Here is the program that Peter Planyavsky will play at MIT's Kresge Auditorium on Friday, January 27 at 8 p.m. – with a few words about the unusual work by Anton Heiller.
Fantasy in B flat major
Alexandre Pierre F. Boëly (1785-1858)
Kleine Partita über "Nun komm der Heiden Heiland"
Anton Heiller (1923-1979)(Reconstructed by Monika Henking)
"Wer nur den lieben Gott läßt walten"
Johann Sebastian Bach (1685-1750)
Toccata in C major (BWV 566)
J. S. Bach
I n t e r m i s s i o n
Sonate II (Lebhaft - Ruhig bewegt - Fuge: Mäßig bewegt, heiter)
Paul Hindemith (1895-1963)
Fugue in f minor
Felix Mendelssohn (1809-1847)
Allegro, Choral and Fugue
Mendelssohn
Improvisation on a submitted theme
A word about Heiller's Kleine Partita on "Nun Komm":
On September 14, 1972, Heiller played a recital on the historic organs of Udine Cathedral, in the North of Italy. He improvised eight variations on "Nun Komm, der Heiden Heiland." Heiller's brilliant student and companion, Monika Henking, notated the variations based on a recording of the concert. Heiller did not have huge confidence in the musical worth of his improvisations, but he felt Henking's impressive reconstruction was accurate and allowed it to be published. It is an interesting work, atypical in many ways of the music he was composing in 1972.
Fantasy in B flat major
Alexandre Pierre F. Boëly (1785-1858)
Kleine Partita über "Nun komm der Heiden Heiland"
Anton Heiller (1923-1979)(Reconstructed by Monika Henking)
"Wer nur den lieben Gott läßt walten"
Johann Sebastian Bach (1685-1750)
Toccata in C major (BWV 566)
J. S. Bach
I n t e r m i s s i o n
Sonate II (Lebhaft - Ruhig bewegt - Fuge: Mäßig bewegt, heiter)
Paul Hindemith (1895-1963)
Fugue in f minor
Felix Mendelssohn (1809-1847)
Allegro, Choral and Fugue
Mendelssohn
Improvisation on a submitted theme
A word about Heiller's Kleine Partita on "Nun Komm":
On September 14, 1972, Heiller played a recital on the historic organs of Udine Cathedral, in the North of Italy. He improvised eight variations on "Nun Komm, der Heiden Heiland." Heiller's brilliant student and companion, Monika Henking, notated the variations based on a recording of the concert. Heiller did not have huge confidence in the musical worth of his improvisations, but he felt Henking's impressive reconstruction was accurate and allowed it to be published. It is an interesting work, atypical in many ways of the music he was composing in 1972.
