable to commit his emotions to this pre-existing musical structure.

The first movement {So rasch wie moglich) expresses this highly emo­

tional state with breathless speed and agitation. The speed changes

twice after the first burst of energy {prestissimo) with the directions to

get faster{piumosso) and even faster {piumosso aneora) toward the end

of the movement. The second movement(Andantino), rooted in an

adolescent song ofSchumann entitled Im Herbste, isa personification

of his mellifluous inspirations. The third movement {Scherzo: Allegro

molto) with its“snap, crackle, and pop” rhythmic drive, providesa shaip

contrast to the fourth movement {Rondo: Presto). Here, the rhythmic

drive, not unlike that of its first movement counterpart, is ebullient

and impetuous. Apparently Schumann’s inspiration stems from

Florestan and Eusebius, two characters of his imagination whose op­

posite natures are expressed in the movement’s first and second

themes.

Liszt’s TranscendentalEtudes, originally planned to contain forty-eight

studies modeled afterBach’s Well-TemperedClavier, came to only twelve,

all of which were written when Liszt was fifteen years old. Berlioz, 

whom Liszt admired and respected, wrote:“Unfortunately, one can­

not hope to hear music of this kind too often; Liszt created it for 

himself, and no one else in the world could flatter himself that he

could approach being able to perform it.” After retiring from the con­

certstage, Lisztsimplified some ofhis most difficult pianoworks, among

them this set of etudes. Even in the modem edition ofthese works,

however, their inherent technical problems hold terror for the most

skillful artists. The influence ofChopin appears to have been looming

over the first and third ofthese Liszt etudes, given the long ornamen­

tal lines that are so reminiscent ofChopin’sNocturnesNet, regardless of

their real or imaginary sources, these studies are distinctly ofLiszt, by

Liszt, and for Liszt. Quoting Humphrey Searle:“[Liszt was] able to

draw new and almost orchestral effects from the piano, which incom­

parablywidened its range ofexpression—and all subsequent compos­

ers for the piano are grateful to him.”

-Program notes by Elmer Booze

The Fifty-eighth Season of

THE WILLIAM NELSON CROMWELL and E LAMMOT BELIN CONCERTS

National Gallery ofArt

2318th Concert

JEROME ROSE, pianist

Sunday Evening, 10 October 1999

SevenO’clock

West Building, West Garden Court

Admission free
PROGRAM

Ludwig van Beethoven Sonata No. 21 in C Major

(1770-1827) (“Waldstein”)

Op. 53 (1803-1804)

Allegro con brio

Introduzione: Adagio molto

Rondo: Allegretto moderato

Robert Schumann Sonata No. 2 in G Minor

(1810-1856) Op. 22 (1833-1838)

So rasch wie moglich

Andantino

Scherzo: Sehr rasch und markiert

Rondo: Presto

INTERMISSION

Franz Liszt Three Etudes from Transcendental Etudes

(1811-1886) (1851)

No. 9: Ricordanza

No. 10: (F Minor)

No. 11: Harmonies du soir

The use of cameras or recording equipment

during the performance is not allowed.

For the convenience of concertgoers

the Garden Cafe remains open until 6:30p.m.

A gold medalist in the International Busoni Competition and one of

America’s most distinguished pianists, Jerome Rose has been heard

in major concert halls throughout the world since he was in his early

twenties. When just fifteen years old and a pupil ofAdolph Bailer, he

made his debut with the San Francisco Symphony. A graduate of the

Mannes College ofMusic and the Juilliard School ofMusic, Rose studied with Leonard Shure and RudolfSerkin at Marlboro. He continued

his studies in Vienna, Austria, with a Fulbright Scholarship. Rose is the

author of the series Forthe Young Virtuoso, published by Warner Brothers. He has given master classes at various institutions, including the

Moscow Conservatory,Warsaw’s ChopinAcademy, the LisztAcademy

of Budapest, the Munich Hochschule, and the Toho Conservatory in

Tokyo. As an orchestral soloist, he has appeared with such leading

European orchestras as the London Philharmonic, the London Symphony, the Royal Philharmonic, the Berlin and Munich Philharmonic

Orchestras, the Vienna Symphony, and the Orchestra ofSanta Cecilia 

in Rome. In the United States, he has performed with the Chicago, 

Baltimore,Atlanta, Houston, Milwaukee, and San Francisco Symphony

Orchestras, to name a few. He has collaborated with such conductors

as Christian Thielemann, Hans Vonk, Sir Georg Solti, Sir Charles

Mackerras, Wolfgang Sawallisch, Stanislaw Skrowaczewski, Sergiu

Comissiona, and David Zinman. Rose’s recordings of Liszt works on 

the Vox label were awarded the GrandPrixdu Disque by the Liszt Society of Budapest. Rose has served as artistic director of the Romantic

Festival in London, the Franz Liszt Centennial in Washington, DC,

and the Schubert and Brahms Festival at the Library of Congress. A

member of the faculty of the Mannes College of Music in New York

City,Jerome Rose appears at the National Gallery by arrangementwith

Shupp Artists Management of Port Jefferson, New York.

Published in 1805, Beethoven’s Sonata No. 21 in C Major was dedicated to Count Ferdinand von Waldstein, who was an amateur musician and one of the composer’s benefactors. Count Waldstein’s

friendship and veneration for Beethoven were such that he made a

gift to the composer of a new pianoforte, on which the two played 

duets together. A remarkable work, this sonata boasts a completely

new language, starting with a long strummed chordal introduction

(Allegro con brio), which magically appears from nowhere, but actually 

contains the first theme. There are also sudden shifts in mood, where

a passage ofobvious agitation and fitfulness is abruptly interrupted by

a moment of respite. The long and somber slow introduction

(Introduzione:Adagio molto) to the final Rondo is actually a substitute for

the originally planned slow movement, Andante favori, which