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Pianist HIRO MCCUTCHEON has performed as a soloist since age eight and began accompanying singers when he was twelve years old. He studied piano and song accompaniment with Hannah Reimann for eight years, volunteering to work for singers in her studio at every opportunity. He has performed for the Leschetizky Association Gifted Young People’s Concerts, at Steinway Hall, Greenwich House Music School, The National Opera Center and gave his first solo recital at Arts at St. John’s in 2019. In 2021 he began studying with David Allen Wehr and Anoush Tchakarian (both are faculty, Duquesne University) and at the City Music Center at Mary Pappert School of Music in Pittsburgh, PA. He has been playing the piano at senior care facilities in his neighborhood since 2019 as a volunteer. Hiro loves swimming, drawing and all kinds of music. He has memorized the entire New York Subway System and enjoys riding the MTA, buses and Amtrak. He was born in New York City to Japanese and American parents and is currently a junior at Fox Chapel High School.
Born in the Himmelpfortgrund suburb of Vienna, Schubert showed uncommon gifts for music from an early age. His father gave him his first violin lessons and his elder brother gave him piano lessons, but Schubert soon exceeded their abilities. In 1808, at the age of eleven, he became a pupil at the Stadtkonvikt school, where he became acquainted with the orchestral music of Haydn, Mozart, and Beethoven. He left the Stadtkonvikt at the end of 1813, and returned home to live with his father, where he began studying to become a schoolteacher. Despite this, he continued his studies in composition with Antonio Salieri and still composed prolifically. In 1821, Schubert was admitted to the Gesellschaft der Musikfreunde as a performing member, which helped establish his name among the Viennese citizenry. He gave a concert of his own works to critical acclaim in March 1828, the only time he did so in his career. He died eight months later at the age of 31, the cause officially attributed to typhoid fever, but believed by some historians to be syphilis.
The works of his last two years reveal a composer entering a new professional and compositional stage. Although parts of Schubert’s personality were influenced by his friends, he nurtured an intensely personal dimension in solitude; it was out of this dimension that he wrote his greatest music. The death of Beethoven affected Schubert deeply, and may have motivated Schubert to reach new artistic peaks. In 1827, Schubert wrote the song cycle Winterreise (D. 911), the Fantasy in C major for violin and piano (D. 934, first published as op. post. 159), the Impromptus for piano, and the two piano trios (the first in B-flat major (D. 898), and the second in E-flat major, (D. 929); in 1828 the cantata Mirjams Siegesgesang (Victory Song of Miriam, D 942) on a text by Franz Grillparzer, the Mass in E-flat major (D. 950), the Tantum Ergo (D. 962) in the same key, the String Quintet in C major (D. 956), the second “Benedictus” to the Mass in C major (D. 961), the three final piano sonatas (D. 958, D. 959, and D. 960), and the collection 13 Lieder nach Gedichten von Rellstab und Heine for voice and piano, also known as Schwanengesang (Swan-song, D. 957).
Franz Schubert‘s Impromptus are a series of eight pieces for solo piano composed in 1827. They were published in two sets of four impromptus each: the first two pieces in the first set were published in the composer’s lifetime as Op. 90; the second set was published posthumously as Op. 142 in 1839 (with a dedication added by the publisher to Franz Liszt). The third and fourth pieces in the first set were published in 1857 (although the third piece was printed by the publisher in G major, instead of G♭ as Schubert had written it, and remained available only in this key for many years). The two sets are now catalogued as D. 899 and D. 935 respectively. They are considered to be among the most important examples of this popular early 19th-century genre.
Three other unnamed piano compositions (D. 946), written in May 1828, a few months before the composer’s death, are known as both “Impromptus” and Klavierstücke (“piano pieces”).
The Impromptus are often considered companion pieces to the Six moments musicaux, and they are often recorded and published together.
It has been said that Schubert was deeply influenced in writing these pieces by the Impromptus, Op. 7 (1822) of Jan Václav Voříšek and by the music of Voříšek’s teacher Václav Tomášek.
ARTS AT ST. JOHN’S
Reimann Music has partnered with Arts at St. John’s to create a forum aimed to help professionals recover and work fruitfully after the long period of isolation and mostly virtual-only concerts during the past 20 months, providing audiences with quality events, celebrating being together again to enjoy music and culture in the beautiful church and gallery.
We are lucky that we have had safe, in-person and virtual concerts since May 2020 at St. John’s on West 11th Street and Waverly Place in the West Village, New York, New York..
We limit capacity in the gallery to 60 persons and capacity in the church to 90 persons.
In case a free event is sold out, show us your Eventbrite ticket print-out or proof of payment code with your name on your smart phone upon entering the hall.
Everyone who attends events at Arts at St. John’s is required to show proof of vaccination and to wear a mask.
*our previous email indicated that Hiro’s concert was on December 11.
That was a typo – the correct date is , SATURDAY DECEMBER 4 at 1pm