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 Concert #8 - Saturday, April 26, 2008, 8:00 pm
Trustees Theater, Savannah
The Savannah Concert Association presents
Ran Dank, pianist
First Prize Winner of the 2008 Hilton Head International Piano Competition to play in Savannah Solo and with local Quartet
Terry Moore, violin
Gretchen Frazier, viola
Sarah Schenkman, cello
Stephen Rickett, bass
RAN DANK
At age 25, Ran Dank has achieved great success as a concert pianist, and
he has become an active observer and participant in the entire cultural
scene. His audiences sense that he is more than a major talent at the
keyboard. His wide range of interests have given added authority and
richness to his musical interpretations.
Dank was born in Tel-Aviv, began playing piano at age seven, and by the
time he received his Bachelors Degree at the Rubin Academy of Music,
he had won virtually every prize available for a young musician in his
country. He came to the United States in 2002 to study at the Juilliard
School, receiving a Masters Degree under the guidance of Emanuel Ax
and Joseph Kalichstein. He is now pursuing an Artistic Diploma Degree
at the Juilliard.
Since coming to this country, Dank has continued his winning ways,
taking first prizes at the Hilton Head International and the Gina
Bachauer Competitions. Other honors and engagements have been
showered on him in the U.S., Belgium, England, Poland, France,
Germany, Finland and Russia.
Besides music, Ran Dank's passions are for the visual arts and literature.
With his own projector, he has studied the great classic French films
and all the works of Kurosawa. He received praise as a music critic for
his review of new recordings of four Mozart operas made by the
Drottningholm Court Theatre and Chorus conducted by Arnold
Ostman. Living in New York, he is a frequent visitor at the Museum of
Modern Art, where he derives inspiration from Austrian and German
20th Century expressionist painters. He is an avid reader of the stories of
Thomas Mann, so much so that he took a two-week intensive German
course in Berlin so he could read Mann's works in their original language.
It is no small wonder that Ran Dank has a very busy schedule.
TERRY MOORE
Terry Moore is the Concertmaster of the Hilton Head Symphony
Orchestra. He has music degrees from Indiana University and the Catholic
University of America. A frequent chamber music performer and co-founder
of the Forsyth Ensemble, he is married to Sarah Schenkman.
GRETCHEN FRAZIER
Originally from Buffalo, Gretchen Frazier studied at the University of
Cincinnati Conservatory of Music. A member of the Hilton Head
Symphony, she and her husband, John Stoehr, now live in Charleston.
SARAH SCHENKMAN
Sarah Schenkman comes from Norfolk, VA, and much of her training came
from her musical family. Currently the co-principal cellist with the Hilton
Head Symphony Orchestra, she is married to Terry Moore. They have one son.
STEVE RICKETT
Steve Rickett, a native of Greenville, SC, has degrees form the North
Carolina School of the Arts and the Cleveland Institute of music. After 24
years as bassist and stage manager for the Savannah Symphony, he now plays
for the Hilton Head Symphony Orchestra.
PROGRAM
Waltz in A Flat Major, Opus 42 — Chopin
Sonata in E Flat Major, Opus 27 No. 1 — Beethoven
Andante, Allegro
Allegro Molto e Vivace
Adagio Con Espressione
Allegro Vivace
Sonata No. 9, Opus 68 "Messe Noir" — Scriabin
Polonaise in A Flat, Opus 53 — Chopin
Ran Dank
— INTERMISSION —
Quintet in A Major, Opus 114 "The Trout" — Schubert
Allegro Vivace
Andante
Scherzo (Presto), Trio
Theme and variations on "Die Forelle" (The Trout)
Finale, Allegro Gusto
Ran Dank,
Terry Moore, Sarah Schenkman, Gretchen Frazier, Stephen Rickett
PROGRAM NOTES
Waltz in A flat, Opus 42 — Frederic Chopin (1810-1849)
One of the most technically demanding of his waltzes. Robert Schumann called it "a
salon piece of the noblest kind."
Piano Sonata, Opus 27, No. 1 — Ludwig van Beethoven (1770-1827)
Beethoven, the man who is often credited with freeing music from the strictures of
the classical period, labeled the first movement "quasi una fantasia" since it did not
follow the customary sonata-allegro format. It is in ternary (ABA) form with a slowfast-slow order, marked Andante - Allegro. The second movement, also in ternary
form, is also unusual in character. Usually a slow movement, in this case we have a
galloping, arpeggiated frolic. The third and fourth movements are conjoined into
a very expressive, moving statement with an introductory adagio, followed by a
vigorous vivace, interrupted near its end by a reprise of the adagio. Amazingly, the
composition of this sonata is contemporaneous with the famous Heiligenstadt
Testament which reveals his awareness of his tragic hearing loss.
Sonata No. 9, Opus 68 — Alexander Scriabin (1872-1915)
Considered by many to be the greatest of his ten sonatas, the Sonata No. 9 represents
the grand apotheosis of Scriabin’s mysticism and penchant for the occult in musical form with the use of the mystic chord (C, F sharp, B flat, E, A and D). This
sonata is often referred to as the “Black Mass.” Although Scriabin did not attach this
title to the work, it is said he approved it. Largely atonal, there are four themes used
by Scriabin in the course of the one movement work. Perhaps the easiest to identify
is the four note descending chromatic motive at the very beginning. In one movement,
the difficult work, written just two years before his death, invites much
scrutiny and admiration.
Polonaise in A flat, Opus 53 — Frederic Chopin (1810-1849)
This stately, majestic composition has become immortalized through having been
used as a basis for a popular song which has made it the best known of all the
polonaises. Aside from the familiar tune, (the pop version’s words were "'Til the end
of time"), a thrilling march tune along with some skillful left hand octave work, make this a grandiose showpiece.
Quintet for Piano and Strings in A Major, D. 667 "Trout" — Franz Schubert (1797-1828)
Emulating Johann Nepomuk Hummel’s quintet, popular at the time, Schubert
scored his quintet for piano, violin, viola, cello and double bass. Also at the behest of his friend and patron, Sylvester Paumgartner, it was requested that Schubert include
a set of variations based on his popular lied, Die Forelle ("The Trout"). The result was a
piece of great warmth and brilliance intended for the intimate salon but also pleasing to concert hall audiences.
The five movement work begins with an allegro vivace (fast and lively) opening in
sonata-allegro form. An upward sweeping arpeggio on the piano ushers in the exposition
containing the usual two contrasting themes. The development is based primarily
on the first theme. The recapitulation is essentially a repeat of the exposition, with
the necessary adjustments of key.
The second movement (andante) is based on three contrasting themes, each an
attractive statement by melody-master Schubert.
The third movement is a delightful scherzo replete with contrasting dynamics
and off-beat accents. The trio is in sharp contrast to the giddy atmosphere that surrounds it.
Use of the immensely popular art song, Die Forelle, has forever caused this work
to be known as "The Trout Quintet." In the first three variations, each of the quintet's
five instruments is spotlighted. The fourth and fifth deviate considerably from the
original melody. The sixth variation sums up the preceding sections and returns with
the original theme intact.
The finale is a tuneful feast where Schubert exploits his melodic mastery to the fullest.
Program notes by Dr. Sterling Adams
Tickets $35, $25, $12.50
Visit SCAD Box Office
www.scadboxoffice.com
216 E. Broughton Street, Savannah, or call
(912) 525-5050. Visa and Mastercard accepted.
Music teachers and students
may order special tickets @$2 by emailing
name & address to dianelboyd@comcast.net
For a free brochure of the 2007-2008 season, email name & address to eoliver524@comcast.net
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