Crisantemi - Violin 2

Beethoven was spending part of his summer and early fall at the palace of his friend and admirer Count Oppersdorff. The Count had an orchestra at his estate, and while Beethoven visited, they performed his Symphony 2 which was a favorite of the nobleman. Beethoven temporarily abandoned work on his C minor Symphony which would become 5 and set out to create a work more in the style of his first two symphonies, rather than the epic Symphony 3.

Of the nine symphonies, Symphony 4 is the least often performed. Even in the beginning of the fast section, he lingers on the dominant before finally planting his musical feet firmly in B-flat after four measures of F Major. After all of the chromaticism of the introduction, the harmonic movement becomes very simple, and almost static. The opening theme moves almost exclusively between the tonic and sub-dominant E-flat Major and the melody avoids passing tones, sticking to the principal notes of those two chords.

The second theme is in the dominant F Major and incorporates the each of the scale tones in its melody first presented by solo bassoon.

The development section quickly starts to hearken back to the harmonic vagueness of the introduction but this time in the fast tempo. Beethoven also starts to break up the melodic material into small fragments called motives. The second movement is an Adagio, the same tempo indication as the first movement introduction. The key of this movement is E-flat major, and Beethoven is not the least bit vague about quickly and clearly establishing the tonal center. The movement is in triple meter, but because of the slow tempo is sub-divided into six beats per measure.

The third movement is part Scherzo and part Minuet. Beethoven also departs from the standard A-B-A form, choosing to add another statement of the Trio and closing with a repeat of the opening section. Because of the tempo adjustments the division and style differences between these sections is heightened even further.

The Finale, like the fast section, goes by pretty quickly, and also with the same degree of slow harmonic shifts in the first theme. The principal theme in 16 th notes also implies a kind of perpetual motion, although the violins certainly require plenty of energy to keep things going. The second theme is clearly in contrast, more lyrical and centered on solo woodwinds instead of the energetic scrubbing of bows in the strings.

Again the strong relationship of tonic and dominant is present throughout and the sonata-allegro form is clearly spelled out. Stories of the first performance in , suggest that the violinist Franz Clement had to sight read the solo part. Those accounts also suggest that Clement improvised the cadenzas, and also played the violin upside down in one of his own compositions between the first and second movements to entertain the audience. It must have been an interesting concert! These timpani notes are the cement that holds together the various themes and gestures of the opening movement.

Program Notes

The fifth stroke overlaps the first orchestral woodwind entrance. The solo timpani comes back right away with another five strokes, and the woodwind passage expands leading into the first string entrance and the exposition of the themes. After this extensive orchestral exposition the soloist and orchestra reinterpret each of these themes. In the second movement, the Larghetto, the orchestra also introduces a theme, stating the principal idea in muted strings.

After much embellishing on the first theme by the soloist, the second theme subject is briefly announced first by the orchestra and then expanded and embellished by the violin. Beethoven saves the best for last, as the flashiest, and most virtuosic passagework for the violin soloist comes in this country-dance-like movement. The third time, the full orchestra takes hold of it and expands and adds phrases of melody to create a statement upon which the rest of the movement is based.

The Violin Concerto in D was a turning point for the violin concerto, perhaps even for the concerto itself; an expressive work that pushed the limits and length of the form and is considered the first concerto in the romantic style. Just as clearly, it is the product and perhaps, also the culmination of the classical style.

Music@Menlo | CD Details

String Quartet in D Minor, K. The infant, born June 17, , died two months later. The quartet begins with a melancholy theme presented with a decreasing octave. A brighter subject follows and the movement develops in a serious mode in which the introductory and secondary themes are repeated. At the close of the exposition, the first violin plays a repeated three-note sequence that will be heard in succeeding movements.

The development section is rich with thematic figuring, and the recapitulation further demonstrates the emotional state of the composer.

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A brief coda ends the movement. Composed in A-B-A form, the Andante begins, like the Allegro first movement, with a somber almost melancholy introduction followed by a more spirited development with variations. The repeated three-note motto introduced in the Allegro first movement reappears in the Andante. The movement concludes with a short repeat of the introductory A section. The movement concludes with a repeat of its last section. The first violin presents the first in florid fashion; the two violins share the second variation with spirited off-beat accents. The ending coda encompasses the original theme and ends with three repetitions of the three-note motto of the quartet.

Kevin Puts was born in St. Louis, Missouri and grew up in Alma, Michigan.

Scores & Parts

In he was awarded the Pulitzer Prize for Music. Puts describes this work as follows: The title was inspired by news footage I saw of a high school in the midwest whose students and faculty staged a student shooting incident as a means of preparation for such an event. In the broadest sense, the piece depicts a struggle between innocence and depravity. This central conflict fades away in the concluding section, in which quietly pulsing harmonies are superimposed by lyrical counterpoint to represent both a memorial to those whose lives have been cut short by their peers, and a spiritual transcendence by those who are forced to come to terms with the loss of their loved ones.

A prolific composer most of his life, Sibelius produced dramatic, symphonic, and chamber pieces as well as many choral and voice works. Included are seven symphonies and numerous tone poems..

His chamber works are varied and numerous, including several string quartets. The D Minor Quartet has five movements making for a symmetry where the outer movements enclose two scherzi and a central movement, which is the emotional core of the quartet. Although Sibelius never explained this notation it is fitting for a chamber work.

The quartet opens with a mournful duet from the first violin and cello.

I Crisantemi

Principal themes are extensions of the duet melody. The spritely second movement follows without a pause; its melodic material is derived from the first movement. The Adagio third movement conveys a darker mood. Early in the movement progress is briefly halted to make way for three hushed chords. In contrast to the Adagio, the fourth movement presents lively peasant tunes and rhythmic figures that clear the way for a cheerful Finale that erupts fortissimo as the four instruments combine to create a powerful concluding movement.

Puccini was an admirer of Amadeo of the House of Savoy, the Duke of Aosta,and a member of the reigning Italian royal family. Puccini composed this quartet piece as a musical elegy to the Duke upon his death. Puccini later used this music as an intermezzo in his first successful opera, Manon Lescaut, in Crisantemi, a single-movement work, is composed in ternary or three-section form, the third section being a repetition of the first.

The E Minor Quartet is the second of the triumvirate group. It had been six years since Beethoven completed the last of his six Opus 18 string quartets which, while basically in the traditional sonata quartet form, contained seeds of change. The Opus 59 quartets erased any doubts that changes had begun. The quartets of Opus 59 were born into a different world of vivid expression and use of the quartet as a personal medium rather then a formulated creation. The first movement begins with two extraordinary chords played forte.

These chords are followed dramatically by two measures of rest. Wednesday, November 9 at 7: String Quintet in D Major, K. Quartetsatz in C minor, Higdon: Southern Harmony for String Quartet, Beethoven: Trio for Violin, Clarinet and Piano, Shostakovich: Piano Quintet in G minor, Op. Clarinet Quintet in A major, K.

CD Details

Prayer for Viola and Piano, Beethoven: Crisantemi and Scherzo, Schulhoff: String Quartet in D major, Op. Quartetsatz in C minor, Schulhoff: Southern Harmony String Quartet, Beethoven: Trio for Violin, Clarinet and Piano, Mozart: Sunday, March 12, at 3: String Quintet in C major, K Guest artists: Saturday, November 15, at 7: City Walks for String Quartet, Mendelssohn: String Quartet in E minor, Op.

Dana Weiderhold - violin. String Trio in G major, Hob.

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Lullaby and Grotesque for violin and cello,Op. Haydn String Quartet in B-flat major, Op. Dvorak String Quintet in E-flat major. Dvorak String Quintet in E-flat major, Op. Sunday, January 12, at 3: