th SEASON PROGRAM NOTES 47 Week 6 August 18 & 19, 2019 Sunday, August 18, 6 p.m. marked Lamentoso before the buzzing theme, in 8/8 time, “Basque in color.” A resumes and The Wasp zips out of sight. second idea, first heard in the violin, is (1913–76) —Eric Bromberger taken up by the other instruments, but the Two Insect Pieces for & Piano (1935) development section of this sonata-form MAURICE RAVEL (1875–1937) movement is relatively brief. The movement We don’t automatically associate the Piano Trio in A Minor (1914) comes to a close as a fragment of the first oboe with Benjamin Britten, but he felt a theme dissolves to the point where the piano lifelong affection for the instrument (one, In February 1914, Ravel went to Saint- is left quietly tapping out the rhythm in its by the way, that he didn’t play) and wrote Jean-de-Luz, a small village on the French lowest register. for it across his career. His Phantasy for coast near the Spanish border, to work on Ravel called the second movement Oboe & String Trio, composed when he two projects he’d planned for some time: a Pantoum, and exactly what he meant by was 19, helped establish his international using Basque themes and that is an open question. (A pantoum is a reputation when it was performed at the a piano trio. He soon abandoned plans for form of Malay poetry in which the second 1934 International Society for Contemporary the concerto, but the first movement of the and fourth lines of one stanza become the Music (ISCM) festival in Florence, and in trio went much better, and he completed first and third of the next.) Whatever Ravel 1951 he wrote an extended work for solo it by the end of March. He struggled with meant, this movement is colorful—full of oboe, the Six Metamorphoses after Ovid. the rest of the work, though. It took until racing rhythms, harmonics, and left-handed In his youth, he composed two works for mid-summer to get the middle movements pizzicatos. The center section is particularly oboe and piano— the Temporal Variations of done, and by the time he began the last dazzling; the strings stay in a racing 3/4 1936 and the charming Two Insect Pieces of movement, he had something else to worry while the piano’s chorale-like chords are 1935—but chose not to publish them: about: World War I had broken out. in 4/2. At the close, the opening material Britten was only 21 when he wrote Anxious to serve in the military (he would returns. the Two Insect Pieces for English oboist later drive an ambulance for the French The third movement is a passacaglia with Sylvia Spencer. She was a member of an army), Ravel was nevertheless extremely 10 statements of the eight-bar theme. These enterprising London-based chamber group agitated, particularly about the prospect of begin quietly, become freer and louder, and that played Britten’s Phantasy quartet, and leaving his aged mother behind. To a friend, then gradually resume their original form it was perhaps as a gesture of gratitude he wrote: as the movement comes to its quiet close. that he wrote these brief pieces for her. The third statement of the theme—for violin Presumably, Britten and Spencer performed If you only knew how I am suffering. accompanied by simple chords from the this music together, but a note in the score From morning to night I am obsessed piano—is ravishing. says that the first public performance didn’t with one idea that tortures me. . . . If I The Finale, marked Animé, is agitated. take place until March 1979, during a leave my poor old mother, it will surely Whether this reflects Ravel’s own agitation memorial service for Spencer in Manchester. kill her. . . . But so as not to think of all at the time of its composition remains an (Britten had died a little more than two years this, I am working—yes, working with unanswerable question, of course, but what’s earlier.) the sureness and lucidity of a madman. clear is that this movement has an energy Written just for fun, these pieces require At the same time I get terrible fits of and sweep unknown to the first three. It little comment. The Grasshopper proceeds depression and suddenly find myself opens with swirling harmonic arpeggios along staccato pulses chirped out by both sobbing over the sharps and flats! from the violin, and this sensation of instruments. The marking is Allegretto constant motion is felt throughout. The main leggiero (“Quick and light”), and Britten Pushed on by this furious work, the Piano theme, first heard in the piano, bears some offers the oboist a tiny quasi-cadenza Trio in A Minor was complete by the end of rhythmic resemblance to the opening theme before the quiet close. As might be expected, August. of the first movement, but the mood of this The Wasp brings more forceful music (the The Piano Trio is one of Ravel’s finest movement is far different. The Finale is big marking here is Allegro molto e con fuoco). chamber works, featuring brilliant writing music—not big in the sense of straining to Over murmuring piano accompaniment, for all three performers and a range of be orchestral, but big in scope and color. Full the oboe sings the falling main idea, built instrumental color rare in a piano trio. The of swirling arpeggios, trills, and tremolos, the on the dotted rhythms that run virtually first movement,Modéré , opens with the movement flies to its searing conclusion on nonstop through this piece. These give piano alone playing a theme of delicate a stinging, high A-major chord. way momentarily to a brief central episode rhythmic suspension. Ravel called this —Eric Bromberger

Program notes for Music at Noon concerts are sponsored by Barbara & Ronald Balser with thanks to the gifted Festival musicians who inspire us all. two bars is heard over fierce swirls in the Monday, August 19, 6 p.m. JOHANNES BRAHMS (1833–97) clarinet, and the movement dies away to Clarinet Quintet in B Minor, Op. 115 (1891) conclude with the quiet of the beginning. GEORGE FRIDERIC HANDEL (1685–1759)/ The Adagio is in A-B-A form, beginning JOHANN HALVORSEN (1864–1935) Brahms intended his Second Viola Quintet with a simple clarinet theme over complex Passacaglia in G Minor for Violin & Viola of 1890 to be his last work. He was 57 accompaniment in the strings. The unusual (1894) and felt he was done composing, and in middle section brings a sound that is, by December of that year he sent his publisher Brahmsian standards, exotic. Brahms was This pleasing music is a joint composition some corrections to the quintet with a brief very fond of Hungarian Gypsy music, and by two composers who were born almost message: “With this note you can take leave this section, marked Più lento, shows that 200 years apart. One of those composers is of my music, because it is high time to stop.” influence. The clarinet leaps and swirls while world-famous, the other almost unknown. But it was not to be. A few weeks later, at the accompanying strings whirl beneath Handel we know. Johann Halvorsen began Christmas, he went to Meiningen to hear the it—perhaps in imitation of the Hungarian his career as a violinist. He studied with clarinetist Richard Mühlfeld (1856–1907), cimbalom—before the opening material Adolph Brodsky in Berlin and César Thomson and the course of music was changed. returns. in Belgium and then returned to his native Brahms was so captivated by Mühlfeld’s The principal themes of the final two Norway, where he became concertmaster of playing and by the possibilities of the movements are closely related, giving the the Bergen orchestra. A friend and disciple clarinet that he broke his own retirement quintet an even greater feeling of unity. The of Grieg, Halvorsen married Grieg’s niece. He and wrote four works that have become the Andantino opens with a smooth little tune wrote three symphonies, a violin concerto, heart of the clarinet literature. for clarinet, but at the center section—Presto and chamber music, but only two of his Mühlfeld joined the Meiningen Court non assai, ma con sentimento—the music works have achieved popularity outside Orchestra as a violinist but taught himself rushes ahead and never returns fully to Norway. One is the Entry March of the to play clarinet and became the orchestra’s the opening material. The finale, marked Boyars, a stirring orchestral piece that was principal clarinet at age 23. (Later, he Con moto—Un poco meno mosso, is a set quite popular a generation or two ago. The served as principal clarinet of the Bayreuth of five variations on the opening theme, other is the Passacaglia in G Minor for orchestra.) So impressed was Brahms by first stated by the violins and clarinet. Of Violin & Violin, composed in 1893. his playing that he nicknamed Mühlfeld particular interest is the very end, where the Halvorsen described this work as being “Fräulein Klarinette” and sat for hours final variation gives way to the theme that “after Handel,” and its fundamental thematic listening to him practice. In the summer opened the first movement. material is derived from the last movement of 1891, six months after announcing his —Eric Bromberger of Handel’s Suite No. 7 in G Minor, originally retirement, Brahms retreated to his favorite composed for harpsichord in London around summer spot—Bad Ischl, high in the Alpine 1720. The last movement of that suite is lake district—and wrote the Clarinet Trio, a passacaglia: Handel composed a four- Op. 114, and Quintet, Op. 115; two sonatas bar ground bass and then wrote a series for clarinet followed in the summer of 1894. of variations on that ground bass as it These four pieces, all written for Mühlfeld, repeated. Halvorsen took that movement as were Brahms’s final instrumental works. his starting point, and his treatment of it is The Clarinet Quintet, first performed in quite interesting. Berlin on December 12, 1891, by Mühlfeld He begins by offering the first several and the Joachim Quartet, has been sections of Handel’s music almost literally, universally acclaimed as one of Brahms’s arranging the right-hand line for violin, the late masterpieces. Rather than writing a left-hand line for viola. But as the music display piece to spotlight Mühlfeld’s playing, proceeds, it becomes less Handel and more Brahms carefully integrated the clarinet into Halvorsen. The latter writes variations of the texture of the music. This is extremely his own that challenge the technique of concentrated music, with materials extended two good string players. Halvorsen was a and combined in ingenious ways. terrific violinist, and his variations are based The Allegro opens with a violin duet that on techniques dear to the hearts of string hovers uncertainly between D major and players: some are double-stopped, some B minor, a tonal ambiguity that marks the alternate pizzicato and bowed passages, entire quintet. Brahms introduces all his others require dazzling runs. thematic material in the first moments of The music proceeds from its solemn this movement: the undulating theme of the opening statement through a series of first two bars gives way to the slightly swung increasingly ornate and brilliant variations shape of the third and fourth bars, followed until finally it reaches a bravura climax by the clarinet’s rising entry in the fifth. marked Allegro con fuoco and then falls These three theme shapes will appear in away to end with a grand cadence marked some form throughout the entire movement. Adagio. It’s too bad Handel wasn’t around At the stormy climax, the theme of the first to hear what Halvorsen did with his music;

2 2019 Program Notes Week Six surely he would have loved it. have similar voices, but they’re linear, Schubert met the famous baritone Johann While readily accessible to audiences, this melodic instruments, and their combination Michael Vogl, 29 years his senior. Vogl, one isn’t easy music for performers and therefore lacks the rich harmonic foundation that of the leading singers of the Vienna Court requires first-class string players. Halvorsen’s an accompanying piano would provide. Opera, recognized the young composer’s original version was soon transcribed for Nevertheless, Kodály is able to suggest a genius and became his champion and violin and cello, and this version is widely harmonic context in a variety of ways, and introduced many of his works, including played as well. Among the music’s admirers the very beginning is a perfect illustration of Winterreise (which the Festival presented was the violinist Jascha Heifetz, who his method. on July 31). The second occurred in August, recorded it several times: once with violist The duo opens with the cello’s soaring, when Schubert wrote a brief song, “Die William Primrose and once with cellist heroic theme, which is punctuated by violin Forelle” (“The Trout”), which quickly became Gregor Piatigorsky. chords that provide a harmonic context, and very popular. —Eric Bromberger within seconds the instruments exchange Two years later, in the summer of 1819, roles: now the violin sings while the cello Vogl invited the 22-year-old Schubert ZOLTÁN KODÁLY (1882–1967) accompanies with arpeggiated chords. to accompany him on a walking trip Duo for Violin & Cello, Op. 7 (1914) Even as his instruments soar through through Upper Austria, where he was born. their complete ranges, Kodály can suggest Schubert happily agreed, and the two In the early years of the 20th century, Zoltán a harmonic foundation with pizzicato spent the summer in the town of Steyr, Kodály and Béla Bartók set out to discover ostinatos, arpeggiated chords, murmuring about 90 miles west of Vienna. Schubert and explore the folk music of eastern Europe. tremolandi, and spicy clashes. His music is was enchanted with the area’s mountains, They traveled widely, writing down the songs never particularly dissonant, but the duo streams, and meadows, and he wrote they heard and, when possible, recording bends traditional key signatures even as to one of his friends in Vienna that the them on primitive recording devices. There it works to suggest them. That harmonic countryside was “unbelievably beautiful.” exists a wonderful photograph where freshness is part of the music’s appeal. He was enthusiastically received by the local the ever-formal Bartók, in suit and tie, is Kodály marks the first movementAllegro townspeople, and one of them, a wealthy standing with peasants in a Transylvanian serioso. In sonata form, it opens, as we’ve merchant and amateur cellist named village and is directing a woman to sing into seen, with the two instruments sharing the Sylvester Paumgartner, asked Schubert for a the horn of an early recorder. Bartók and rhapsodic first theme, and the two players piece of music that he and his friends might Kodály would later assimilate the folk idioms share the flowing second subject as well. The play. He made two stipulations, however: of eastern Europe into their own individual principal impression this music makes is of that Schubert write for the players on hand compositional styles, and Kodály’s Duo for soaring melodies, bright instrumental colors, and that the piece be based on “Die Forelle,” Violin & Cello is one of the works that shows and energetic rhythms—and after all this of which Paumgartner was very fond. this influence most strongly. Composed energy, the movement concludes on delicate And so, in a beautiful setting in the in 1914, soon after Kodály had returned harmonic double-stops. summer of 1819, Schubert wrote what has from a trip gathering Magyar folksongs, The cello alone opens the Adagio with become one of the best-loved chamber the duo is full of the sound of folk idioms, a long, subdued melody, but after that works: the “Trout” Quintet. It’s a work for peasant dances, speech rhythms, and even a restrained beginning, the central Andante piano and strings, but, because he was children’s song Kodály heard on his trips. turns almost violent—Kodály’s marking here writing for the available musicians, Schubert The duo was first performed at an all- is Deciso (“Decisive”)—when, over growling dropped the second violin and substituted Kodály concert in Budapest on May 7, 1918, cello tremolos, the violin sings powerfully a double bass. The cello part is full of by the musicians for whom it was written: in octaves. The finale opens with a slow wonderful writing—some of which was violinist Imre Waldbauer and cellist Jeno” introduction, this time for the violin alone apparently too difficult for Paumgartner, Kerpely. Those two were the founding and so free in rhythm that it seems at first who struggled with it at the quintet’s first members of the Waldbauer-Kerpely Quartet, like a fantasia. The movement takes wing at performance that summer. and they were close friends and colleagues the Presto, and along the way the quoted The “Trout” is one of those rare pieces of of Bartók and Kodály as well as virtuoso children’s song rings out in the violin in all completely “happy” music. One feels that performers of the highest order. Kodály knew its glowing innocence. That song may be Schubert’s joy in the Austrian countryside that he was writing for brilliant players, innocent on its first appearance, but Kodály made its way into every measure. It also and he wrote unbelievably difficult music then stretches that little tune through some gives the impression of having been written for them. The duo demands performers supple rhythmic reimaginings before a brisk at great speed—not because of anything glib who can play easily into the very highest coda propels the duo to its most emphatic or superficial in the music but because it range of their instruments, master the most conclusion. feels spontaneous, as if it had poured out of complex chording, and produce a range —Eric Bromberger Schubert naturally. of sonorities—from artificial harmonics The Allegro vivace opens with a fanfare- and tremolandi accompaniment to rapid FRANZ SCHUBERT (1797–1828) like arpeggio from the piano that recurs pizzicato passages. The literature for violin Quintet in A Major for Piano, Violin, Viola, throughout the sonata-form movement. and cello alone is small, and Kodály’s duo is Cello & Bass, Op. 114, “Trout” (1819) The violin has the first theme while the the greatest example of the form. piano introduces the gently dotted second Kodály faced particular problems when Two events in 1817 led to the creation of subject of a movement characterized by he wrote this music. The violin and cello the “Trout” Quintet. The first occurred when some unusual harmonic modulations. The

3 2019 Program Notes Week Six Andante is built on three distinct theme groups, the first and third belonging to the ERIC BROMBERGER earned his doctorate piano. The second theme, played by a viola in American literature at UCLA and taught and cello duet, is one of those gorgeous for 10 years before quitting to devote Schubert melodies that seem an endless flow himself to his first love, music. A violinist, of haunting song. Mr. Bromberger writes program notes for The Scherzo, in standard scherzo-and- the Minnesota Orchestra, Washington trio form, rips along with much energy and Performing Arts at The Kennedy Center, high spirits, while the Andantino is the set San Francisco Performances, University of of five variations on “Die Forelle” that gives Chicago Presents, the La Jolla Music Society, the quintet its nickname. The strings alone the San Diego Symphony, and many other play the melody of the song with the piano organizations. He’s been a pre-concert entering at the first variation. The variations lecturer for the Los Angeles Philharmonic are straightforward, and Schubert closes the since 1999. movement with a brief Allegretto section that’s really a sixth variation. GREG HETTMANSBERGER has contributed The good-spirited Allegro giusto races criticism and features to the Los Angeles along happily on two principal themes, both Times, L.A. Weekly, the Los Angeles Daily played initially by the strings. There’s no News, Performing Arts, and the Santa true development in this movement, only a Barbara News-Press, and he was a staff fairly literal recapitulation, before one of the writer for the Los Angeles Opera, for which sunniest works in the repertory sails happily he’s written two yearbooks. This is his 24th to its close. season writing program notes for the Santa —Eric Bromberger Fe Chamber Music Festival. He currently contributes articles to Madison Magazine and writes the blog WhatGregSays at whatgregsays.com.

4 2019 Program Notes Week Six