Music for a Sunday Afternoon (feat. James Ehnes & Stewart Goodyear)

FOCUS: Clara, Robert, Johannes

2023-09-17 15:00 2023-09-17 17:00 60 Canada/Eastern 🎟 NAC: Music for a Sunday Afternoon (feat. James Ehnes & Stewart Goodyear)

https://nac-cna.ca/en/event/33738

In-person event

Our season-opening festival FOCUS: Clara, Robert, Johannes​ celebrates the abiding friendship between Clara and Robert Schumann and Johannes Brahms who encouraged and inspired each other through lives of prolific creativity, troubling uncertainty, and perhaps even unrequited love. Join us for an intimate afternoon of music at Carleton Dominion-Chalmers Centre as violinist and NACO Creative Partner James Ehnes joins forces with guest pianist Stewart Goodyear and NACO’s finest...

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Carleton Dominion-Chalmers Centre,355 Cooper St,Ottawa
Sun, September 17, 2023
Sun, September 17, 2023
Carleton Dominion-Chalmers Centre 355 Cooper St Ottawa

Last updated: September 11, 2023

Program

CLARA SCHUMANN Piano Trio in G minor, Op. 17 (30 min) 

I. Allegro moderato
II. Scherzo: Tempo di Menuetto
III. Andante 
IV. Allegretto

ROBERT SCHUMANN Piano Quartet in E-flat major, Op. 47 (28 min) 

I. Sostenuto assai – Allegro ma non troppo
II. Scherzo: Molto vivace
III. Andante cantabile 
IV. Finale: Vivace

INTERMISSION 

JOHANNES BRAHMS String Sextet No. 1 in B-flat major, Op. 18 (33 min) 

I. Allegro ma non troppo
II. Andante, ma moderato
III. Scherzo: Allegro molto 
IV. Rondo: Poco Allegretto e grazioso

Repertoire

CLARA SCHUMANN

Piano Trio in G minor, Op. 17

I. Allegro moderato 
II. Scherzo: Tempo di Menuetto 
III. Andante 
​IV. Allegretto 

“Composing gives me great pleasure. There is nothing that surpasses the joy of creation, if only because through it one wins hours of self-forgetfulness, when one lives in a world of sound.” Clara Schumann (née  Wieck, 1819–1896) wrote those words in 1853, an unequivocal testament to how vital and central composition was to her artistic life. Those “hours of self-forgetfulness” were tragically rare among her many obligations as a concert performer, spouse and musical partner to Robert Schumann, and mother to a large family. Although Schumann is best known as a pianist, she was also a remarkable composer with a vivid poetic imagination and impressive technical mastery.

The Trio in G minor, Op. 17 (1846) for piano, violin, and cello is perhaps the most accomplished of Clara Schumann’s multi-movement works. The Trio hearkens back to certain aspects of classical traditions, but Schumann’s handling of form and harmony weaves in a number of Romantic innovations, wedding them to her signature combination of spacious lyricism and sober expressiveness.

Critics of the day praised the Trio for its restrained formal mastery and its abstract power. The piece, frequently performed in concert in the second half of the 19th century, including by Johannes Brahms, showcases Schumann’s vast range of compositional resources, from the autumnal lyricism of its first movement through to the contrapuntal techniques of its finale. 

The first movement (“Allegro moderato”) in G minor is a sonata, soberly but powerfully expressive. The violin and piano trade melancholy themes while the cello provides a bass underscore of support. It is followed by the lighter “Scherzo: Tempo di Menuetto” in E-flat major, in which the three instruments converse in phrases sprinkled with chromatic ornaments; the central portion recalls the G minor of the previous movement.

The third movement, an “Andante” in ternary form, is particularly exquisite, with delightfully charming and deftly interwoven melodies. The “Andante” opens with a pensive piano solo, after which the violin takes up the theme. But when the cello comes in, in consummately delicate counterpoint, the theme realizes all of its depth and textural richness. The Trio concludes with the “Allegretto,” which skillfully takes up motifs from the “Allegro moderato,” infusing them with chromaticism, among other things. Clara Schumann’s mastery of fugal composition flourishes in the movement’s central section, whose vigorous fugato impressed her colleagues Felix Mendelssohn and Joseph Joachim. 

Program note by Julie Pedneault-Deslauriers (translated from the French) 

ROBERT SCHUMANN

Piano Quartet in E-flat major, Op. 47

I. Sostenuto assai – Allegro ma non troppo 
II. Scherzo: Molto vivace 
III. Andante cantabile 
IV. Finale: Vivace 

In 1842, Robert Schumann (1810–1856) experienced an extraordinary spurt of creativity that resulted in what many call his “year of chamber music.” In the months from summer to winter, he completed three string quartets (Op. 41), a piano quintet (Op. 44), and a piano quartet (Op. 47). The latter two attained early success and remain among his most popular works in the repertory.

In his chamber music, Robert prioritized clarity and balance in the musical texture, and the Piano Quartet is no exception. Indeed, one of the appealing features of this work is the intimate, conversational interaction between the instruments, further highlighted by his deft use of counterpoint, so every member of the ensemble contributes equally to the musical discourse.

The Piano Quartet also shows Schumann advancing the conventions of chamber music writing through employing the Classical-era structures and formal processes that he absorbed from Haydn, Beethoven, and Schubert, while simultaneously incorporating various strategies of disrupting them. Thus, the piece embodies Robert’s idea that the “future [of music] is a higher echo of the past.” He sought to not merely imitate the models and methods of his predecessors, but to supersede them by transforming them afresh. 

For example, the Quartet opens with a slow introduction (“Sostenuto assai”) in an atmosphere of expectation, with the strings intoning a four-note questioning motif. It then proceeds into the vibrant movement proper (“Allegro ma non troppo”) with two contrasting themes—the four-note motif, now sped up, with a complementary flowing answer, and a vigorous second theme consisting of an ascending scale and descending arpeggio. As these themes are developed then reprised, the slow introduction wouldn’t typically return, but in this movement, the "Sostenuto" (or its associated mood) reappears twice to suspend the usual proceedings—before the development section moves ahead and just before the start of the coda. 

Similar moments of suspension disrupt the conventional (or expected) progress of other movements in the Quartet. Instead of the usual single contrasting trio, this Scherzo has two, the second of which begins with sustained chords alternating between the piano’s hands and the strings that create a floating effect, before continuing with a variant on the scherzo’s nervous running motif. At the centre of the slow movement is an intimate hymn of devotion, which is bookended by a deeply romantic song initially presented by cello and violin, later a variation of it with viola and violin. When the cello sings the main melody one last time, it’s with a new poignancy, having adopted the reflective mood of the hymn. It then sinks to a low B-flat (its C string tuned down), over which a three-note figure, passed between the instruments, hovers. This ethereal moment of suspense in the coda is an ingenious twist on formal procedure, for it simultaneously looks back, “to the past” of the opening “Sostenuto,” while also to “the future” of the finale, for that three-note figure will become its main motif. 

Schumann uses the finale to summarize his innovative strategies, which imbue the movement’s form with a heightened dramatic power. The three-note motto is first treated in counterpoint, as a fugato, with the instruments vigorously playing the subject in turn, then transitions into a flowing second theme announced by the viola. After further development of the motto’s elements, the music builds to a recapitulation of the main theme. Here, the fugato is also expected to return, but the music instead digresses into a dreamy chromatically-tinged interlude—yet another moment suspending conventional process. Later, the recapitulation resumes with the second theme, then, as if a “take two”, leads into a (shortened) return of the developmental section, now transposed at a higher pitch level. This time, after reaching a climax on the motto theme, the fugato, on the original motif but transfigured, finally returns to draw the entire piano quartet to a satisfying close.

Program note by Hannah Chan-Hartley, PhD 

JOHANNES BRAHMS

String Sextet No. 1 in B-flat major, Op. 18

I. Allegro ma non troppo 
II. Andante, ma moderato 
III. Scherzo: Allegro molto 
IV. Rondo: Poco Allegretto e grazioso 

Over the span of 40 years—from his Piano Trio, Op. 8 (1854) to his Clarinet Sonatas (1894)—Johannes Brahms (1833–1897) composed 24 chamber music works that came to define the genre for the latter half of the 19th century. Many feel these works are among the greatest since those by Ludwig van Beethoven, and that they encapsulate the true essence of Brahms’s creative personality.

He completed the B-flat String Sextet, Op. 18, in 1860—the first of a series of works that musicologist Donald Tovey described as belonging to the composer’s “first maturity”. In the mid-to-late 1850s, Brahms had engaged in intensive study of his Germanic musical heritage, and much of what he absorbed he assimilated, thus creating a highly original style that would remain evident in his compositions for the rest of his career.

Prominent in this sextet, which is scored for two violins, two violas, and two cellos, is the influence of his predecessors, notably, Beethoven and Franz Schubert. The long, evolving melodies of the first and fourth movements recall the latter, as do certain innovations in Classical form, such as the “three-key model” used in the first movement, in which the arrival of the second theme in the traditional dominant key (in this case, F major) is delayed by a modulation to the “otherworldly” key of A major.

Brahms’s interest and love for early music found its way into the “Andante” movement—a set of variations based on the Baroque folia. In keeping with its conventions, the original D minor theme frames five variations, with the very expressive fourth and pastoral fifth in D major. By contrast, folk-music elements infuse the sprightly, dance-like Scherzo and the more animated, rustic Trio (listen for the drones), which feature some rather bold tonal shifts reminiscent of Beethoven’s late string quartets. Above all, one can hear in this sextet the early development of what would become a Brahmsian hallmark—“developing variation”, through which themes, sections, and even entire compositions can be generated through the continuous manipulation of a few musical motifs.

Program note by Hannah Chan-Hartley, PhD 

Artists

  • Violin and viola James Ehnes
  • Piano Stewart Goodyear
  • yosuke-kawasaki
    Violin Yosuke Kawasaki
  • dscf0020-curtis-perry-cropped
    Violin Jessica Linnebach
  • Viola Jethro Marks
  • Cello Rachel Mercer
  • julia-maclaine-2
    Cello Julia MacLaine