CLAUDE DEBUSSY, Beau Soir, Clair de Lune, and La fille aux cheveux de lin
Known for his evocative musical style, Debussy was hugely influenced by the Symbolist movement that first started out in France by a group of poets, including Mallarme and Verlaine. In his Preludes, for piano, the titles of each prelude were always placed at the end of the piece, as a suggestion of what the piece could be describing or evoking. Never an imposing presence, it would always be up to the listener to decide if that indeed was what he/ she heard in the piece.
Chosen for their unique connection to the nocturnal, these selections on the program are arrangements of the original pieces by Debussy. Beau Soir (Beautiful Evening) is originally an art song set to a poem by Paul Bourget. Offering us glimpses of the red sunset reflecting pink into a river, along with wheat fields moving with the gentle breeze, this song is consoling, peaceful and personal. Clair de Lune (Moonlight) derives its name from an eponymous poem by Paul Verlaine, and is from his books of Preludes. Beginning with a pondering theme that is free, it eventually settles into a circular and nostalgic rhythm of sextuplets in the accompaniment part. Full of ebb and flow, the piece reaches a rousing climax, before settling into stillness and wandering off into the night. La fille aux cheveux de lin (The girl with the flaxen hair) is a classic - song-like and warm. Conceived as a solo piano prelude in the key of G-flat, this transcription is set in G instead, due to the constraints of the violin. While this could be much brighter a key to be in, the violin here is muted (con sordini), creating an unreal landscape of sound. Combined with the parallel movement of chords so frowned upon in Classical theory, and yet so characteristic of Debussy, a surreal palette of sound ends the piece.
FLORENCE PRICE, Night and Elfentanz
Known for assimilating African-American spirituals into her musical compositions, Florence Price was a highly revered American classical keyboardist and composer. Born in a time where women were still stifled by society which was still plagued with a slew of racial issues, Price defied the odds and launched an everlasting career. Even today, her works are widely performed.
The poem which Night is based upon is by poet Bessie Mayle. In the early 20th century, black poets tended to use the beauty of darkness and the blackness of night to mirror and honor the beauty of the black race, while pushing against the stereotype of darkness intruding on the lightness of day. This double imagery serves as a reminder to the black race of their intrinsic beauty, and human right against discrimination from the whites during that time. Arguably, this song reflects this message aptly, and exemplified the richness and warmth of Price’s musical style.
Elfentanz (Dance of the Elves) is a spritely and quirky number originally for violin and piano. Full of wit and humor, both instrumental parts dance around each other, often laced with joy and warmth, but also nostalgia and yearning. Reminiscent of a musical number, the middle contrasting section offers a soulful tune tinged with sadness. Brief it is, as the music quickly returns to lightness and charm.
CLARA SCHUMANN, Variations on a Theme by Robert Schumann, Op. 20
Written just three years before the death of her husband Robert in 1856, Clara Schumann’s Piano Variations, Op. 20 reflects inner pain and emotional vulnerability. Drawing upon a theme from Robert's Bunte Blatter, Op. 99, this set of variations takes us on a journey, travelling through –
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var i. interwoven textures of voices
var ii. slightly capricious characters tinged with hints of sadness and longing
var iii. a chorale
var iv. improvised virtuosity and filigree
var v. dark and stormy rage
var vi. a masterfully-conceived canon
var vii. a final assimilation of all of its parts,
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before arriving at a feeling of great repose and peace.
ROBERT SCHUMANN, String Quartet F Major, Op. 41/ 2
1842, Schumann’s “Year of Chamber Music," bore a set of 3 string quartets written closely in succession. Though the Schumanns were newly-weds, they were always apart, due to Clara’s concert engagements as a successful pianist. As a result, Robert Schumann was always in low spirits, reflected in letters and journal entries from this year. Yet, these quartets never showed a hint of depression or gloominess, and were actually gifts for Clara’s birthday.
The String Quartet in F major is the second of this trio of quartets, and is full of energy and life. Reminiscent of the counterpoint heard in the quartets of Haydn, Mozart and Beethoven, the Allegro vivace pays homage to Haydn’s typical monothematic sonata form. Having only a single theme upon which the entire movement is based upon and full of rising sequences, the movement feels uplifted higher into the sky. Andante, quasi Varizioni opens with a lilting theme that sways with the influence of Beethoven’s Op. 127 Quartet. Interestingly, this movement follows the trail of a melody that is later heard as the theme in Schumann’s last piano work, Geistervariationen (Ghost variations). Relentless circular-like arpeggio figures dominate the Scherzo, and are passed seamlessly and continuously round the quartet among players. In lighter staccato passages, these figures remind one of the light scherzos of Mendelssohn, whom this entire string quartet is actually dedicated to. In contrast, the Trio presents a generosity of tone in the initial motif played by the cello, quickly contrasted by swift chattering amongst the upper strings. The soaring melody in much of the trio is always accompanied by the omnipresent rhythmic offbeats, making it sound always on its way. The Allegro molto vivace is highly spirited and dance-like, bursting forth with extroverted energy. In contrast, the development section takes us on twists and turns, through surprising keys but in a more inward character. An exciting and exuberant coda rounds off this spectacular piece.