Season 9 – 2025/26
“Magisterra At The Museum”
“Musical Jokes”
September 14, 2025
Program Notes
Erik SATIE (1866 – 1925)
Choses vues à droite et à gauche (sans lunettes) for violin and piano
Humor in music can be as profound as drama, just as Erik Satie’s Choses vues à droite et à gauche (sans lunettes)(Things Seen to the Right and Left (without Glasses)) exemplifies this with its delightful blend of wit and eccentricity. Composed in 1914 for violin and piano, the piece is a hallmark of Satie’s playful approach to both music and titles, inviting listeners into a world of whimsical imagination. Satie, who often referred to himself as a “phonometrician” rather than a composer, was a true original. Born in Honfleur, France, in 1866, his career defied conventions, straddling the boundaries between music, visual art, and literature. Early in his life, Satie was associated with the cabarets of Montmartre, where his work often parodied the pretensions of classical traditions. As a precursor to movements like Surrealism and Dada, his compositions influenced avant-garde artists and composers, including Debussy and Ravel. Satie’s music is characterized by its simplicity, clarity, and a dry sense of humor that challenged the bombast of Romanticism. His legacy lies not only in his innovative compositions but also in his role as a cultural provocateur who paved the way for modernism.
Choses vues à droite et à gauche is a prime example of Satie’s humorous and unconventional style. The work is filled with lighthearted gestures, unexpected pauses, and quirky rhythms that seem to mock traditional notions of “serious” music. The piece’s surreal title reflects Satie’s penchant for the absurd, offering a playful commentary on perception and perspective. Beyond its humor, the piece is also a testament to Satie’s skill in crafting music that, while simple on the surface, contains layers of subtlety and nuance. It invites performers and listeners to embrace the unexpected, reminding us that music can be both profound and delightfully irreverent.
Program Notes by Helen Faucher
Alexej IGUDESMAN (b. 1973)
Applemania for solo violin
The blend of virtuosity and humor in music is a rare and captivating art, and Applemania by Alexej Igudesmannencapsulates this fusion with charm and wit. A solo violin piece filled with comedic flair, it highlights the intersection of technical brilliance and theatrical imagination with its playful spirit and inventive narrative. Igudesmann’s multifaceted career spans performance, composition, and entertainment, redefining the boundaries of classical music. Born in Leningrad (now St. Petersburg) in 1973, Igudesmann moved to Germany at a young age and studied at the Yehudi Menuhin School. As a violinist, his artistry combines a deep classical foundation with an irrepressible sense of humor, appealing to audiences across genres and generations. Together with pianist Hyung-ki Joo, Igudesmann co-founded the duo Igudesman & Joo, which has revolutionized the classical music world with their unique blend of virtuosic playing and comedic sketches. Their performances, characterized by absurdist humor and cultural commentary, have attracted a global following, making classical music accessible to those who might otherwise find it intimidating or elitist.
Applemania fits seamlessly into Igudesmann’s philosophy of breaking down barriers in music. Through exaggerated gestures, quirky rhythms, and the occasional unexpected sound effect, the work captures the absurdity of modern consumer culture. The solo violin serves as both storyteller and satirist, with the performer often required to act as much as play. Igudesmann’s writing blends dazzling technical demands with comedic timing, challenging the performer to balance musicality with theatrical delivery. This approach not only showcases the violinist’s skill but also invites the audience into an interactive and lighthearted experience. Applemania is more than just a humorous piece; it’s a commentary on the way technology shapes our lives, presented in a way that Igudesmann achieved. By merging classical tradition with contemporary humor, he reminds us that music can be a powerful tool for both entertainment and reflection, bridging the gap between performer and audience in a uniquely engaging way.
Program Notes by Helen Faucher
Adolf SCHREINER (1841 – 1894)
Immer Kleiner for clarinet and piano
A clarinet fantasy depicting a waning moon.
Program Notes by Cordelia Poon
Jan BACH (1937 – 2020)
Four Two-Bit Contraptions for clarinet and horn
Celebrated for his witty and whimsical music, Jan Bach composed these Four Two-Bit Contraptions whilst serving in the U.S. Army Band in Washington, D.C. Written in 1964 for Bach’s former horn student, Nancy Booth Stringer, and her flutist roommate, Mary Delano Sholkovitz, at the University of Michigan. These duets playfully allude to the Two-Part Inventions for keyboard by Johann Sebastian Bach. Jan Bach’s intention was for each part to serve as a freestanding piece, yet are musically and structurally balanced when performed together. The work consists of four movements as follows.
Second Lieutenant - “an R.O.T.C. officer whose military bearing does not quite conceal his real nature.” A military-like march juxtaposed by dissonant jolting fragments that culminates to a lighthearted resolution.
Calliope - “With delusions of grandeur, the organ of the Big Top attempts a romantic waltz.” A carefree and slightly clumsy waltz revealing a buoyant exchange between the clarinet and horn.
Gramophone - “An early lo-fi phonograph plays broken-record variations on a 1920 dance theme.” A nostalgic and lively dance with abrupt interjections imitating the crackling and popping sounds on a phonograph.
Pinwheel - “This contraption leaves the players breathless.” Perpetual spinning and swirling exchange between the players.
Program Notes by Cordelia Poon
Ernst Von DOHNÁNYI (1877 – 1960)
Sextet for piano, violin, viola, cello, clarinet and horn
The combination of rich orchestral textures with the intimacy of chamber music is a hallmark of one of the great works of the 20th century, Sextet for Piano, Violin, Viola, Cello, Clarinet, and Horn, composed by Ernst von Dohnányi. Completed in 1935, this piece stands as a masterful fusion of classical traditions and emerging modernism, reflecting the composer’s profound understanding of both Hungarian folk music and the broader European romantic idiom. Born in what is now Hungary in 1877, Dohnányi was a brilliant musician who made significant contributions to both Hungarian and international music scenes. A child prodigy, he was a virtuoso pianist and composed extensively throughout his life, creating symphonic, choral, and chamber works that displayed an exceptional command of form and emotional depth. His early compositions were heavily influenced by the Germanic tradition of Brahms, with whom he shared a similar tonal language and harmonic richness. However, Dohnányi’s later works reflect a more diverse range of influences, including Hungarian folk music and the newer, modernist movements emerging in Europe during his lifetime.
Dohnányi’s legacy is complex, having been associated with both the more conservative musical traditions of his early career and the political upheavals of his later years. He was a prominent figure in Hungarian cultural life, and his association with the Budapest Academy of Music led to a significant role in shaping the next generation of musicians, including composers like György Ligeti. However, as the political climate in Hungary grew more oppressive during World War II and the rise of communism, Dohnányi’s career and personal life became increasingly turbulent. Despite this, his music remains a testament to his extraordinary gift for melody, texture, and innovative instrumental colour.
The Sextet is one of Dohnányi's finest chamber works, and it demonstrates the composer’s ability to balance drama with lyricism, grandeur with intimacy. In many ways, it is a musical journey, taking listeners from moments of virtuosic brilliance to passages of deep, contemplative melancholy. The combination of piano, strings, clarinet, and horn creates a unique ensemble sound that is both lush and transparent, allowing Dohnányi to experiment with rich textures and contrasting timbres. The Allegro bursts with vitality and grandeur, marked by a sweeping, lyrical theme in the piano that is then taken up by the strings and winds. The movement is a perfect example of Dohnányi's dramatic flair, with its juxtaposition of virtuosic instrumental passages and moments of lyrical beauty. The second movement brings a more reflective mood, with a gentle, rhapsodic theme passed among the instruments. There is a deep sense of introspection and tenderness as the movement unfolds, showcasing Dohnányi’s ability to create rich emotional landscapes through relatively simple thematic material. The third movement is playful and rhythmic, featuring intricate counterpoint and lively exchanges between the instruments. This movement captures a sense of Hungarian folk influence, with its buoyant rhythms and dynamic energy. The finale begins with a bold theme in the piano, before developing into a full ensemble explosion of energy and virtuosity. The movement combines elements of both the dramatic and playful, bringing the piece to a jubilant and energetic conclusion.
The significance of the Sextet lies not only in its structural mastery but also in its emotional range and orchestral colour. Dohnányi’s blend of traditional Romanticism with early modernist sensibilities makes the work both accessible and innovative, allowing it to resonate with audiences while still pushing the boundaries of the chamber music form. Today, the Sextet stands as a cornerstone of the chamber repertoire, offering performers an opportunity to explore both the technical demands and expressive depth of the composer’s unique voice. Through this work, Dohnányi solidified his place as one of the most important Hungarian composers of the 20th century, leaving a legacy of vibrant, sophisticated music that continues to be appreciated by musicians and audiences alike.
Program Notes by Helen Faucher
