Concert Offerings from Francesca Anderegg

40% Swing

Wolfgang Amadeus Mozart Violin Sonata K. 304 
Claude Debussy Sonate pour Violon et piano
Robert Schumann Sonata No. 1, Op. 105
John Adams Road Movies

The last movement of John Adams’ piece “Road Movies” is entitled “40% Swing.” Adams’ work, which he describes as “travel music,” provides a sense of driving motion through motoric rhythms that repeat over and over, always slightly shifting.

In 40% Swing, Francesca Anderegg presents a program that is 60% lyrical and “40% swing.” Mozart’s Violin Sonata K. 304 and Robert Schumann’s Sonata No. 1 provide singing melodies and traditional harmonies. Claude Debussy’s Sonata is a brilliant, glittering gem of a work, filled with unexpected twists and turns and virtuosic, cascading musical flourishes. Finally, John Adams’ Road Movies provides a “wild ride” through a freewheeling musical landscape for both piano and violin.

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Solo Echoes

Johann Westoff Suite No. 5 Solo Violin
Heinrich Ignaz von Biber Passacaglia
Salvatore Sciarrino Sei Caprice
Pierre Boulez Anthèmes I
Rodion Schedrin Echo Sonata

In Francesca Anderegg‘s unaccompanied “Solo Echoes” program, we hear the stirring beauty of solo violin as fashioned through the centuries. Every composer following Bach has been influenced by his monumental Sonatas and Partitas for Solo Violin, but the works that influenced Bach’s solo violin writing are rarely performed. In this concert, Francesca Anderegg mixes historical and modern: she presents the Baroque forerunners to Bach- Johann Westoff’s Suite No. 5 and the virtuosic Passacaglia of Heinrich Ignaz von Biber- as well as the avant-garde language of Pierre Boulez and Salvatore Sciarrino. The concert closes with the Echo Sonata by Russian composer Rodion Schedrin, written to celebrate the 300th anniversary of Bach’s birth.

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Wild Cities 

Ryan Anthony Francis, Remix (2004)
Clint Needham, On the Road (2013)
Hannah Lash, Adjoining (2015) (commissioned for this project)
Ted Hearne, Nobody’s (2010)
Reinaldo Moya, Imagined Archipelagos (2012)

Ever since the days of Brahms and Joachim, composers and performers have been partners and collaborators in bringing musical works to life. In this program, Francesca Anderegg joins this tradition by performing the music of her friends and colleagues. All written within the last several years, these works demonstrate the dazzling range of talent of young American composers.

Each composer has American minimalism as a reference, and uses it to forge their unique style. Ryan Francis’s Remix is based on electronic dance music. On the Road by Clint Needham is inspired by a signature image of American composition: the open road, brimming with optimism and possibility. Ted Hearne’s piece Nobody’s incorporates the tradition of clogging in old-time Appalachian fiddle music, and mixes this idea with extended techniques and the noise of electronic effects. Hannah Lash’s Adjoining, commissioned by Anderegg for this project, is post-Romantic: it is filled with harmonic ambiguity and searches for a resolution that remains always out of reach. Finally, Reinaldo Moya’s Imagined Archipelagos fuses minimalist gestures with the fast, revolving rhythms and fluidity of Venezuelan folk music. “Wild Cities” surveys the landscape of American music with these five pieces, and takes the audience on a musical journey to new, fantastic places.

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The Fairy’s Kiss: Music and Myths from Russia 

Tchaikovsky, “Lullaby in the Storm” from Songs for Children, Op. 54
“Humoresque (arr. Kreisler)” from 2 Pieces, Op. 10
“Serenata” from Romances, Op. 63
Stravinsky, Divertimento from “La baiser de la fée”
Prokofiev, Sonata No. 2 for Violin and Piano
Medtner, Sonata No. 1 for Violin and Piano

In this program, violinist Francesca Anderegg considers the kaleidoscopic influences on Russian composers, inspired by sources from their cultural heritage as well as distant myths. Stravinsky’s Divertimento “La baiser de la fée” (The Fairy’s Kiss), from the ballet of the same name, is an homage to the music of Tchaikovsky: Stravinsky develops the delicate simplicity and clarity of Tchaikovsky’s songs into a work of polish and sophistication. A pair of sonatas — Prokofiev’s lyrical Sonata No. 2 and Nikolai Medtner’s vivacious Sonata No. 1, inspired by the Greco-Roman god Bacchus — have all the drama and virtuosity of the Russian romantic tradition.

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Canciones Populares 

Ravel, Violin Sonata
Moya, Imagined Archipelagos
Manuel de Falla, Siete canciones populares españoles
Bartók, First Rhapsody

Composers have long been inspired by popular styles and songs. In her Canciones Populares recital, Francesca Anderegg explores a dazzling array of music: blues and jazz are heard in Ravel’s Violin Sonata, popular song inspires Manuel de Falla’s Siete canciones populares españoles, echoes of Venezuelan folk music are woven through Moya’s Imagined Archipelagos, and the irresistible energy of Hungarian folk music infuses Bartók’s First Rhapsody.

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