PROGRAM NOTES: POSTCARDS
Wallen: Five Postcards
Errollyn Wallen – “renaissance woman of contemporary British music” (The Observer) – is as respected as a singer-songwriter of pop influenced songs as she is a composer of contemporary new music. The motto of Errollyn’s Ensemble X, ‘we don’t break down barriers in music… we don’t see any,’ reflects her genuine, free-spirited approach. Commissions have ranged from the BBC to the Royal Opera House, for BBC’s The Last Night of the Proms (2020), the London Symphony Orchestra, Leipzig Ballet and most recently, the pop band Clean Bandit. Her most recent EP Peace on Earth was released by the Choir of King’s College, Cambridge. Errollyn has won numerous awards for her music including the Ivor Novello Award for Classical Music. In 2007 she was awarded a Member of the Order of the British Empire and in 2020 awarded a Commander of the Order of the British Empire, both for services to music. “Five Postcards” was commissioned in 2010 by the Miller-Porfiris Duo. The third movement is based on Errollyn’s song “Off the Map.”
Schickele: Little Suite for Autumn
On more than one occasion, while visiting my alma mater, Swarthmore College,my lodgings have been the home of Gil and Mary Stott, and a homier home is hard to imagine. The Little Suite for Autumn was written as a “thank you” present – bread-and-butter notes, if you will – after one such visit in October, 1979. A lot of music, writing, art and cooking has gone on in that house; neither one of them is lazy, so I thought I’d let Gil (violin) and Mary (viola) work a little (or at least play a little) for my thanks.
Commissioned by Chee-Yun and Spoleto USA, Arches was premiered by Chee-Yun at Seoul Arts Center, Seoul Korea in October 2000. In its alternation between “caprices” and “arias”, the work moves between the poles of virtuosity and lyricism throughout. The title was suggested by the symmetrical form of the piece (Caprice—Aria—Caprice—Aria—Caprice) and by the key scheme which supports this symmetry and the many arch-like figures that arise. The only pause in the work occurs after the first Caprice.
strauss: Piano Quartet, Op. 13
The major orchestral music of Richard Strauss (1864-1949) was concentrated early but revived throughout his career, and his concertos came both early and late. Strauss’s chamber music, however, was sparse with only four major works, all composed before the 1890s: a string quartet, a cello sonata, a violin sonata, and the Piano Quartet. The Piano Quartet owed much to Brahms’s piano quartets, yet it ranks high in Strauss’s complete catalogue. Composed in 1885, the Quartet took shape the year in which he met Alexander Ritter (composer and violinist), who endeavored to convince Strauss to pursue a compositional style in keeping with Wagner and Liszt (rather than Schumann and Mendelssohn).
Deceptively quiet, the short musical introduction suddenly explodes into the first movement’s exposition. Now, energetic themes vie with sentimental or playful ones, building to restatements of the first theme and others, finally quieting before a reappearance of the exposition, which spills into a full development. Here, drama and playfulness vie for our favor, then flow together in support of thematic growth and sentimental recall of themes. Seamlessly, Strauss recapitulates his thematic material in the final minutes, which effectively sew up his musical message, ending with a majestic, pounding flourish.
Scherzo: Presto marks the start of a musically athletic movement. Here Strauss has not forgotten Mendelssohn at all. Particularly in the piano part, we hear echoes of pixies and fairies reflecting A Midsummer Night’s Dream. The music proceeds just as “pixelated,” continuing the rapid tempo and lightly jabbing notes. Following a brief transition, strings come to the fore, and the more lyrical central section proceeds. Led by the violin, each instrument takes a turn presenting a short phrase. Strauss hints that he is winding thing up, as he returns to the rollicking mood of the first section. Brief snippets soon take form recalling earlier ideas, and the music concludes with a smart flourish.
The beginning of the Andante may remind us of Mendelssohn’s Songs Without Words. First the piano, then individual strings, play fragmentary, heart-breaking phrases. Again, the piano leads the ensemble into some fragmentary ideas that expand now into a full melody. A rhapsodic new stating point introduces a development that mixes and alternates prior ideas, finally reaching the movement’s apotheosis and fragmentary coda ending.
All the preceding points to what? — the Vivace Finale. Fragmentary yet driven, the music excites and entrances. Dynamically forceful, the opening section eventually gives way to a melodic general developmental discussion among all the instruments. The piano now takes the spotlight, momentarily, then invites all the strings to joint in the final coda, which tops all with its brilliance.
Notes by Dr. Michael Fink 2021
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