Johannes Brahms (1833–1897)
Two Rhapsodies, Op. 79 (1879)
Composed during the summer of 1879 in Pörtschach, Austria, Brahms’s Two Rhapsodies, Op. 79, represent a mature phase in his compositional career. Initially titled Klavierstücke (Piano Pieces), Brahms renamed them “Rhapsodies” at the suggestion of his friend and musical confidante, Elisabeth von Herzogenberg, to whom the pieces are dedicated. Despite his initial reluctance, the new title aptly reflects the passionate and free-spirited nature of these works.
Rhapsody No. 1 in B minor, Agitato
This expansive piece is structured in sonata form, featuring turbulent outer sections that frame a lyrical, nocturne-like central theme in B major. The music gradually establishes its tonal center, with the main key not firmly grounded until later in the exposition. The coda concludes in B major, providing a sense of resolution and tranquility after the preceding agitation.
Rhapsody No. 2 in G minor, Molto passionato, ma non troppo allegro
More concise than its counterpart, the second rhapsody also employs sonata form. It is characterized by rhythmic drive and a passionate intensity, with the main key similarly established later in the exposition. The piece showcases Brahms’s ability to blend structural rigor with expressive depth, creating a work that is both cohesive and emotionally compelling.
Nikolai Rimsky-Korsakov (1844–1908)
Scheherazade, Op. 35 (1888), arr. Florian Noack
Originally composed in 1888, Rimsky-Korsakov’s Scheherazade is a symphonic suite inspired by the tales of One Thousand and One Nights. The work is renowned for its vivid orchestration, exotic themes, and the recurring violin solo representing the storyteller Scheherazade. The suite comprises four movements:
The Sea and Sinbad’s Ship
The Story of the Kalender Prince
The Young Prince and the Young Princess
Festival at Baghdad; The Sea; The Ship Breaks Against a Cliff Surmounted by a Bronze Horseman
Belgian pianist Florian Noack’s arrangement for solo piano captures the essence of Rimsky-Korsakov’s orchestral palette, translating the rich textures and dynamic contrasts into a virtuosic piano transcription. The arrangement maintains the narrative flow and thematic development, offering a fresh perspective on this orchestral masterpiece.
Maurice Ravel (1875–1937)
Gaspard de la nuit (1908)
Composed in 1908, Ravel’s Gaspard de la nuit is a three-movement suite for solo piano, inspired by the poems of Aloysius Bertrand. The work is known for its technical difficulty and evocative imagery, with each movement depicting a different fantastical scene:
Ondine – A water nymph sings to seduce a mortal into her underwater realm.
Le Gibet – A haunting depiction of a hanged man swaying in the wind, accompanied by the tolling of a distant bell.
Scarbo – A portrayal of a mischievous goblin appearing and disappearing in the night, filled with sudden dynamic shifts and rapid passages.
Ravel intended this piece to surpass Balakirev’s Islamey in technical challenge, and it remains a benchmark of pianistic virtuosity and expressive depth.
Maurice Ravel (1875–1937)
Five O’Clock Foxtrot (1919), arr. Henri Gil-Marchex
The Five O’Clock Foxtrot is the final movement of Ravel’s opera L’enfant et les sortilèges (The Child and the Spells), composed between 1919 and 1925. This whimsical piece reflects Ravel’s fascination with American jazz and dance music, incorporating syncopated rhythms and playful melodies.
French pianist Henri Gil-Marchex’s arrangement for solo piano captures the charm and energy of the original orchestration, translating the jazz-infused textures into a delightful piano transcription. The piece serves as a testament to Ravel’s ability to blend classical forms with contemporary influences.
George Gershwin (1898–1937)
Selected Songs (arr. Florian Noack)
What Causes That · How Long Has This Been Going On · Slap That Bass
George Gershwin’s contributions to American music encompass both classical compositions and popular songs. In this selection, Belgian pianist Florian Noack offers solo piano arrangements of three Gershwin songs, highlighting their melodic richness and rhythmic vitality.
What Causes That – Originally from the 1925 musical Tip-Toes, this song features witty lyrics and a catchy melody, exemplifying Gershwin’s flair for blending humor with musical sophistication.
How Long Has This Been Going On – First introduced in the 1928 musical Rosalie, this ballad showcases Gershwin’s ability to craft poignant and expressive melodies.
Slap That Bass – From the 1937 film Shall We Dance, this upbeat number celebrates the rhythmic drive of jazz, with playful lyrics and an infectious groove.
Noack’s arrangements preserve the character of the originals while offering pianistic interpretations that highlight the songs’ harmonic and rhythmic nuances.
*Program notes generated with the help of ChatGPT.
