Tonight’s program is made possible by the generosity of Iain and Stephanida Christie.

When Will Then Be Now?: The song Die Forelle (The Trout) by Franz Schubert is one of his most beloved. Its popularity is greatly enhanced by the Quintet in A Major for Piano and Strings, D. 667. The poem on which Schubert based his song was penned by the poet Christian Friedrich Daniel Schubart. That’s right… Schubert setting Schubart. Confused? Good. Then it will come as no shock that the other works on this program were both composed by guys named Max, Reger and Bruch respectively. If only there were a composer named Max Schubort, we could have had a Max on the second half, too. Each composer, names aside, has a very interesting relationship to the notion of musical past, present and future. Schubert, generally under-appreciated in his own time, has come to be seen as one of the Greats. Max Bruch, whose tastes were considered conservative even in the mid-19th century, lived and composed until 1920, but clung tightly to the musical language of a less mechanized age. Reger on the other hand, who died in 1916, embraced a shifting and elusive tonality that was greatly admired by the likes of Arnold Schönberg. Though ever tonal, his music invited a changing of the guard. Regrettably, outside of his prolific output for the organ, Reger is not widely played in our time. So it’s time now!

Max Reger (1873-1916)

Serenade in G Major, Op. 141a (1915) for flute, violin, and viola

I. Vivace

II. Larghetto

III. Presto

Max Bruch (1838-1920)

Eight Pieces, Op. 83 for piano, clarinet and viola

II. Allegro con moto

V. Rumänische Melodie: Andante

VII. Allegro vivace, ma non troppo

Franz Schubert (1797-1828)

Piano Quintet in A Major, D. 667, “Trout” (1819) for piano, violin, viola, cello and double bass

I. Allegro vivace

II. Andante

III. Scherzo: Presto

IV. Andantino — Allegretto

V. Allegro giusto

Artists: Sarah Brady, Timothy Christie, Julia Gish-Salerno, Norbert Lewandowski, Stephen Miahky, Christina McGann, Stephen Miahky, J. Patrick Rafferty, Maria Sampen, Steve Schermer, and Wei-Han Wu.

Tonight’s performance is made possible by the generosity of Laura and Joe Maier.

Max Reger had the unfortunate habit of locking horns with music critics. He also did himself few favors by making statements like the following: “I can say with a clear conscience that of all living composers, I am perhaps the one who is most closely in touch with the great Masters of the past.” In the case of his Serenade in G, Op. 141a, he might not be far off. The piece owes a great deal to Beethoven, who also composed a serenade for this unique combination of instruments: flute, violin and viola. Rasa Vineyards will provide a luxurious acoustic in which to experience this wholly delightful work.

Max Reger (1873-1916)

Serenade in G Major, Op. 141a (1915) for flute, violin, and viola

I. Vivace

II. Larghetto

III. Presto

Artists: Sarah Brady, Timothy Christie, and Stephen Miahky.