University of Iowa News Release
March 12, 2004
Photo: Cellist Anthony Arnone from the University of Iowa School of Music. Click here for a high-resolution image.
'War Horses' And 'Frisky Ponies' Form Program For March 27 UI Recital
Cellist Anthony Arnone from the University of Iowa School of Music and pianist Timothy Lovelace, a guest artist from the University of Minnesota, will perform two old "war horses" and works that by comparison might be considered "frisky ponies," on a free recital at 8 p.m. Saturday, March 27 in Clapp Recital Hall on the UI campus.
The "war horses" -- often-played staples of the repertoire -- will be sonatas for cello and piano by Beethoven and Brahms: to be specific, Beethoven's Sonata in C major, op. 102, no. 1; and Brahms' Sonata in E minor, op. 38.
The "frisky ponies" -- shorter works that are less familiar and therefore new experiences for the audience -- will be "Tres Obras" (Three works) by Spanish composer Manuel De Falla; the "Romance," op. 69, of French composer Gabriel Faure; and "Three Early Pieces" for cello and piano by Finnish composer Jean Sibelius.
"We will be playing these relatively obscure pieces by known composers in preparation for a CD recording in late May," Arnone said. "It has been fun to discover that many known composers actually wrote for the cello. I have even unearthed the music to three pieces for piano and cello by Charlie Chaplin!"
Beethoven wrote five sonatas for cello and piano, extending from 1796 to 1815 and representing three very different periods of his life. The two sonatas. op. 5, of 1796 represent the classical style of Beethoven's earliest Viennese compositions; the Sonata in A major, op. 69 of 1807-08, written at the same time as the fifth and sixth symphonies, represents the assured and vigorous style of his middle period; and the two sonatas. op. 102, written in 1815 when Beethoven was struggling with many personal problems, stand at the beginning of his later style period.
The Op. 102 sonatas were written for cellist Joseph Linke, a close friend of the composer. As a member of the prominent string quartet of violinist Ignaz Schuppanzigh, Linke took part in the first performances of many of Beethoven's string quartets, as well as the last three of the cello sonatas. The music Beethoven wrote for him in sonatas and string quartets shows that Linke was an exceptional artist and musician. The piano parts of the sonatas are no less demanding, making these among the first sonatas that were written for genuinely professional performers rather than amateurs.
Like many of Brahms' works, the Cello Sonata in E minor went through several versions before the composer was satisfied with it. He originally composed three movements for cello and piano in 1862. He completed the Sonata with a fugal finale in 1865, as a gift to an amateur cellist. But before publication, Brahms removed one of the original movements, leaving a three-movement work of unusual structure: a lengthy first movement in moderate tempo, an allegretto in minuet style and a rigorous concluding fugue.
The theme of the fugue and the opening theme of the first movement both resemble themes from J.S. Bach's "Art of Fugue," which gives the sonata an archaic quality. At the same time, the harmonic style and the dark brooding character of the first movement are utterly characteristic of Brahms. The piano and cello are treated as equal partners in the sonata, which Brahms titled in the fashion of 18th-century works, "Sonata for piano with 'cello."
Now in his third year on the UI string faculty, Arnone is a founding member of the Meriden Trio and the Sedgwick String Quartet, which regularly performs at the Spoleto Festival in Charleston, S.C. He was principal cellist of the Madison Symphony in Wisconsin 1996-2001, was a member of the Orchestra Philharmonique de Nice and the Wichita Symphony, and was principal cellist of the Spoleto Festival in Italy 1992-1997.
Arnone has taught master classes and performed across the country and currently teaches summers at the Eastern Music Festival in North Carolina and the Stonybrook Music Festival in New York. Before coming to the UI, he held a faculty position at Ripon College in Wisconsin, where he taught cello and bass, music theory and chamber music, and conducted the orchestra.
Lovelace, who teaches collaborative piano at the University of Minnesota, has collaborated with major artists including Elisabeth Batiashvilli, Miriam Fried, Alban Gerhardt, Emma Johnson, Paul Neubauer, Pekka Kuusisto and Paquito D'Rivera. He is a staff pianist at the Ravinia Festival's Steans Institute, where has played in the classes of Barbara Bonney, Christoph Eschenbach, Thomas Hampson, Christa Ludwig and Yo-Yo Ma, among others.
He was a participating accompanist at the Ninth International Tchaikovsky Competition, where the official press bulletin noted his "deep and original interpretations of Russian composers" and "how sensitively and precisely he conveyed all of the stylistic nuances of Russian art songs and arias."
Lovelace's concert appearances have included performances on New York's WNYC radio, at Columbia University's Miller Theatre and on Chicago's Dame Myra Hess Memorial Concerts series. He is currently a member of the Bach Four, a consortium of pianists performing Bach's complete "Well-Tempered Clavier" in a multi-media format. In recent years he has appeared as concerto soloist with the University of Texas Philharmonia and the Victoria Bach Festival Orchestra. Prior to coming to the University of Minnesota, Lovelace was assistant professor of accompanying at the University of Texas at Austin.
The School of Music is part of the Division of Performing Arts in the UI College of Liberal Arts and Sciences.
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