String Trio in B-flat Major D. 471 (1817)
Schubert
Schubert's unfinished quartet reflects both his youthful exuberance and
his training in the styles of the classical period. Clearly, his detested day job, teaching in
his father's school from 1814-1817, failed to quash the outpouring of his
musical ideas. In 1814 he wrote 144
songs -- eight in one day. During these
three years he produced songs, operettas, Singspiele,
masses and other church music, fragmentary stage works, as well as the
unfinished trios. However, he couldn't
find a paying job in music. Schubert's
supportive friends provided much of his food and shelter and enjoyed his music
at "Schubertiads". Despite accolades he was grossly underpaid
and underpublished.
When he died in poverty at age thirty-one, his music was not known much
beyond
This work consists of an allegro movement and an andante fragment. It sounds as though Schubert were looking
over his shoulder into the eighteenth century styles of Mozart or Haydn. He never finished this trio, even though he
wrote another complete B-flat string trio and a B-flat piano trio. Perhaps this fact supports those who
postulate that Schubert's profusion of musical ideas interfered with his
ability to develop them. However true
this may be, his themes are fresh and charming.
D.471 is a favorite of performers and listeners, and a bright opening
for this evening's technically challenging concert.
Quartet in E-flat
Major, Op. 47 (1842)
Schumann
The period from 1840-1842 was the happiest and most productive of Schumann's career. He and Clara finally married. During this blissful period Clara's diaries speak of their analyzing Bach fugues, as well as composing and playing the piano together. The mental illness that eventually destroyed his life had not yet surfaced. Schumann concentrated on a different musical genre each year: piano works generally before 1840, then a year of songs, another of symphony, to be followed by chamber music in 1842. This piano quartet is both a gift of love from Robert to Clara and a paean to her skills as a pianist — a little wonder that is lyric, lushly romantic and passionate. Her diary describes it as “a beautiful work, so youthful and fresh, as if it were his first.
The theme of the first movement is marked Sostenuto assai; Allegro ma non troppo. It
appears in three forms: once in the soulful introduction; once in a rhythmic
variation in the piano; and finally as a song played by the cello. The second, Scherzo, movement has two
trios; one with racing scalewise figures which
sandwiches the contrasting solemn chords of the second trio. The cello's solo
theme at the beginning of the Andante cantabile movement is a meltingly
beautiful love song. It is a tribute to
the musicianship of Schumann's amateur cellist friend, Matvei
Wielhorsky, for whom it was written, and who played
the premiere performance in 1844.
The final movement is a celebration of life. One theme after another pours forth joyfully
as a fugue, a soaring song, a lyrical duet, and a staccato theme are spun out.
The energy and exuberance of this movement belies its contrapuntal intricacy.
Quartet in A
Major, Op. 30 (1897)
Chausson
Chausson, an obeisant, overprotected, but culturally advantaged child of wealthy
parents, completed his law studies before entering the Paris Conservatory. Unhappy with the conservatory, he ultimately
left there to study with César
Franck. Franck became his model not only
as a composer, but also as a human being.
The modest and financially independent Chausson
composed, believing that, if his music were worthy, it would eventually be
recognized on its own merit. However,
his full promise was cut short by a fatal bicycle accident when he was only
forty-four years old.
Chausson's Quartet stands midway between the
romanticism of his teacher, Franck, and the impressionism of his one-time
friend, Debussy. The two outer Animé movements embrace the lyric songs
of the inner movements. The introductory
pentatonic theme, which weaves its way throughout the first movement, is a nod
to the late 19th Century fascination with the culture of the
exquisite music - superbly performed