Part of the reasoning for his distinct sound out of an era when many pieces sound, quite frankly, ubiquitous, was that he had an advantage through being taken all across Europe as a child prodigy. I forgot – there is also a theme from my Tenth Symphony. Print Program Notes. Fourth movement: Understanding of the potentialities of the folk music element, joy at the success of this course up to the time it was checked by the catastrophe of the beginning of deafness, the outlook into the sad future, the tiny rays of hope of recovery, but, at the thought of the beginnings of my career, nevertheless sadness.”, In the middle of the last movement, the first violin plays a strident E. Of this , Smetana wrote: “The long, insistent note in the finale … is the fateful ringing in my ears of the high-pitched tones which, in 1874, announced the beginning of my deafness, Copyright ©2020 Honolulu Chamber Music Series. . Dig in. . Mozart in the Afternoon Series. Having often heard me play fugues off the top of my head, she asked if I had ever written any down, and when I said I had not, she scolded me very thoroughly for not having written anything in this most artistic and beautiful of musical forms….”. The lack of ease in this process may have had an influence on the nature of the music thereby created. This Bachian practice is only one of the many fascinating and significant features of Shostakovich’s most famous quartet, which is all the more extraordinary for having been composed over the course of only three days. We this moment knew: Love marine and love terrene, love celestial too/Oh, how late their feathers be.” (Text, Emily Dickenson.). First movement: My leaning towards art in my youth, the romantic atmosphere, the inexpressible yearning for something I could neither express nor define, and also the presage, as it were, of my future misfortune … Second movement: Quasi a polka, takes me back to the happy times of my youth where, as a composer of dance tunes, I lavished these upon the young world and was myself known everywhere as a passionate dancer. Beethoven / Taneyev / Mozart Chamber Music Series December 16, 2018. PROGRAM NOTES by Kalindi Bellach ©2019. 15 in A minor Op. Fugue in E-flat major for String Quartet, Op. Program Notes. It has also been noted that Mozart, whose ease at composition is justly famous, labored over his Bach-inspired contrapuntal works, crossing out and rewriting in a most un-Mozartean manner. 23, K. 488 Symphony No. As is the case with most other organ works by Bach, the autograph score does not survive. WOLFGANG MOZART. I also use other themes from my works in the quartet, as well as the revolutionary song ‘Tormented by Grievous Bondage.’ My own themes come from the First Symphony, the Eighth Symphony, the Piano Trio, the Cello Concerto, and Lady Macbeth. Program Notes. The rapidity of its composition, and the sheer number of musical references Shostakovich makes, contribute to the quartet’s unity and depth of meaning, and at the same time, seem all but impossible in juxtaposition with one another: How did Shostakovich synthesize so much material so quickly and so organically? the Fugue in C Major, K. 394, which Mozart sent to his sister in 1782, and finally the Fugue in C minor, K. 426 for two pianos, completed in December of 1783. Get this from a library! Adagio in B minor, K. 540 October 29, 2017: Peter Serkin, piano According to his own catalog, Mozart completed the Adagio, K. 540, on March 19, 1788. The Fugue in C minor ultimately brought Mozart’s study of Baroque fugue and counterpoint to a close, though the influence of his time studying the Baroque styles would be seen in future In his songs and instrumental music are the mixes and influences of his experience of the world, from Klezmer to Piazzolla, gypsy music and the standard Western classical canon. A year later he wrote this quartet, which in the composer’s words was “almost a private composition, and therefore purposely written for four instruments which, as it were, are to talk to each other in a narrow circle of friends of what has so momentously affected me.”. ... s faculty in 1878, Taneyev replaced him as teacher of harmony and orchestration. 40 in G minor I also hint at Wagner’s Funeral March from Götterdämmerung and the second theme from the first movement of Tchaikovsky’s Sixth Symphony. 81, No. Adagio und Fuge Alt ernative. Adagio and Fugue in C minor for String Quartet, K. 546. The solo piano steps in tenderly and deliberately, to be joined by the orchestra. Also composed in this amazing year was his poignant Adagio in B Minor for piano solo, K. 540, his famous C Major “Sonata Facile,” K. 545, his Piano Concerto No. Program Notes. The dedication could be printed on the cover: ‘Dedicated to the memory of the composer of this quartet.’” Luckily, such a dedication proved unnecessary: the same friend who tells us about the bottle of pills was able to spirit them away. The first and last movements are in the same turbulent key of C minor that Mozart chose for his Adagio and Fugue, and Shostakovich incorporated a wealth of references to other tragic works. Tickets are now on sale at the Honolulu Museum of Art front desk, and online here. 6, no. Print Program Notes. Shostakovich quotes his own First and Fifth Symphonies in the quartet’s first movement, and in the second, employs the so-called Jewish theme from his Piano Trio. Mozart: Symphony No. So I have decided to write one myself. 1. Kathryn J Allwine Bacasmot is a pianist/harpsichordist, musicologist, music & cultural critic, and freelance writer. His father, Leopold, though perhaps well meaning, was often an overbearingly dominant figure in his son’s life. 33, K. 319 Symphony No. It leads to the cadenza-like, minute-long final Allegro which shows the virtuosity and beauty of the basson. MIKHAIL GLINKA. It has been speculated that Mozart revived this older piece in order to train himself for the writing of more truly symphonic fugues, such as the double fugue at the end of the Jupiter Symphony. For the Fantasia Concertante, which is a hybrid of a fantasy (where the music tends to just unfurl, relying less upon rigid form) and concerto (highlighting certain soloists or pairings within the larger ensemble), Tippett used the melody of the Adagio from Corelli’s Concerto Grosso op. Program Prelude and Fugue in e minor, BWV 548 Johann Sebastian Bach (b1685 d1750) Adagio, Allegro , K. 594 Wolfgang Amadeus Mozart (b1756 d1791)The Hands of Time Jean-Baptiste Robin (b1976) 3èmé SYMPHONIE, Op. 28 Louis Vierne It was this fugue that, five years later, Mozart transcribed for strings, adding an adagio introduction, in the manner of a Bach-like French overture, with that genre’s typical dotted rhythmic figures. Is it too late to touch you, dear? But by the fifth, Mozart was pushing on the expectations of the form, developing and innovating an approach that even in its standard form at the time would have been shockingly alien to Bach in the 1730s. 132, Quartet No. Mozart entered it into his own work catalogue on 26 June 1788 in Vienna as "A short Adagio for two violins, viola and bass, for a fugue which I wrote some time ago for two Pianos". Lúa Descolorida, is set to the poetry of María Rosalía Rita de Castro (1837-1885), and harkens back to the French Baroque, “The song is at once a slow motion ride in a cosmic horse, an homage to Couperin's melismas in his Lessons of Tenebrae.” Sung in the dialect of Gallego (found in Spain), it also functions as the “Peter’s Tears” aria in Golijov’s La Pasión según San Marco. His need for money was dire, and very likely he would have put aside work on the symphonies to satisfy a publisher’s request, which normally involved a fee. Program Notes for kids Mozart Birthday Bash Saturday, January 31, 2015 8:00 p.m. Michigan Theater Mozart Adagio and Fugue in C minor Mozart Oboe Concerto in C major Mozart Arias from The Abduction from the Seraglio Intermission Mozart “Et Incarnatus Est” from “The Great Mass” in C minor Mozart Exsultate, Jubilate Mozart Symphony No. Prelude and Fugue in D Minor, K. 404a for String Trio (Fugue by Bach) (1782) Notes for: July 14, 2009 In the spring of 1782, Mozart, then a young composer-musician in Vienna, met Baron Gottfried van Swieten, a wealthy aristocrat who was superintendent of the Imperial Library of Music and who sponsored regular Sunday concerts in his home. Toccata, Adagio, and Fugue in C Mmajor (BWV 564) is an organ composition by Johann Sebastian Bach. Mozart is masterfully economical in this movement, constantly re-using his material over and over again, mixing garnish and main course at will. How Slow the Wind, the final song in the group, was written after the sudden death of Golijov’s friend, Mariel Stubrin, and embodies the feeling of going through life in slow motion after a shocking emotional blow. Smetana, String Quartet No.1 in e-minor, “From My Life”, More blatantly autobiographical still is Smetana’s Quartet “Z mého života,” or “From My Life.” Smetana, an important figure in Czech musical life who had been instrumental in developing a national musical style based on folk music elements, suffered a crisis at the age of fifty: the onset, over the course of just a few weeks, of deafness. Bach’s effect on Shostakovich extended from genre selection–the Russian wrote twenty-four preludes for keyboard, one in each key, in the manner of the Well-Tempered Clavier–to the use of the composer’s own name as a musical motto: Bach had incorporated the notes B-A-C-H into some of his works (these are the German note names for B-flat, A,C, and B-natural), and Shostakovich did the same with D-S-C-H (for D. Schostakowitsch; these are the German note names for D, E-flat, C, B.) The earliest manuscript copies were probably made in 1719–1727. The Adagio and Fugue in C minor, K. 546, is a composition by Wolfgang Amadeus Mozart for strings. When Mozart reached his mid-twenties, he effectively made a break for it—to Vienna, one of the great cultural capitals on the European continent. 2. Corelli, though perhaps not as widely recognized today as Paganini, was another of the most renowned and skilled violinists/composers of his era, whose work had a profound influence upon his contemporaries and successors. Trio pathétique in D minor for Clarinet, Bassoon, and Piano Mozart completed the Piano Trio in C major, K. 548 in July 1788 during one of the most productive summers of his life. Regarding the Prelude (Fantasie) and Fugue in C Major, Mozart wrote to his sister, Maria-Anna (Nannerl) in a letter dated April 20, 1782: I composed the fugue first and wrote it down while I was thinking out the prelude. 110 Dmitri Shostakovich (1906-1975), String Quartet No.1 in e-minor, “From My Life” Bedrich Smetana (1824-1884). Posted in 19-20 Season, Blog, Our Artists, Program Notes | Tagged cello, chamber music, classical music, Danish String Quartet, Felix Mendelssohn, Fugue No. The recapitulation adds new contrapuntal textures to the opening material and the 4-note head motive from the little fugue cleverly joins the mix. The year was 1960, and the composer was in Dresden, East Germany, a city still devastated at the time by WWII bombing. And instead I wrote a quartet that’s of no use to anybody and full of ideological flaws.”, A main character in the film Shostakovich was supposed to score was a German painter who, according to the film’s director, “feels that art should depict suffering, and therefore a measure of life.” There is no question that the Eighth Quartet, at least, depicts suffering. Even in the eighteenth century the fugue was considered an old musical form (Bach, who died just six years before Mozart’s birth, was considered a bit antiquated for continuing to dwell on them). Haydn may have been a musician for hire, but he couldn’t keep his personality from bursting at ever… Whether this smorgasbord really deserves the label “W.A. As for the quoted material: the D-S-C-H theme is heard widely throughout Shostakovich’s oeuvre, especially in the Cello Concerto. Bach, his musical works, now so well known, existed more substantially on paper, in the collections of a few cognoscenti, than in the world of sound. He became acquainted with a certain Baron von Swieten, librarian at the imperial court, and Van Swieten shared his collection of Bach’s works with the young composer. 2 in A minor Op. Mozart, Adagio and Fugue in c minor, K. 546 During the summer of 1788, Wolfgang Amadeus Mozart (1756-1791) was working feverishly to complete what would be his final trilogy of symphonies. 1 Nordic Spirit includes Violin Sonata No. The piece is a skillful example of traditional classical quartet form, but Mozart surprises us with some chromatic lines in the opening movement and by placing the minuet as the second movement (instead of in its traditional … Musical fashion changed quickly in the mid-eighteenth century, away from the density and seriousness that characterize so much of Bach’s music. Program Notes Adagio and Fugue in C minor for Strings, K. 546 Wolfgang Amadeus Mozart Mozart’s Fugue in C minor was first composed in December of 1783 for two pianos (K. 426) then re- arranged for strings, with an introductory Adagio, in June 1788– the prolific summer during which Mozart also penned his last three symphonies. 21-Mar-10 - Download Program Wolfgang Amadeus Mozart Adagio and Fugue in C Minor (1756 – 1791) K. 546 for string quartet (1788) Franz Joseph Haydn String Quartet No. It has been noted by several observers that Mozart is unique in this sense, that he seems to find and know his compositional voice much earlier than others. Meanwhile, the score ended up with a different dedication, one which according to Shostakovich’s son was forced on him by the Soviet authorities: “to the victims of fascism and war.”. 26 in D Major, the “Coronation” K. 537, and his masterly Adagio and Fugue in C Minor for strings, K. 546. Title String Quartet No.27 Name Translations Adagio et fugue en ut mineur; Adagio and Fugue in C minor; Adagio y fuga en do menor; C-moll adagio és fúga; Adagio e fuga per archi; アダージョとフーガ ハ短調: Name Aliases KV 546; K 546; Adagio e fuga in Do minore K 546: Authorities FELIX MENDELSSOHN. (Among other difficulties, he had recently begun experiencing symptoms of a form of polio which impaired his ability to play the piano; had just betrayed his own principles and entered into a long bout of self-loathing by joining the Communist Party in order to secure a prestigious official appointment; and had recently been divorced from his second wife after a short, unhappy marriage which itself followed the death of his beloved first wife.) Some critics have expressed the opinion that the fugue in this movement seems artificial and overdone. The Adagio, the longest section of the entire sonata at over five minutes, features a florid melody over a simple, essentially chord heavy accompaniment. 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