The motivic germ running through the sonata is the two-note phrase Cflat, B-flat. There is frequent use of twelve-tone rows, especially in the

double row accompaniment in the Adagio, but only as a device, not as a

system. The sonata closes with a monumental fugue in four voices, the

subject of which has a syncopated rhythm. In the estimation of many

pianists, no fugue for piano has been its equal since Brahms’ HandelVariations.

Francis Poulenc, on hearing Horowitz play the sonata at Barber’s

country home in 1950, wrote: “It (the sonata) pleases me without 

reserve. It is a remarkable work from both the musical and instrumental 

point of view. In turn tragic, joyous, and songful, it ends up with a fugue

[that is fantastically difficult to play]. This is a long way from the sad

and scholastic fugues of the Hindemith pupils (the pupils, I say).

Bursting with energy, this finale knocks you out (vous met ‘knock-ouf)

in five minutes.”

Program notes on Haydn and Schubert by Ileen Zovluck 

© 1997 and 2000 Columbia Artists Management, Inc.

Used by permission

Program notes on Richard Cumming © 1997 Columbia Artists

Management, Inc. Used by permission 

Program notes on Barber by John Browning

© 2000 Columbia Artists Management, Inc.

Used by permission 

Program notes adapted and edited by Elmer Booze

For the convenience ofconcertgoers,

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

The use ofcameras or recording equipment during

the performance is not allowed. Please be sure that cell

phones, pagers, and other electronic devices are turned off.

The Sixtieth Season of

THE WILLIAM NELSON CROMWELL and

F. LAMMOT BELIN CONCERTS

National Gallery of Art

2418th Concert

JOHN BROWNING, pianist

Sunday Evening, 21 April 2002

Seven O'clock

West Building, East Garden Court

Admissionfree
PROGRAM

Joseph Haydn Sonata No. 33 in D Major

(1732-1809) Hob. XVI: 37 (1780)

Allegro con brio

Largo e sostenuto

Finale: Presto, ma non troppo

Franz Schubert

(1797-1828)

Sonata in A Major 

D. 959 (1828)

Allegro

Andantino

Scherzo: Allegro vivace; Trio: Un poco piu lento

Rondo: Allegretto

INTERMISSION

Richard Cumming

(b. 1928)

Silhouettes

(1993)

Samuel Barber 

(1910-1981)

Sonata in E-flat Minor 

Op. 26(1949)

Allegro energico

Allegro vivace e leggiero

Adagio mesto

Fuga: Allegro con spirito

The finale {Rondo: Allegretto) may be compared to the rondo in the

Sonata No. 1 in G Major, Op. 31, of Beethoven. In both movements the

theme is repeated in the tenor voice with an accompaniment of flowing

triplets. Another similarity to the Beethoven sonata is the central

episode, a development in which the theme returns in a broken version.

The work ends with a lively coda.

A short note explaining how Richard Cumming came to compose

Silhouettes for solo piano was made available in 1993 to John Browning

on the occasion of his performance of the world premiere at Lincoln

Center: “I find myself...having to supply program notes some five

weeks prior to the first performance for a work in which two sections are

still unassembled sketches. (Was it Ravel who said of his Sonata for

Violin and Piano that the piece was finished except for writing it down?)

OK, so whence the title?

Two weeks ago, I showed Mr. Browing what had been finished.

Fortunately, he did not seem displeased with what he heard and asked

me what I called them. I hadn’t a clue. Since they are little examinations 

and remembrances of our musical past, I had thought of something like

Souvenirs (‘Sam Barber already used that title’), or Excursions (‘Ditto’),

or Memories (‘I do think there’s a song...’), or Epitaphs (‘Theodore

Chanler’s song cycle’), ox Apparitions (‘a ballet’), or Obituaries (‘Leave

that to the critics’), or Tombstones (‘...I’). (Dead pause.) ‘What about 

Silhouettes?’ my wise and wonderful friend said. SILHOUETTES!

Perfect!

So here they are: Silhouettes, a set of pianistic flickers of times gone

by... in celebration ofJohn Browning’s sixtieth [birthday], as well as my

small contribution to thirty-nine years oftreasured friendship.”

Sonata, Op. 26, by Samuel Barber was commissioned in 1947 by

Irving Berlin and Richard Rodgers to commemorate the twenty-fifth 

anniversary of the League of Composers. Vladimir Horowitz played its

first performance in Havana, Cuba, on 9 December 1949, as well as its

subsequent performances in Washington, DC, and New York. It rapidly 

became the most widely performed and admired piano sonata by an

American composer and remains so today.