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Program

Partita No. 6 in E minor, BWV 830


I. Toccata

J.S. Bach
(1685-1750)

Wedding March & Variations


F. Mendelssohn/F. Liszt/V. Horowitz
from A Midsummer Nights Dream (1809-1847)(1811-1886)(1903-1989)
Piano Concerto No. 2 in C minor Op. 18
I. Moderato

S. Rachmaninoff
(1873-1943)

Anant Changwaiwit, Orchestral Reduction

Vorarat Wattanasombat
Vorarat Wattanasombat began his piano study at the age of
9. He is currently studying in College of Music, Mahidol
University. He is now under the guidance of Asst. Prof. Dr. Eri
Nakagawa.
He appears in many concerts and recitals as soloist,
accompanist and orchestral pianist. Vorarat has worked as a
piano repetituer in several opera productions such as The
Magicflute (2014), Brundibar (2015), Bhuridat (2015) and many
more. His recent concert as orchestral pianist were Eng-Chang
the musical (2015), Suwanna Sam (2015), New Year's Concert
by Siam Sinfonietta (2015) and more.
Apart from piano, he also appears in many concerts as
chorus singer. He was a singer in a number of operas and
symphonic works such as The Snow Dragon (2015), Bhuridat
(2015), Prince Igor (2015), Mahler 2nd Symphony (2015) and
many works for Choir Alone. He is now a member of Siam
Orpheus Chamber Choir, Mahidol University Choir and
Principal pianist of the Siam Sinfonietta.

Johann Sebastian Bach


(1685-1750)
Born on March 31, 1685 , in Eisenach, Thuringia, Germany,
Johann Sebastian Bach had a prestigious musical lineage and
took on various organist positions during the early 18th century,
creating famous compositions like "Toccata and Fugue in D
minor." Some of his best-known compositions are the "Mass in
B Minor," the "Brandenburg Concertos" and "The WellTempered Clavier." Bach died in Leipzig, Germany, on July 28,
1750. Today, he is considered one of the greatest Western
composers of all time.

Partita No. 6 in E minor, BWV 830


I. Toccata
The last partita of all the six in the Clavier-bung Part I.
The term partita was originally applied to pieces in variations
form in Italy during the 16th century, and the word survived in
that context into Bachs time. The keyboard Partitas of the
Clavier-bung, however, are not variations but suites of dances.
This partita is one of Bachs most introspective keyboard
compositions. It opens with an unusual Toccata, a form that
typically admits only free, quasi-improvisatory figural work (as
is heard in the first and last sections), but here expanded to
incorporate a vast fugue as the central argument of the
movement.

Felix Mendelssohn
(1809-1847)
Felix was a precociously gifted child, so much so that the
finest musicians of the day hailed him as a second Mozart. This
comparison was by no means without foundation; by the time he
had reached his mid-teens Mendelssohn had composed a large
number of mature works, including twelve string symphonies
and his first symphony for full orchestra, written when he was
only fifteen. He was sixteen when he wrote the String Octet, and
the wonderful overture A Midsummer Nights Dream followed a
year later. Mendelssohns extraordinary gifts were not confined
to composition; he went on to become a brilliant pianist and
organist, a fine string player and an inspirational conductor. He
was also a very good artist and was widely read.

Franz Liszt
(1811-1886)
Possibly the greatest piano virtuoso of all time, Liszt studied
and played at Vienna and Paris and for most of his life toured
throughout Europe giving concerts.
Liszt was well respected as his virtuosity had been admired
by composers and performers alike throughout Europe,
especially for his exuberant piano transcriptions of both operas
and famous symphonies of the time, and Schubert songs,
reducing the cost of hearing such music. His great generosity
with both money and time were also much appreciated.

Vladimir Horowitz
(1903-1989)
Vladimir Horowitz was a Ukrainian-born, American
classical pianist. In his prime, he was considered one of the most
brilliant pianists of his time. His use of tone color, technique and
the excitement of his playing are thought by many to be
unrivaled, and his performances of works as diverse as those of
Domenico Scarlatti and Alexander Scriabin were equally
legendary. Though sometimes criticized for being overly
mannered, he has a huge and passionate following and is widely
considered one of the greatest pianists of the 20th century.

Wedding March & Variations


from A Midsummer Nights Dream
This wedding march from Mendelssohn is one of the best
known pieces from Mendelssohn's suite of incidental music (Op.
61) to Shakespeare's play A Midsummer Night's Dream. It is one
of the most frequently used wedding marches. Franz Liszt wrote
a virtuoso transcription of the "Wedding March and Dance of the
Elves" (S. 410) in 1849-50. Vladimir Horowitz transcribed the
Wedding March into a virtuoso showpiece for piano and played
it as an encore at his concerts.

Sergei Rachmaninoff
(1873-1943)
Sergei Rachmaninoff was a legendary Russian composer
and pianist who emigrated after the Communist revolution of
1917, and became one of the highest paid concert stars of his
time, and one of the most influential pianists of the 20th century.
He was born on April 2, 1873, on a large estate near
Novgorod, Russia. He was the fourth of six children born to a
noble family, and lived in a family estate, where he enjoyed a
happy childhood. He studied music with his mother from age 4;
continued at the St. Petersburg Conservatory, and then graduated
from the Moscow Conservatory in 1892, winning the Great Gold
Medal for his new opera "Aleko."
He was highly praised by Tchaikovsky, who promoted
Rachmaninoff's opera to the Bolshoi Theater in 1893. From
1904-1906 he was a conductor at the Bolshoi Theater in
Moscow.

Piano Concerto No. 2, Op. 18 in C minor


I. Moderato
Rachmaninoff fell into a depression which lasted for several
years after his premiere of his first symphony which was badly
received. His second piano concerto confirmed his recovery
from clinical depression and writer's block, cured only by a
course of hypnotherapy. The concerto was dedicated to Nikolai
Dahl, a physician who had done much to restore Rachmaninoff's
self-confidence.
The opening movement begins with a series of bell-like
ringing on the piano that build tension, eventually climaxing in
the introduction of the main theme. In this first section, the
orchestra plays the melody with the soloist accompanying the
melody. After the first theme, a quicker transition follows until
the lyrical second theme, in E flat major, is presented. The
agitated and unstable development borrows motives from both
themes changing keys very often while a new musical idea is
slowly formed. The music builds in a gradual climax. While the
orchestra restates the first theme, the piano, that in the other
occasion had an accompaniment role, now plays the march-like
theme. This is followed by a piano solo, which leads into a
descending chromatic passage and concluding with an eerie horn
solo. From here the last minutes of the movement are placid until
drawn into the agitated coda, and the movement ends in C minor
fortissimo.

Vorarat Wattanasombat, Piano

Junior Recital

Monday, 29th February, 2016


1:00 P.M.
Room A407

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