On Sunday afternoon I walked down to Juilliard to hear another of the chamber music recitals given each week at Morse Hall. One of the best things about the series is the wide range of composers whose works are featured. On this occasion the program went from the Baroque to the twentieth century and then back to the Classical Romanticism of the nineteenth century.
The program opened with Henry Eccles's Sonata in G minor for violin and continuo (c. 1720), performed here in a 1929 arrangement by Serge Koussevitzky for double bass and piano. It wasn't until I read Eccles's biography in Wikipedia that I learned how freely he had committed plagiarism in compiling his Twelve Solos for the Violin, of which the present sonata in G minor is designated as No. 11. One doesn't expect such outright mendacity from classical composers and it's only fitting that his lack of scruples should be all that he's now remembered for. As for Koussevitzky's arrangement, it's an odd one, though the great conductor can hardly be blamed for attempting to enlarge the repertoire for his chosen instrument. Both piano and double bass are low register instruments, and that can't help but darken the character of the music. It would have been much more interesting to have heard the piece performed as originally intended with a violin or flute playing the treble lines with piano or some other form of continuo providing accompaniment.
The musicians were Szu Ting Chen, double bass, and Nuoya Zhang, piano; their coach was Eugene Levinson.
The next work was the String Quartet No. 2 (1945) by Benjamin Britten. There have been only two truly great composers in British musical history - Britten and Henry Purcell - so it's fitting that the former should have composed a piece commemorating the 200th anninversary of the latter's death in 1745. The intent is made explicit in the third and final movement, marked chacony, that is longer than the first two combined. Purcell was a master of the Baroque chaconne and Britten here supplies a dizzying number of variations - three groups of six interspersed with cadenzas for solo instruments and a final set of three variations at the movement's end. It's a virtuoso turn and a stylish tribute to Purcell, but I actually found the much shorter second movement far more interesting. It's unsettling music, played entirely with muted strings, that gives the work an entirely different character. It's as though the listener were given a brief glimpse of a dark subtext running beneath the surface of the music.
The work was performed by Choi Tung Yeung and Yutsuki Beppu, violins, Christine Wu, viola, and Ayoun Alexandra Kim, cello; they were coached by Natasha Brofsky and Joel Smirnoff.
After a short intermission, the program concluded with Antonin Dvořák's much loved Piano Quintet No. 2 in A major, Op. 81 (1887). There are relatively few major piano quintets in the nineteenth century chamber repertoire. The form more or less came into being with Schumann's Op. 44. Later in the century, both Dvořák and Brahms tried their hands at it. The present work was initially conceived as a revision of a youthful work, the Op. 5, for the same instrumentation and in the same key. I have a superlative recording of both quintets performed by Sviatoslav Richter and the Borodin Quartet that shows quite clearly when played side by side the distance traveled by Dvořák as his talent matured. The most moving part of the later work is the second movement dumka in which the composer displayed his mastery of folk sources.
What's interesting in listening to such an arrangement is the manner in which a particular composer integrates the piano with the string quartet format. In Dvořák's work, the piano is made the backbone of the piece and engages throughout in a full dialog with the strings. Dvořák's lyrical study of Czech folk music here results in one of his most successful and enjoyable compositions.
On this piece the musicians were Jackie Tso and Peter Lin, violins, Candy Yang, viola, Jan Fuller, cello, and Chaeyoung Park, piano; their coach was Darret Adkins.
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