Download Program Notes for Thanksgiving Concert 2015

String Quartet in D. Major, Op. 64, No 5., “The Lark”
Joseph Haydn (1732–1809)
“Papa” Haydn, as he was affectionately called by his fellow musicians, is considered to be the Father of the Symphony
and the String Quartet. He was not quite that, but indeed he shaped and enhanced the two genres that we accept as the
Classical forms of these compositions. He brought new order and form and instrumental texture to the graceful, decorated
music of the previous era. Haydn wrote 104 or more symphonies and 68, maybe more, string quartets.
“The Lark” quartet that opens today’s concert dates from 1790, written for a violinist who had been in Haydn’s court
orchestra at Esterhazy for many, many years. The piece is one of the composer’s most popular and admired works. I am
sure you will readily know why as you hear the piece unfold.
As the first movement, Allegro moderato, (moderately lively) opens we hear and “see” a graceful lark ascend in
flight as the Violin I part is heard above the punctuated material of the ensemble. It should be noted here that Haydn was
the first composer to give each instrumental voice lines and statements of its own—a huge advancement in style that
allows us to hear the specific timbre (tone quality) of each instrument. The mood changes, becoming intense as the
material leads to a jaunty second theme that is developed and restated. The lark appears once more before the music
comes to a halt. There is a long, deep breath, and now, finally, a true “recap” brings the movement a close.
The Adagio cantabile, (slow in a singing manner) movement gives us a luxurious melody for all four voices. Do
listen for the change to minor key as the theme is developed. And what of the glorious cello voice? Haydn romantic? Ah,
YES! The lyrical melody returns, decorated and varied as the gracious movement ends.
The Menuetto: Allegretto, (minuet: a little lively) is a delightful contrast in mood from the Adagio. It is a traditional
dance movement in three sections, A-B-A, in 3/4 time, confident and assertive. The Trio, part B, brings us stacatto
passages, that is, phrases of detached notes—distinct musical punctuation, so to speak. The fun, happy minuet returns to
close the third movement.
And now the Finale: Vivace (Finale: quick and lively) that gave rise to an alternate title for the Quartet; “The
Hornpipe.” The spirit and pace of the English dance is the essence of this final movement. The scurrying music, once
again in three-part form, A-B-A, is played by each voice separately and together. Enjoy the violin virtuoso passages! The
instruments follow each other in a brief fugal passage in a minor key. The dance-like material returns. The Coda,
(literally, the tail) is a zestful rush to the finish. It is “Papa” Hadyn at his jovial best!
Fran Rosenthal
String Quartet No. 1
Sergei Rachmaninoff (1873–1943)
The String Quartet we hear today was written by Rachmaninov when he was a 17 and a student at the Conservatory in
Moscow. The two movements that exist were to be the second and third sections of this chamber work. It is not known
whether the other movements were ever composed, lost, or discarded by the composer. What we do have is a romantic
and impassioned, quite languorous Romanz: Andante Espressivo. The term “Russian Soul,” so often used to describe the
melancholy and introspective material that is at the heart of Russian music, best describes the tone of this melodic and
haunting movement.
The second movement, Scherzo: Allegro begins in a happy dancelike mood. The term “scherzo” means “joke”—and
indeed, the first theme is a light hearted and syncopated whirl for all four instruments. The cello introduces contrasting
theme, a moody melody where we hear the deep mellifluous sonority of the instrument above a chordal accompaniment
for the three upper voices. There is a sudden halt.(do you remember the halt in the Haydn quartet?) and now the merry
tune returns. It spins out in busy conversation between the four instruments; a delightful mesh of voices varying the happy
tune and ending with a final statement of the theme and a plucked “Amen.”
Fran Rosenthal
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String Quartet no. 18
Stephen Danker (b. 1944)
My String Quartet No. 18 is a modest work. What makes it so? Its aims are not lofty or profound; in its two brief
movements lasting a scant eleven minutes, the music is alternatively contemplative, then joyously exuberant. As I
composed it, my thought was that this quartet could — and maybe should — be my last. Why? Since 1991, I have turned
to the string quartet medium with the conscious desire to say something new in each piece. Immodestly, I can say that
after having composed 18 quartets, I have done that, having devoted 24 years of my creative life to this ongoing project.
Quartet No. 18 is a very friendly piece: In its two movements — the first sincere, the second cheerful — its message is
simple and direct: a warm “welcome,” and a joyful “farewell.” I hope you will enjoy it.
program note by the composer
Quintet for guitar and strings No. 4 in D Major
Luigi Boccherini (1743–1805)
Boccherini was Haydn’s contemporary and it may be fun for you to compare musical styles of the two composers as you
listen to this work. Their skilled writing for each instrument’s voice and their use of gracious harmony and blended
textures is quite wondrous to contemplate. They each demonstrate skills that are close in approach and style. The worlds
they lived in were also similar: both composers were court musicians. They fulfilled “orders” for compositions many of
which were Chamber works. Boccherini was a court musician in Vienna as a young man and undoubtedly knew “Papa”
Haydn. He moved to Spain and served in the Royal Court in Madrid. The Guitar Quintet performed today was written for
the Duke of Benavente, a guitar enthusiast. It is a transcription of pre-existing movements from earlier Boccherini String
Quintets. As an aside, in later life the composer also wrote music for the Frenchman, Lucien Bonaparte, and King
Friedrich ll of Prussia. Indeed; a varied group of patrons!
Boccherini enthusiastically adapted the sounds and rhythms and flavors Spain. The Pastorale opening of this piece is
a lovely flowing melodic one for all five instruments. Do listen for the ostinato (repeated, insistent notes and rhythmic
effects) that pervades the section! The second movement marked, Allegro maestoso, (Fast in a majestic manner) now lets
us hear the violin and the cello, Boccherini’s instrument, sing together. The cello then marches along in a punctuated
rhythm carrying the melody while the guitar strums in accompaniment. There are sudden bursts of high energy as each
instrument states the material and delightful conversations between the instruments leading to a return of the opening
theme. The Grave assai (serious enough) weaves a somewhat tentative theme; melancholy and halting as it leads to the
final amazing section that is the Spanish traditional dance for couples, the Fandango. It is here that the guitar truly takes
the lead playing the assertive and accented rhythms we associate with the world of Spanish music. The work swirls and
relaxes finishing with mounting intensity from the strumming guitar and a resounding flourish from the whole ensemble.
Fran Rosenthal
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