20-21 Program

development-like characteristics brings the movement to a dramatic close.
The violin is the principal cantabile voice in the gently-pulsing Adagio. In two
large sections, it has a lovely, unhurried, opening melody and episodes of
heightened emotion suggestive of opera. The palette-cleansing scherzo is
elegant and lighthearted while its contrasting trio is down-to-earth and rustic.
“Presto” was not a marking that Beethoven took lightly. He pushed performers
in order to extract greater emotion. The finale is filled with characteristic
touches that keep the players—and listeners—on their toes: bouncing bows,
sharp accents, and ensemble virtuosity. The message is clear: this is a brilliant
romp. It is no wonder that he did not return to writing string trios: with the Opus
9 set he had already rung the full gamut of possibilities out of that configuration.
Piano Quartet in E-flat Major, Op. 87
Dvořák’s early career was built upon progressive Liszt and Wagner models.
During his middle period, when the Opus 87 quartet was written, he returned
to more classical forms and proportions. He found new inspiration in the music
of his homeland and began incorporating Czech folk music into compositions,
bringing him professional success and international recognition.
After writing a few brief sketches in October, 1887, Dvořák began composing
Piano Quartet in E-flat Major in earnest on July 10, 1889, and completed it
six weeks later, on August 19. Written during an especially fertile period of
composition, Dvořák wrote, in an August 10, 1889 letter: “I’ve now already
finished three movements of a new piano quartet and the Finale will be ready
in a few days. As I expected it came easily and the melodies just surged upon
me.” The work was premiered on November 23, 1890.
The quartet is filled with bold phrases, shapely melodies, whiffs of Bohemia,
joy, mystery, orchestral depth, and breathless excitement. From the outset, it
is clear that this is a work with a strong point of view. An emphatic string unison
is answered by the equally loud but capricious piano, one of many instances
where they will be set as adversaries. The second theme is introduced by
Dvořák’s instrument, the viola, with a vocal, rising melody. All of the basic material
has now been introduced and it is creatively kneaded together throughout the
rest of the movement. The Lento, in binary form with a coda, begins with a
particularly lush cello melody and demonstrates just how easily the “melodies...
surged upon me” as there are five of them.
The Scherzo is the the most folk inflected. The first melody lilts, descends two
octaves, and on occasion playfully mimics the Czech cimbalom. A second
melody winds within the range of four adjacent notes. The sonata-form Finale
bursts with energy and high spirits. The second theme soars ecstatically and,
similar to the first movement’s second theme, is bestowed on the viola. It is in
the non- traditional key of e-flat minor before E-flat Major is restored in the
recapitulation and a short coda brings the work to a thunderous close.
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