Chamber Music Series
FRIDAY November 22 7pm
SUNDAY November 24 2pm
Season Sponsor
DR. BRICE ADDISON
Concert Sponsor
Chuck & Gerry Jennings
2024 – 2025
Cascade Quartet
PROGRAM NOTES
BY CHRISTINE SHERLOCK
Johann Sebastian Bach
1684 – 1750
Cello Suite No. 1 in G Major
BWV 1007
1717–1723
TRANSCRIBED FOR VIOLA
Prelude
Allemande
Courante
Sarabande
Minuet 1& 2
Gigue
15 MINUTES
15 MINUTES
Johann Sebastian Bach’s Cello Suite No. 1 in G Major, BWV 1007, is one of the most beloved and frequently performed works in the repertoire for solo cello. Composed around 1717–1723 during Bach’s tenure as Kapellmeister in Köthen, this suite is part of a set of six cello suites that have become cornerstones of both the Baroque period and cello performance.
Bach’s time in Köthen (1717–1723) was particularly productive for instrumental music, as Prince Leopold, his employer, was an avid supporter of the arts and an accomplished musician himself. Unlike Bach’s earlier posts, which required significant church music, his position at Köthen allowed him to focus on secular compositions. The Six Cello Suites were written during this period, likely intended for a virtuoso cellist in the court’s orchestra.
The Cello Suite No. 1 in G Major is notable for its accessibility and the uplifting character of its movements, making it an ideal introduction to the suite form and Baroque dance music.
The suite follows the traditional structure of Baroque dance suites, consisting of a prelude followed by five dance movements: Allemande, Courante, Sarabande, Minuets I and II, and Gigue. Each movement reflects the style of its dance form in a way that showcases Bach’s profound understanding of harmony, counterpoint, and the instrument’s expressive capabilities.
The Cello Suite No. 1 in G Major embodies Bach’s genius in creating complex, layered music that remains intimate and deeply moving. It serves as a testament to his ability to infuse even the simplest of dance forms with profound emotion and technical brilliance.
1877 – 1960
Serenade for String Trio in C Major
Op. 10
1902
I. Marcia
2 MINUTES
2 MINUTES
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ErnÅ‘ Dohnányi
ErnÅ‘ Dohnányi’s Serenade in C Major for String Trio, Op. 10, composed in 1902, is a captivating example of late-Romantic chamber music that blends tradition with innovation.
Dohnányi was a Hungarian composer, pianist, and conductor who played a significant role in the development of Hungarian music in the early 20th century. He was contemporaneous with Béla Bartók and Zoltán Kodály, and while he shared their interest in folk music, Dohnányi’s style was more deeply rooted in the Germanic tradition of Brahms and Beethoven. His music is characterized by a blend of lush Romanticism, structural clarity, and nationalistic elements.
The Serenade was composed early in Dohnányi’s career, at a time when he was establishing his reputation as a major composer and performer. It demonstrates his skill in writing for strings and showcases his ability to balance traditional forms with a fresh, modern approach.
Dohnányi’s Serenade in C Major has earned its place as a staple in the string trio repertoire, admired for its combination of classical structure, melodic invention, and Hungarian flavor. The piece’s charm and technical demands have made it a favorite among chamber musicians, who appreciate the balance of tradition and modernity that Dohnányi achieved.
Bohuslav Martinů
1890 – 1959
Three Madrigals for Violin & Viola
H. 313
1947
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I. Poco Allegro
II. Poco Andante
III. Allegro
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15 MINUTES
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Bohuslav Martinů’s Three Madrigals for Violin and Viola, composed in 1947, is a delightful and intricate work that showcases the composer’s unique blend of Czech folk elements, Baroque forms, and modern harmonies. The piece, written shortly after World War II, reflects Martinů’s maturity as a composer and his ability to draw on diverse influences while crafting music that is vibrant and inventive.
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Martinů was a Czech composer who spent much of his life outside his homeland, including significant periods in Paris and the United States. His music often features the rhythmic and melodic traits of Czech folk music, combined with a modern sensibility. The Three Madrigals were composed during Martinů’s post-war period in the U.S., a time when he was exploring chamber music and creating works that were both intellectually challenging and emotionally resonant.
The Three Madrigals were dedicated to Lillian and Joseph Fuchs, siblings and renowned string players who premiered the piece in 1948. Martinů, inspired by their artistry and the unique timbral possibilities of the violin and viola pairing, created a work that is both technically demanding and rich in character.
The Three Madrigals are written as a set of contrasting movements, each with distinct moods and musical ideas. The term “madrigal” refers to the Renaissance vocal form characterized by intricate counterpoint and expressive text-setting. Martinů adapts this idea for string instruments, creating dialogues between the violin and viola that echo the interplay of voices in a madrigal.
Martinů’s style in the Three Madrigals reflects his synthesis of Baroque influences with 20th-century techniques. The counterpoint is intricate and displays his mastery of polyphonic textures. At the same time, the harmonies and tonal shifts are distinctly modern, showing the influence of French Impressionism and the neoclassical movement.
The dialogues between the violin and viola in this work are rich and varied, requiring performers to balance independence and unity. The composition plays with register and timbre, exploring the unique colors that arise from the combination of these two string instruments. Martinů’s skillful writing allows each instrument to shine individually while contributing to the collective voice of the duo.
1833 – 1897
String Quartet No. 1 in C Minor
Op. 51
1873
I. Allegro
II. Romanze
III. Allegretto molto moderato
IV. Finale
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30 MINUTES
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Johannes Brahms
Johannes Brahms’s String Quartet No. 1 in C Minor, Op. 51, composed in 1873, stands as a testament to his meticulous craftsmanship and deep reverence for the string quartet form. This work, along with its companion String Quartet No. 2 in A Minor, Op. 51, represents Brahms’s foray into a genre dominated by the towering figures of Haydn, Mozart, and Beethoven. The result is a piece that merges Brahms’s rich Romantic voice with the classical rigor and complexity expected of a great string quartet.
Brahms was famously cautious about entering the realm of the string quartet. For years, he felt intimidated by Beethoven’s legacy, whose quartets had set a seemingly unattainable standard. Brahms spent over a decade honing his approach to the quartet, composing and discarding nearly 20 drafts before finally presenting the Op. 51 quartets to the public in 1873. This extensive process underscores Brahms’s perfectionism and deep commitment to the integrity of his music.
The String Quartet No. 1 in C Minor was written during a period when Brahms was establishing himself as one of the leading composers of his time. His music was already being lauded for its depth and complexity, and this quartet reinforced his reputation as a composer who could seamlessly blend passion and intellect.
His music in this quartet is known for its dense textures, interwoven motifs, and the use of developing variation—a technique in which small musical ideas are continuously evolved and transformed throughout the work. The quartet’s harmonic language is rich and often complex, with frequent use of chromaticism that adds depth and tension.
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The work has long been regarded as one of the pinnacles of the Romantic string quartet repertoire. It established Brahms as a worthy successor to Beethoven in the eyes of critics and audiences, proving that he could meet the high standards set by the Viennese masters. The work’s combination of structural integrity, thematic richness, and emotional depth has made it a favorite among performers and listeners alike.
Franz Schubert
1797 – 1828
String Trio in B-flat Major
D.471
1816
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I. Allegro
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5 MINUTES​
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Franz Schubert’s String Trio in B-flat Major, D. 471, composed in 1816, is a captivating example of his early foray into chamber music. Although this trio is an unfinished work, consisting only of a single completed movement and the fragment of a second, it stands as a testament to Schubert’s remarkable gift for melody and lyrical expression. This work reveals Schubert’s early attempts at combining the classical traditions of Haydn and Mozart with his own burgeoning voice, rich with emotional nuance and melodic inventiveness.
Schubert was just 19 years old when he composed this string trio, a time during which he was rapidly developing his craft and finding his own style. Despite his youth, he had already composed a substantial body of songs, symphonies, and chamber music. The trio, written in a period marked by intense creativity, reflects the influence of the Viennese Classical tradition while hinting at the emotional depth that would characterize his later masterpieces.
The String Trio in B-flat Major, D. 471 was left incomplete, with only the first movement and a few bars of the second movement surviving. It is unclear why Schubert did not finish the trio, but it remains an engaging piece that showcases the lightness and lyricism typical of his early works.
In the String Trio in B-flat Major, D. 471, Schubert’s writing demonstrates his affinity for creating melodies that feel natural and spontaneous. The work maintains a classical clarity, with textures that are transparent and light, perfectly suited to the intimate combination of violin, viola, and cello. The trio format allows for a more conversational interaction among the instruments compared to the fuller sound of a string quartet, and Schubert skillfully exploits this by giving each instrument moments to shine.
The harmonic language of the piece is firmly rooted in the Classical tradition, with clean, clear progressions that are occasionally spiced with unexpected shifts characteristic of Schubert’s harmonic imagination. His use of subtle modulations and the seamless blending of thematic material reveal the influence of Mozart, whom Schubert admired, while hinting at the more Romantic elements that would define his later works.
The work’s charm and warmth have made it a favorite among chamber musicians seeking to explore Schubert’s early style. Even as an unfinished piece, the trio provides listeners with a glimpse of the youthful Schubert’s mastery of melody and form, foreshadowing the depth and brilliance of his later works, including his celebrated quartets and quintets.
