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In 1987 he began studies at the Eastman School of Music at the University of Rochester in New York. From 1978 to 1983 he studied at the Central Conservatory of Music in China and after graduation was appointed resident composer and lecturer there. Ye Xiaogang is regarded as one of China’s leading contemporary composers. Rodda, PhD Colorful Sutra Banner for Piano, Violin, and Cello Ye Xiaogang (b. To re-establish the quartet’s nominal tonalityĪnd to round out the work’s formal cycle, the important motives of the first movement are used to form a substantial coda. The finale, in the key of C minor, is a whirling tarantella, the traditional Italian dance whose exertions are said to rid the body of the poison of the tarantula spider’s deadly bite. A tranquil coda returns the mood of the first phrases. The Andante follows no fixed form but is instead a lyrical flight, grown from the opening theme, that becomes more elaborate as it proceeds. The center is occupied by a winsome trio of brighter harmonic cast whose diaphanous style Mendelssohn summoned better than any other composer. The outer sections of the movement’s three-part form (A–B–A) are delicate and mysterious, a kind of ghostly processional. The Canzonetta, whose name derives from a sixteenth-century vocal genre of light expression and in a dancing nature, acts as the quartet’s scherzo.
#FRANCK PIANO QUINTET PROGRAM NOTES FULL#
A full recapitulation completes the movement. The development section is based largely on transformations of the main theme that are impelled by urgent accompanimental figurations. The subsidiary subject (dolce, “sweetly,” instructs the score) outlines a downward shape. The main theme, in quicker tempo, is a flowing hymnal melody whose strong beginning phrases are nicely balanced by quieter gestures as the melody unfolds. A thoughtful introduction, piquantly harmonized, opens the quartet. The warmth and euphony that Mozart associated with the key of E-flat major finds a Mendelssohnian progeny in the first movement. One of the products of Mendelssohn’s first visit to England was the work heard here: the String Quartet in E-flat Major, op. “The people here like me for the sake of my music and respect me for it,” he wrote to his friend, the singer Eduard Devrient.
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After his spectacular debut season, Mendelssohn visited England nine more times during the remaining eighteen years of his too-brief life. In November, shortly before he returned home to Berlin, he was elected an honorary member of the Philharmonic Society by unanimous vote. Mendelssohn remained in Britain that summer to take a walking tour of Scotland, whose lore and countryside inspired him to write the Hebrides Overture and the “Scottish” Symphony, which he later declared to be his finest work in the form. In June, he completely won them over by conducting his Midsummer Night’s Dream Overture. Five days later he further impressed audiences by performing Weber’s Konzertstück as piano soloist from memory, an unusual feat in those days. (Seven years earlier the Society had commissioned Beethoven’s Ninth Symphony.) “At the end of the concert,” Mendelssohn wrote home, “they kept applauding as long as I kept thanking the orchestra, and I handsshakte till I left the hall.” Thus began the artistic love affair between Mendelssohn and the musical cognoscenti of Britain. He created a sensation at his public debut on May 25, 1829, in the Argyll Rooms on Regent Street at a concert of the Philharmonic Society. Two friends-the pianist Ignaz Moscheles and Karl Klingemann, secretary of the Hanover Legation in London-guided him through the city’s geographical and social maze.Įlegant, witty, educated, handsome, well mannered, and almost fluent in English, Mendelssohn made an immediate impression upon the cultural lions of London, especially since he observed the gentlemanly custom of not asking for a fee when he played in their salons. The first leg of the journey led him to London.
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A month later, he set out on a grand tour of Europe, a graduation gift from his family that took him from Scotland to Rome over the next three years. Mendelssohn led a performance of Bach’s composition in Berlin on March 11 and almost single-handedly inspired the restoration of Bach’s legacy.
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Early in 1829, he became absorbed in preparations for the revival of J. 12 Felix Mendelssohn (1809–1847)ĭespite the academic and social obligations he faced while at Berlin University (1825–29), Felix Mendelssohn continued the remarkable outpouring of creative work that marked his youth.