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This groupmuse happened on Saturday, August 1, at 7:30 PM EDT.
Audrey Vardanega: IN THREE
Live Concert

Audrey Vardanega: IN THREE

Sat, August 1, 2020 7:30 PM, EDT

This Saturday at 7:30pm ET we're pleased to present a special HD streaming groupmuse featuring the brilliant pianist-composer Audrey Vardanega, who'll be performing the works of Brahms, Mozart and Chopin, uniquely woven together by a recurring 'theme of threes':

In Audrey's own words: '...three beats to a Mazurka, three parts to ternary form… I call this program “In three” given how threes bind these pieces together formally and the program together as a whole.'

The concert begins by exploring the three different shades of andante found in what Brahms referred to as his 'lullabies of sorrow' Op. 117, followed by the majestic Op. 50 Mazurkas of Chopin, rounded off with Mozart's dazzling three movement Piano Sonata in F Major, K 533.

In a time when our 'virtual lives' seem filled with constant cycles and repetitions, we look forward to being taken on a musical and philosophical journey to encounter a deeper sense of nuance, subtlety and meaning within the underlying structures and moods of these masterworks.

The pre-concert Zoom hang starts at 7:30pm ET, and the performance begins at 8pm.

We hope to see you there!

Program

Brahms Intermezzi Opus 117: 
1. Andante moderato in E-flat Major
2. Andante non troppo e con molto espressione in B-flat Minor
3. Andante con moto in C-sharp Minor

Chopin Mazurkas Op. 50 No. 2 / No. 3

Mozart Piano Sonata K 533 in F Major

Three composers, three lullabies in Brahms’ Opus 117, three Mazurkas in Chopin’s Opus 50, three movements to Mozart K533, three beats to a Mazurka, three parts to ternary form… I call this program “In three” given how threes bind these pieces together formally and the program together as a whole.

Ternary form (ABA Form) organizes our experience of the passage of time through the introduction of the A section, the shift to the B section, and the return to the A. Our re-experiencing of the A section isn’t just a repetition of something that’s already occurred - it sheds light on ourselves changing through time passing as the music meanders among sections.

As Kierkgaard stated in his 1843 book “Repetition,” “the temporal quality of repetition—the fact that experiencing the ‘same’ thing can only occur later in time, makes [ternary form] more dynamic than it can appear.” In Brahms’ 117, Chopin’s Mazurkas Op 50 No 2/3, and Mozart’s Piano Sonata K533, we are taken on a dynamic journey with each return of the A.

Composed by Brahms in 1892, Klavierstucke Opus 117, known to Brahms as “three lullabies for [his] sorrows,” features three shades of Andante - Andante moderato, Andante non troppo, Andante con moto - in three lullabies that evoke comfort, despondence, hesitation, hopelessness, buoyancy and much more. Each movement is in ternary form (ABA), where the A section seems to meander into a vastly different B section, then settles back into the familiar A section. The piece is bound by threes; Three different Andantes, three sections within each movement — “three lullabies for my sorrows.”

Going back fifty years, Chopin’s Mazurkas Op 50 (another set of three, though I’ll only be playing two Mazurkas) were written and published in 1842. A Mazurka is a Polish folk dance in three, with a hesitation on the second beat. These Mazurkas have an inherent feeling of unevenness and improvisation, typical to many of Chopin’s works for piano. Of these Mazurkas, the most unique is the third in C-sharp minor, which begins with a tentative, contrapuntal vocal duet and meanders into a dance that spins out on itself. The piece concludes with one of the most harmonically-ahead-of-its-time codas (a real Tristan moment) which leads to a roiling conclusion to a Mazurka with seamless twists and turns.

This program of “threes” concludes with Mozart’s Piano Sonata in F Major, K 533 in three movements, written in 1788. The preceding pieces by Brahms and Chopin are inspired by vocal music and typically, a Mozart Piano Sonata would be no different with its likeness to operatic writing. Unusually, K533 has more in common with string trio writing than with operatic writing. The first movement is an upbeat, swinging opening to the Sonata with a stormy development section. The second movement is one of my favorite Mozart slow movements of all time, with extremely moving harmonic changes and a grand sense of inevitability and expansiveness. The third movement, Rondo: Allegretto, was initially written two years before as a stand-alone piece. Mozart later revised and elongated the Rondo to operate as the third movement of K533. The Rondo has a “toy piano,” miniaturized, playful and infantile feeling to it, with a unique middle section that brings to mind the sound of the organ.

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Attendees

Center
Christos Vayenas Emcee
Center
Brian Gray
Center
Carol Sicherman
Center
Leni Siegel
Center
Denys Carrillo
Center
Rachel Dunsmoor
Center
Connie Philipp
Center
Paula Farrington
Center
Katherine Sturrock
Center
Sophie Heller
Center
Sheldon
Center
Troshinsky Lisa
Center
Shanker Satyanath
Center
Sarah W
Center
Gerrie Schmidt
Center
David Harris
Center
Debbie Phipps
Center
Evelyn Wolff
Center
Howard Schranz
Center
Ken Camper
Center
Laurilyn Jones
Center
Andrea R.
Center
Nancy Jacobsen
Center
Philip Friedel
Center
Monika Pauli
Center
Linda Vallee
Center
Daniel
Center
Richard Hartung
Center
Phil Saines
Center
Susan Francis
Center
Erin mccloskey
Center
Steven Wang
Center
Paula Tapia
Center
Mary A Johnson
Center
Robert Schwartz
Center
Isaac Pastor-Chermak
Center
Meina Xu
Center
Philip Harwood
Center
Sylvia V
Center
J A Bickers
Center
Liz Hays
Center
Carla Skodinski
Center
Jerimiah Stephen Otto
Center
Reiko Green
Center
Alice Loo
Center
David Borden
Center
Karen Ansis
Center
Evelyn Kawahafra
Center
Elizabeth Langer
Center
Bill Moulder
Center
Alexandre Coimbra
Center
Jill Beatrice Hartman
Center
Raymond linkerman
Yes
Meg Berlin
Yes
Judith Wortman
Yes
Gabriel Coronado
Yes
Valerie Roach
Yes
Don
Yes
Sharona Barzilay
Yes
Adam Kotlewski
Yes
Martha Keith