Chanson d'amour, Op 27 No 1

Gabriel Fauré (1845-1924)

Najla Sadek, soprano
Josiane Sfeir, piano
This piece requires a sense of delicacy and grace as the vocal line typical of Faure flows in descending
phrases. The piano accompaniment uses a constant stream of arpeggios with almost no heavy chords,
giving the feeling of transparency. The text is by Armand Silvestre, a frequent supplier of the sentimental
verses that the composer favored. Faure keeps the mood light, while other composers might have imbued
more drama into the musical setting of the lines such as "my hell and my paradise."

Préludes, Book I; 4. La Fille aux cheveux de lin, CD 125 ; L.117

Claude Debussy (1862-1918)
Najla Sadek, piano
Debussy's "La fille aux cheveux de lin" is the eighth piece in his first book of Préludes, composed between
late 1909 and early 1910. Inspired by Leconte de Lisle's poem, the composition reflects a departure from
Debussy's usual style, known for its simplicity. This piece features a recognizable opening theme followed
by a Scottish ballad-like melody. Building to a climax with a crescendo, it descends into a diminuendo before
a drone-like motif emerges. The coda reintroduces the opening theme, leading to a final plagal cadence.

Prelude in G Minor Op. 23 No. 5

Sergei Rachmaninoff (1873-1943)
Mohamad Ayman Charaf, piano AUB CLASSICAL MUSIC CLUB
This Prelude is structured in ternary form ABA, it begins with a taunting A section marked by punctuated
sixteenth-note chords, conveying a sense of march-like urgency. This motif is reiterated with forcefulness
and interrupted by descending chords, adding to the tension. The contrasting B section introduces a melodic
and fluid texture, evoking a sense of expansiveness and relaxation. After the return to the A section, the
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piece concludes with a coda characterized by a whirlwind of activity before its tranquil resolution.
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Fugue from Violin sonata in G minor BWV 1001
Johann Sebastian Bach (1685-1750)
Christian Sebrini, guitar
This four voice fugue is originally for the violin and attempts to exploit the stretches and polyphonic
capabilities of the instrument. A fugue was a common form used for the second movement in baroque
sonatas. A relatively lengthy movement, it was transcribed for the organ by the composer as free standing
piece, and later adapted for the guitar.
Prelude in C major, BWV 846
Johann Sebastian Bach (1685-1750)
Philippe Doumet, piano
This prelude is the first prelude and fugue in the first book of The Well-Tempered Clavier, a series of 48
preludes and fugues by the composer. The prelude consists of a chorale set in broken chords or style brise
texture. Bach composed the original, shorter version of this piece for his eldest son Wilhelm Friedemann.
Sonata in A Major, K. 113, L. 345
Domenico Scarlatti (1685-1757)
Josiane Sfeir, piano
This sonata is emblematic of the composer's approach to keyboard composition. Born in Naples and later
serving in the Court of Madrid, Scarlatti's works reflect a blend of Italian and Spanish musical influences.
The sonata presents technical challenges for performers, characterized by complex passages featuring
leaps, crossed hands, trills, and syncopation. Scarlatti's innovative use of these elements pushes the
boundaries of keyboard technique, demanding precision and agility from the player. As all of Scarlatti’s
sonatas, the music is set in two sections which are typically repeated.
Tre giorni son che Nina in letto senesta, P.106
Giovanni Battista Pergolesi (1710-1736)
Najla Sadek, soprano
Michel Abou Jaoude, piano
The Italian Pergolesi is renowned for his contributions to both sacred music and comedic opera. His
Pergolesi's aria "Tre giorni son che Nina in letto senesta," commonly known as "Nina," remains a captivating
piece. The aria's portrayal of a plea for the recovery of a sick girl adds to its enduring appeal.
Piano Sonata No. 25 in G major, Op. 79
Ludwig van Beethoven (1770-1826)
Michel Abou Jaoude, piano
This sonata embodies the composer's engagement with the musical trends of his era. Beethoven's
acknowledgment of the significance of Emanuel Bach's pianoforte works in a letter to Breitkopf reveals
his respect for earlier composers and their influence on his own compositions. It was composed during a
period of musical exploration, reflects Beethoven's experimentation with the galant style. The sonata is
set in three movements. It opens with a Presto followed by a contrasting Andante espressivo that shifts
from introspection to a serene barcarole before returning to its initial mood. The Vivace finale showcases
Beethoven's playful variations on a theme from his earlier years, culminating in an unexpected resolution.
Piano Sonata No. 8, Op. 13 "Pathétique", 2nd movement: Adagio cantabile
Ludwig van Beethoven (1770-1826)
Karim Naser, piano
This movement exemplifies the expressive Adagio style of many slow movements in the classical period. It
is organized as a five-part rondo, contrary to most second movements which are written either in ternary
form or theme and variations form. In the episodes, Beethoven also uses unusual techniques to move
between keys. With the final return of the main theme, the accompaniment becomes richer and takes on
the triplet rhythm of the second episode followed by a brief coda.
Lieder ohne Worte Op.38 N.1
Felix Mendelssohn (1809-1847)
Christy Nassif, piano
This piece is part of a series of genre-works by Mendelsohn called Songs Without Words. They are short
lyrical piano works that enjoyed great success during the composer’s lifetime. They became increasingly
popular when they became a standard item in many middle-class households since they are within the
grasp of pianists of various abilities. This piece assumes a Barcarole-like texture with its offbeat melodic
entry, regular triplets in the middle voice and repetitive baseline. Although it is set in ternary form ABA,
the transition between sections is seamless.
Concertino in E-flat Major, Op.26
Carl Maria von Weber (1786-1826)
Yamen Al Mohtar, clarinet
Michel Abou Jaoude, piano
Carl Maria von Weber composed this Concertino in a remarkably short period, completing it in just three
days in March 1811. The work was tailored for clarinetist Heinrich Bärmann and premiered to great acclaim,
solidifying Weber's reputation as a prominent composer. Structured as a single movement in theme and
variations form, the concertino begins with a solemn introduction in C Minor before transitioning to
the main theme in E-flat major. This theme undergoes a series of variations, showcasing Weber's skillful
manipulation of rhythm, tempo, and tonality. The variations range from lively triplets to intense sixteenth-
note passages, with moments of contemplative reflection interspersed throughout.
Impromptu Op. 90 No. 2
Franz Schubert (1797-1828)
Theodore El Hajj, piano
Schubert's second Impromptu unfolds with a flowing triplet theme. The piece presents a structured
simplicity, featuring a clear waltz rhythm and a contrasting trio section. The opening theme, presented in
triplets, establishes a buoyant and rhythmic atmosphere, reminiscent of a dance. Schubert introduces a
contrasting trio section, briefly deviating from the main theme before returning to its joyful strains. The
coda brings closure to the piece by revisiting the opening waltz material. Throughout the Impromptu,
Schubert intertwines major and minor tonalities, adding depth and complexity to the music.
Nocturne in A-flat Major, Op. 32 No. 2
Frédéric Chopin (1810-1849)
Thea Rizk, piano
This piece follows a ternary A-B-A formal structure typical of Chopin's nocturnes. The gentle opening theme
sets a tranquil mood, reminiscent of a Romance or Barcarolle. However, the tranquility is interrupted by
the dramatic middle section, marked by agitated music in a different tempo, meter, and mode. The return
to the opening theme is notable for its passionate rendition, with the main melody recurring but with an
altered expressive character.