Harsha Abeyaratne

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Publication Date

2-10-2008

Year of Release

2008

Note(s)

Harsha Abeyaratne, piano

Program Notes

Evocación from Iberia (Albeniz)

Spanish composer and child prodigy, Issac Alberiiz, was notorious for running away from home! When he was twelve, he boarded a ship and visited places in South America, making it to San Francisco before returning home. Later in his youth, he followed Franz Liszt all over Europe trying to take piano lessons from the great master. Albeniz wrote extensively for the piano and he described not so much what he felt but what he saw. A lot of his music is also influenced by Spanish dances and songs. As the title of Evocación suggests, the music is evocative and gradually unfolds. The rhythm is derived from an eighteenth century dance, the fandango, which contrasts three-four and six-eight meters. A songlike refrain is introduced in the left hand. The pieces in Iberia (Spain) represent his best writing for the piano.

Sonata in D Major, K 311 (Mozart)

This sonata is one of the two Manheim sonatas, the other being Sonata in C, K. 309. Both sonatas are showy and the left hand no longer acts as a simple alberti bass but creates a dialogue with the right band. In the first movement of K. 311, the first theme returns only-towards the end of the recapitulation, acting as somewhat of a surprise. It is believed that Mozart tries to portray the character of the young-Rose Cannabich - his newly found friend - in the second movement. Needless to say, it is very tender and lyrical. The last movement is brilliant and has orchestral effects. Mozart considered this sonata, along with the other Manheim sonata, to be amongst his more difficult piano works.

Preludes (Op. 32) in b minor and g# minor (Rachmaninov)

Sergei Rachmaninov, one of the greatest pianists and composers to have ever lived, attended the Moscow Conservatory and studied piano with his cousin, Alesander Siloti. He earned his living in Moscow as a performer, composer, and conductor. Due to political turmoil, he left Russia for good when he was forty-four and settled in the United States. The sets of Op. 23 and Op. 32 preludes represent the best of his writing for solo piano. The b minor prelude is one of grandeur and nobility and is considered the finest of the group. The melody of the g# minor prelude has a beseeching-like feel to it.

0 Lieb ' from Liebestraume (Liszt)

Hungarian pianist and composer, Franz Liszt, based this piano piece – which has always been popular - on a poem titled, 0 Lieb', written by F. Freiligrath (1810-

1873). The work then became the third of the three 'Notturnos' published under the title, Liebestraume. The melody is very lush and the cadenzas are ingeniously written.

This is a literal translation of the poem:

"Oh Love, oh love as long as you can love, long may you love.

The Hour will come when you must stand by Graves and mourn.

And seek to let your Heart glow, and comfort Love and sustain Love

So long as another's Heart still responds with warmth in Love.

And whoever opens his Heart to you, oh, give him all the love you can

And make him happy every Hour and never one Hour make him sad!

And guard your Tongue well: so soon can a harsh Word escape.

O God - it was never meant to hurt -

But the Other one departs and weeps."

Prelude, Choral, and Fugue (Franck)

Cesar Franck, whose parents were German, was born in Belgium. After attending the Paris Conservatory, be, however, spent the rest of his life in Paris. Franck wrote mostly for the organ and piano, and worked as an organist at various Parisian churches during his life. His compositions were greatly influenced by the fugal writing style of J.S Bach; in fact, Franz Liszt, who championed Franck's writing, stated that Franck's works deserve a place besides Bach's. The Prelude, Choral, and Fugue is one of the greatest pieces written for the piano. Franck originally conceived it as a prelude and fugue but then added the choral in-between, which, subsequently, turned out to be the most lyrical section of the work. The three sections are connected by thematic material, and they are heard again – in dramatic fashion- in the climatic section of the fugue.

Biography

Harsha Abeyaratne, who is an Assistant Professor of Music at Muskingum College, maintains an active career as a soloist, accompanist, and pedagogue in the United States. Critics have referred to his playing as "poetic" and "passionate". Additionally, Robert Palmer, who was his teacher when he attended Ball State University, writes "Abeyaratne's performances are marked by an innate sensitivity resulting in great musical conviction in recital."

As a solo and collaborative pianist, he has performed in halls, churches, colleges, and universities in several locations that include: Chicago, Illinois; Manhattan, New York; Jacksonville, Florida; Ashland, Oregon; Charleston, West Virginia; Cambridge, Ohio; and Huntington, Indiana. He has collaborated with saxophonist, George Wolfe, trombonist, Mike Stroeher and hornists, Heidi Wick and Marsha Palmer, amongst others. Recently, Abeyaratne performed Rachmaninov's First Piano Concerto with the South East Symphony Orchestra and Chance's Introduction and Capriccio with the Muskingum Symphonic Winds.

He has appeared in a television broadcast and given solo recitals in his native country, Sri Lanka. One of these concerts was made possible because of a grant he received from the United States Embassy in his homeland. A critic (Sunday Island) wrote, "Abeyaratne ... is the kind of pianist who performs with verve, passion, and creative flair."

In the Spring of 2008, he is scheduled to perform solo recitals at the Grace Lutheran Church in Dover, Muskingum College, Ohio University in Zanesville, and Marshall University.

Abeyaratne performs, additionally, as a member of the Alato trio, which features violinist, Laura Schumann, and bassoonist, Joyce Alesandrini, both colleagues of his. He tinkers with jazz as well and has performed with jazz violinist, Randy Sabien, and trumpeter and colleague, Don Kason. Widely being sought out as a pedagogue, he is asked to adjudicate competitions, such as the OMTA/Graves piano competition, Tuscarawas Ribbon Festival, WVMTA regional piano competition, and the Thursday Music Clu9 in Wheeling.

Abeyaratne joined the department 9f music at Muskingum College in 2003. He coordinates the keyboard program and teaches piano, piano accompanying, second year theory, both first and second year aural skills, and First year .Seminar. He regularly accompanies students, both singers and instrumentalists, at their senior recitals. Abeyaratne, who is a member of Pi Kappa Lambda, a music honor society, College Music Society, MTNA, and OMTA, has served in the faculties of Marshall University and Manchester College.

He has two undergraduate degrees from Lewis and Clark College and both, masters and doctoral degrees, from Ball State University. His piano teachers include Mary Billimoria, Ann Schaffert Miller, and Robert Palmer. He currently resides in Zanesville, Ohio.

Note

Smith Recital Hall

Disciplines

Arts and Humanities | Fine Arts | Music | Music Performance

Marshall University Music Department presents a MU sic Alive!, Concert, featuring, Guest Artist, Harsha Abeyaratne, piano

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