Saint-Saëns and Dvořák

The opening Festival Series performance of the 2019 June season takes a close look at two distinct but related styles of composition. We have on the one hand the Sonata in D minor, Op. 75, by Camille Saint-Saëns, and the Piano Quintet in A, Op. 81, by Antonin Dvořák. One lays the groundwork for the style known as Impressionism, while the other barters overtly in the compositional movement known as Nationalism, though no less image-rich than its French counterpart. These pieces were composed about two years and 550 miles apart, the former in 1885 (Paris), the latter in 1887 (Prague).

How are they similar? Different? Both are crowd-pleasers (luckyTimothy Christie, viola; Norbert Lewandowski, cello; Christina McGann, violin; Stephen Miahky, violin; Maria Sampen, violin; and Jingwen Tu, piano. you!), and both showcase the respective virtuosity of their instrumentation. As a brief introductory answer to those rhetorical questions, rhythm is the thing. Saint-Saëns begins to intentionally obscure “natural” rhythmic cycles while Dvořák revels in the most direct and impactful expression of meter. What does all this mean? It means you best attend and enjoy, because no amount of dissection will reveal the twin joys contained in these Romantic masterpieces. To feel the joy, you must only listen.

Camille Saint-Saëns (1835-1921)

Sonata In D Minor, Op. 75 (1885) For Violin And Piano

I. Allegro agitato — Adagio

II Allegretto moderato — Allegro molto

INTERMISSION

Antonín Dvořák (1841-1904)

Piano Quintet In A, Op. 81 (1887)

I. Allegro, ma non tanto

II. Dumka: Andante con moto

III. Scherzo (Furiant): molto vivace

IV. Finale: Allegro

Artists: Timothy Christie, viola; Norbert Lewandowski, cello; Christina McGann, violin; Stephen Miahky, violin; Maria Sampen, violin; and Jingwen Tu, piano.

Tonight’s performance has been made possible by the generosity of Linda Tam.

Closing night of the 2015 Walla Walla Chamber Music Festival bids au revoir with a pair of virtuoso works for harp and strings.

The Debussy Danse Sacrée et Danse Profane for Harp and Strings has been the measure of many a harpist since its composition in 1904. Fellow Frenchman Camille Saint-Saëns composed his Fantaisie for Harp and Violin in 1907. Though close in age, these works inhabit very different sound worlds. Bringing everything to a close is the virtuosic Sextet for Piano and Strings by Felix Mendelssohn. Pound for pound, Mendelssohn delivered more show-stoppers than any other composer by the age of 18. The D Major Sextet is just that, composed when Mendelssohn was but 15 years old. It is a fitting way to usher in the 2016 Festival season over which Mendelssohn will preside as subject of the year’s poster.

Camille Saint-Saëns (1835-1921)

FANTAISIE FOR VIOLIN AND HARP

Claude Debussy (1862-1918)

DANSE SACRÉ ET DANSE PROFANE FOR HARP AND STRINGS

Intermission

Felix Mendelssohn (1809-1847)

PIANO SEXTET IN D MAJOR, OP. 110

I. Allegro vivace
II. Adagio
III. Minuetto: Agitato
IV. Allegro vivace — Agitato — Allegro con fuoco

Artists: Winston Choi, piano; Timothy Christie, viola; Norbert Lewandowski, cello; Amy Ley, harp; Christina McGann, violin; Stephen Miahky, violin; Philip Payton, violin; Maria Sampen, violin; Stephen Schermer, bass; Sally Singer Tuttle, cello; and MingHuan Xu, violin.