Fishing for Trout along the Yellow Breeches

Chamber music is something I've often described as “music played by friends for friends.” Schubert's Trout Quintet which pianist Stuart Malina, members of the Fry Street Quartet and bassist Donovan Stokes will perform at 4pm this Sunday afternoon at the Glen Allen Mill - part of Market Square Concerts' Summer Music 2009 - was also a work written for friends.

It was also written following a delightful summer vacation in an old Austrian city located between two idyllic rivers in eastern Austria. What the trout fishing may have been like there, I don't know, but it seems the ideal piece of music to hear along the Yellow Breeches in an old mill that dates more closely to the time Schubert wrote this idyllic and happy music.

In 1815, Schubert, then 18, met the singer Johann Michael Vogl, a baritone who sang major roles at one of Vienna's major opera houses: the year before, he had created the role of the villain Pizzaro in Beethoven's latest revision of Fidelio. Reluctantly agreeing to meet the young composer, he sang through of a pile of songs, his reactions going from “not bad” to “you have something special in you, but as yet you are too little of the actor and showman; you have fine ideas but should make more of them.”

Vogl was a tall and imposing man. Schubert was about 5'1”. One of Schubert's friends drew a wicked caricature of the two, reflecting Vogl's stature in the arts community and Schubert's relative insignificance.

In those days, singers didn't give “song recitals.” Composers – even Mozart and Beethoven – wrote songs primarily for the domestic market, meaning amateurs to perform at home, back in the days before the invention of stereos, radios and TVs when people made their own entertainment rather than watched or listened to it. If you read any novels of the time – like Jane Austen's Pride & Prejudice, written in 1813 – there will likely be references to the young unmarried daughters of the house who would play the piano and sing for their friends and family: a girl's talent was considered a marriageable trait. These, then, were the performers Schubert's contemporaries had in mind except Schubert often wrote songs setting “deeper” poems with more difficult piano accompaniments and requiring more vocal technique. Vogl appreciated this and took Schubert and his songs around to his friends and sang this music for them. Without being published, Schubert would build a reputation as a composer of songs. It was, however, not a very good kind of reputation: opera was “where it was at.”

And that's probably why Schubert's friends arranged for Herr Vogl to meet their young friend. Money was to be made not in writing songs for pretty daughters to warble after dinner but in getting operas performed. That was the mark of a professional composer. In 1820, Vogl would sing the parts of twin brothers in Schubert's opera Die Zwillingsbrüder, written just for him. One of the few operas Schubert would complete or even see on the stage, it was a failure. One of music's great mysteries is that Schubert, an expert dramatist in the miniatures he wrote – Gretchen at the Spinning Wheel, for instance, written when he was 16 – seemed incapable of finding the dramatic moment in extended scenes on the operatic stage.

Perhaps Schubert's most popular song is Die Forelle, “The Trout.” He wrote this during the spring of 1817. There's a famous story that, in the midst of drinking a good deal of wine on a Saturday night, Schubert sat down and (while everybody else was talking) wrote Die Forelle. The manuscript certainly looks like it, but the truth is, he was visiting a friend whose younger brother very much liked Schubert's songs, and so Schubert sat down and from memory wrote out a copy of this one for him – it was the third time he'd copied out this song, but keep in mind it was also in the days before there were photocopiers.
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"Die Forelle" (The Trout) with tenor Ian Bostridge and pianist Julius Drake:

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In 1819, Vogl was going on an extended vacation to his hometown of Steyr, an industrial town about 2/3s of the way between Vienna and Salzburg (it would celebrate its 1,000th Anniversary in 1980) and he decided to take his young friend Schubert with him.

Schubert stayed at the home of a “cultured lawyer” who had three sons and eight daughters and whose nephew, Anton Stadler, an old school friend of Schubert's, also lived there. He would meet Vogl for meals at the home of Josef Koller, an iron merchant whose daughter was a talented pianist named Josephine. It was there Schubert, Vogl, Josephine and Stadler performed Der Erlkönig as a trio (Schubert sang the part of the father). That month, Schubert also wrote a piano sonata just for Josephine – the Sonata in A Major, K.664.

Another piece of music associated with that vacation was a little cantata written for Vogl's 51st birthday – Schubert was again one of the singers – and performed at the Kollers' house.

More public music making took place at the home of a wealthy mining official, Sylvester Paumgartner, a bachelor who was a local patron of the arts and an amateur wind player and cellist. The best musicales in Steyr took place either in the music room or the larger 2nd floor salon of his home on the city's town square (see photo). Vogl, sort of a local hero having gone off to a great career in the Big City, was the center of attention and being a bit of a prima donna would not always feel like singing: on occasion Paumgartner had to get down on his knees and beg him to sing. Schubert was very much in the “back seat,” sitting at the piano, but still, people admired his songs, though they more openly enjoyed Vogl's singing of them. One of the favorites was Die Forelle.

Paumgartner owned a copy of Johann Nepomuck Hummel's Septet in an arrangement for the unusual combination of piano, violin, viola, cello and double bass (the first 'real' piano quintet, consisting of the now standard string quartet plus piano, wasn't written until Schumann wrote his in 1842). In order to have something else for this group to play, he asked Schubert to write a little something for him and, if he would, include a set of variations on the song Die Forelle as one of the movements. And so that's how Schubert came to write this Quintet in A Major for Piano & Strings - which has always been known as “The Trout Quintet.”

Since the original manuscript is lost and no one (not even his school friend Stadler) ever mentioned the performance in a letter or subsequent memoirs, it's hard to say when it was written or premiered. The going story is that he wrote it then and there and in a matter of days everybody played it and loved it.

Unfortunately, that's not true. There were two other visits to Steyr – 1823 and 1825 – but because of the style of the piece compared to its contemporaries, it's more likely it was written after this first visit when Schubert was 22.

What actually happened was that the request was made before Vogl and Schubert left, the piece was composed that autumn in Vienna, Stadler copied the parts and sent them back to Paumgartner. Unfortunately, Schubert overestimated Paumgartner's abilities as a cellist: apparently, the work was played through (perhaps not even performed), then put away on the shelf. It wasn't published until 1829, a year after Schubert died at the age of 31. Today, it is probably one of the most popular pieces in the chamber music repertoire.

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Here are the last three movements of the Trout Quintet recorded by five friends in 1969 - Daniel Barenboim (piano), Itzhak Perlman (violin), Pinchas Zukerman (viola), Jacqueline du Pre (cello) and Zubin Mehta (double bass):
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Scherzo

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Variations on the song, Die Forelle (The Trout)

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Finale

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- Dr. Dick

Summer Music & Shostakovich

After everybody’s settled in to their summer routines – which for most of us means lack-of-routine – it’s time for Summer Music 2009, the annual summer series with Markets Square Concerts, three concerts that begin Wednesday July 22nd at Market Square Church and then continue Saturday evening at 8 and again Sunday afternoon at 4 at the Glen Allen Mill along the Yellow Breeches Creek. The Fry Street String Quartet returns along with pianist Stuart Malina, oboist Gerard Reuter and, for the “Trout” Quintet, bassist Donovan Stokes.

Wednesday evening’s concert begins at the unusual time (as far as concerts normally go) of 6:00 at Market Square Church – which means you can come in early, take in a great concert and then head out to Harrisburg’s Restaurant Row for some great food. And you get to hear the 5th of Beethoven’s first set of six string quartets on a program that includes a little known set of variations on a delicious Schubert song, “Heidenröslein” for oboe and piano by Leone Sinigaglia who studied with Dvořák and then came under the spell of Brahms in Vienna in the 1890s. Joined by Stuart Malina, oboist Gerard Reuter returns to Summer Music with this performance: he’d been here with his colleagues of the Dorian Wind Quintet this past March which included a performance of Lee Hoiby’s Sextet for Winds & Piano which featured Stuart Malina at the piano.

Summer Music ends with a set of variations on another Schubert song – the composer’s own take on “Die Forelle” or “The Trout” – which is the centerpiece of one of the most popular works in the chamber music repertoire, Schubert’s Quintet in A Major for Piano & Strings which friends know less formally as “The Trout Quintet.”

Wednesday’s program, however, concludes with the Piano Quintet by Dmitri Shostakovich, a dark and dramatic work judging from its powerful opening Prelude & Fugue – you can hear a recording of the Prelude here. I’m not sure if it’s the Borodin Quartet with Sviatoslav Richter or not, one of the great recordings of the piece, but here is a video of the Fugue played by uncredited string players with pianist Glenn Gould.
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(Sorry about the bad edit at the end, but it's such an incredible performance, I had to use this clip!)

The Quintet was premiered in Moscow in November of 1940 at the start of the 2nd World War (the Nazi Invasion of the Soviet Union didn’t happen until the following summer). This official photograph was taken presumably at a warm-up before the Leningrad premiere a month later with the composer, then 31, at the piano and the Glazunov String Quartet.

The Quintet initially began life as a string quartet, what would have been the composer's second. For some reason, then, Shostakovich, a brilliant pianist himself, decided to add a piano part to the work.

When a friend of his, a well-known literary critic, asked him why, Shostakovich responded it was more for practical than artistic reasons: “So that I could have the chance to perform [it] myself and thereby travel on concert tours. Now the Glazunov and Beethoven [Quartets] won’t be able to do without me – and I’ll get a chance to see the world.” Then he and his friend both broke out laughing: “Are you joking?” the friend asked. “Not in the slightest!” the composer replied. “You are an inveterate stay-at-home while at heart I’m an inveterate traveler!” But from the expression on his face, the friend later wrote, it was impossible to tell if he was serious or not. That was very much part of Shostakovich’s character: even when it sounded like he was telling the truth, maybe he wasn’t.

Whether Shostakovich's dream of touring came through or not (it didn't), he did end up giving us, nonetheless, one of the four or five great Piano Quintets in the repertoire.

Speaking of masks, just to prove the tragic mask can be balanced by the comedic mask, the stately austerity of these two opening movements is then followed by a dissonant high-energy wildfire of a scherzo. Here’s a performance with violinists Joshua Bell and Henning Kraggerud, violist Yuri Bashmet, cellist Mischa Maisky and pianist Martha Argerich in the third movement’s scherzo (performed here as an encore):
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(Whew! Isn't that amazing?!)

It’s pretty hard to tell what exactly this “scherzo” means in the context of the whole piece, when you consider the Italian word “scherzo” means “joke.” This joke may be lubricated by the flowing of vodka but it’s the kind of earthy joke, perhaps, that no one really laughs at.

The interlude that follows returns to the leaner texture of the fugue (you can hear a recording of it here with, again I assume, the Borodin Quartet & Richter). Considering the dark mood of much of the music so far, the finale, then, might seem far-fetched with its clownish tune full of odd leaps and fanfarish rhythms (or perhaps it’s something with Spanish castanets?). I’ve often heard this movement as an after-thought, almost a disappointment, but when I heard Stuart playing it with the Enso Quartet a few years ago at another Market Square Concert, their slightly faster tempo – it’s marked Allegretto which is not too fast but faster than the standard “walking tempo” of an Andante I’m used to – suddenly made sense when you got to the fade-out ending. After his 5th & 6th Symphonies with their supposedly big positive resolutions in the last movements, listeners might expect a similar happy ending or at least some more dramatic conclusion than this seeming understatement.

(You can hear a recording of Yefim Bronfman and the Juilliard Quartet in the Quintet’s finale, here.)

Shostakovich often wrote music that reminded some of his listeners of things he may have had no intention of implying – the flourishing cult of “secret programs” in the 5th and 10th symphonies, for instance – so it is only my inference, here, when this music reminds me of his after-school gig as a teenager, playing piano for silent movies.

One of his favorite characters was Charlie Chaplin: doesn’t the ending of this gentle, clown-like piece have a kind of off-into-the-sunset glow about it, the Little Tramp swinging his cane, strolling off wistfully into the distance? I’m not saying that’s what he had in mind but that’s what it reminds me of and may explain a lot of about the contrasts in this piece: it’s all entertainment but however we view the world, it leaves us something to think about at the end of the day.

In a few days, I’ll be posting some more about some of the other works on the program, so check back.

And remember, even though it’s summer, the Arts don’t take a break – you can enjoy them all year ‘round!

- Dr. Dick

Support for Supporting the Arts

If you've ever enjoyed a performance by any of the local arts groups as an audience member; if you have ever had an emotional response to a painting or to a theatrical production; if you have ever felt an epiphany from an experience with something artistic, whether it changed your life or just improved your day; if you have seen the expression on a child's face coming face to face with something artistic that cannot be explained in a government report, you know the importance of art in our every-day lives.

Tuesday morning at 11:00, there will be a rally in the State Capitol Rotunda in support of supporting the arts in Pennsylvania, organized by Citizens for the Arts. You can read their notice about it here.

Let's hope the steps aren't empty tomorrow morning!

Please check out Dr. Dick's other blog, Thoughts on a Train, for more information.

Thanks!

- Dr. Dick

Philip Glass's Violin Sonata in the News

In Harrisburg last February, a birthday present was unveiled in public for the first time.

To most in the audience – many of whom came from Philadelphia and New York for the concert – it was a chance to hear Maria Bachmann and Jon Klibonoff play the world premiere of a violin sonata by a well-known and world-class composer, Philip Glass.

To Martin Murray, it was part of the long process of bringing an idea to life, commissioning a very busy composer to write something as a birthday present for his wife, Lucy Miller Murray, the founding director of Harrisburg’s Market Square Concerts.

Here are violinist Maria Bachmann and pianist Jon Klibonoff playing the 2nd Movement of the Violin Sonata by Philip Glass, recorded in WITF's studio and posted (where else) on YouTube:
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Tonight, they will perform Glass’s Violin Sonata at the Telluride Music Festival in Colorado which prompted this article in today’s Wall Street Journal. You can read Corinna da Fonseca-Wollheim’s “Even Bach Needed Goldberg” here for an entertaining account of how this work came about.

Other works mentioned in the article and commissioned by individual patrons (like Mr. Goldberg centuries ago) include Christopher Theofanidis’ piano piece “All Dreams Begin with the Horizon.” Harrisburg heard Tanya Bannister, who gave it its premiere at a private birthday party in February 2007, play it at her Market Square Concerts recital less than a year later. A gift for an amateur pianist, Stephen Schwartz, it was “a little something” commissioned for the occasion by his partner, Miles Kahler. Ms. Bannister has since recorded the work for the Albany label.

Quoting from Ms. da Fonseca-Wollheim's article,

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"To bring a new piece into the world is a great privilege," says Mr. Glass, noting that if it had not been for Mr. and Mrs. Murray, he would never have written this violin sonata. "You live your life on the edge of the unknown. Some people don't want to go there. This couple, they've wandered into this world."
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When you think about it, giving the gift of music really is a gift that keeps on giving.

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You can read my previous posts about Philip Glass’s Violin Sonata here and here.

Join us in February 2010 for another world premiere in Harrisburg when Brooklyn Rider performs a new work by Lisa Bielawa, commissioned by Market Square Concerts, a work she’ll be writing this fall while living in Rome as part of her winning this year’s Rome Prize. (And you can read more about that in a previous post, here.)

Summer Music 2009 is coming up in a few weeks – there’s a preview of it and the new 2009-2010 season in this post.

Dr. Dick

Summer Music & the New Season: A Tease

While we’re thinking about summer and planning vacations or weekend get-aways, it’s not too early to put a few days in July on your calendar for Market Square Concerts’ “Summer Music Festival 2009.” The first of its three concerts will take place on Wednesday evening, July 22nd (starting at an earlier-than-usual time, 6pm), at Market Square Presbyterian Church and the remaining two will take place at the Glen Allen Mill on the Yellow Breeches that Saturday evening (July 25th) and Sunday afternoon (July 26th). Check the web-site for more details – and for directions to the Mill, if you’re not familiar with it.

In up-coming posts, I’ll be telling you more about the works the Fry Street String Quartet will play along with violinist Odin Rathnam, pianists Stuart Malina and Michael Sheppard, oboist Gerard Reuter and bassist Donovan Stokes, including three of Beethoven’s early quartets, the Shostakovich Piano Quintet and Chausson’s rarely heard Concerto for Violin, Piano and String Quartet, plus one of the most popular works in the chamber music repertoire, Schubert’s “Trout” Quintet (perfect for sitting beside a beautiful tree-lined creek on a [hopefully] sunny Sunday afternoon).

If you’re on the Market Square Concerts’ mailing list, you should be receiving your brochures for the up-coming 2009-2010 Season (if you haven’t already – I got mine today).

If you’re not on the mailing list, check the web-site for details or contact the office at (717) 221-9599 or send e-mail to info@marketsquareconcerts.org.

There are six concerts between October 11th and April 24th, some at Whitaker Center and some at Market Square Presbyterian Church, where the concert series got its start. The January concert will take place at Temple Ohev Sholom in uptown Harrisburg.

Programs range from the Traditional to the Modern, opening with the Parker Quartet playing Beethoven & Mendelssohn in October and cellist Zuill Bailey playing sonatas by Mendelssohn & Brahms in November.

In February, an ensemble called Brooklyn Rider will feature, in addition to Schubert’s “Death & the Maiden” Quartet, the 5th Quartet of Philip Glass and the world premiere of a work commissioned by Market Square Concerts written by Lisa Bielawa (she’s going to be working on it while she’s in Rome this fall – you can read about that, here – and she’ll be one of the performers, as well).

In January, composer Jennifer Higdon – you may remember having heard “Blue Cathedral” and her Percussion Concerto with the Harrisburg Symphony in past seasons – will be in town when the Cypress Quartet plays her “Impressions,” a work they commissioned as a response to Claude Debussy’s String Quartet which is also on the program (along with Samuel Barber's Quartet, the original home of his famous Adagio for Strings). You can read my reactions to a performance the Cypress Quartet gave last year at Lebanon Valley College where the Debussy Quartet was also on the program. (BTW, they're back in the area in just two weeks with a performance in Steinman Hall of Lancaster's Pennsylvania Academy of Music for a program that will include Schubert's Quartetsatz, Mendelssohn's Quartet Op. 13 and Schubert's "Death & the Maiden" on June 24th.)

The last two concerts of the new season may be kind of complementary. March’s is an eclectic program with flutist Claire Chase performing Bach, Schumann and Debussy along with Pierre Boulez and a transcription of Bach’s Toccata & Fugue in D Minor for solo amplified flute (I'm still trying to imagine how that is possible).

April’s, then, is a tribute to The Bard and his contemporaries, both literary and musical, with Parthenia, joined by actor Paul Hecht and soprano Jacqueline Horner, called “When Musicke and Sweete Poetry Agree,” just in time for Shakespeare’s birthday.

So even as you’re wondering how you’re going to make it through the summer, don’t forget to look ahead to the fall when the new season begins. There’s a lot going on in Central Pennsylvania and you don’t want to miss out on Market Square Concert’s 28th season!

And if you send in your full season subscription by July 15th, you’ll receive a new Beethoven CD by the Cypress Quartet which includes the Quartet Op.135.

- Dr. Dick

Jennifer Higdon's Music Live & On-Line

Though the official Market Square Concerts season is over and SummerMusic 2009 is just around the corner – can you believe it’s June already?! – I just wanted to post a little something about a composer whom you may have heard with the Harrisburg Symphony when they played her Percussion Concerto in March 2008. You can hear her “Blue Cathedral” on WITF-FM frequently (it was one of the 89½ Classics the first year, the only work on the list of audience favorites by a living composer).

Next season, January 2010 will be Jennifer Higdon Month in Harrisburg. A week before the Harrisburg Symphony plays “SkyLine” from her CityScape, Ms. Higdon will be in town when Market Square Concerts presents the Cypress Quartet who will perform her “Impressions,” a work she composed for them.

Right now, however, I want to tell you a little about her most recent world premiere, the Violin Concerto she composed for one of the great violinists on the scene today, Hilary Hahn (who had been a student in Higdon’s 20th Century Class at Curtis).

Since she premiered it in February in Indianapolis, Ms. Hahn has been performing it around the country and – last week – in England.

This week, it’s coming to Baltimore when the Baltimore Symphony performs the concerto with Hilary Hahn this Thursday & Friday evenings and Sunday afternoon at the Meyerhoff Hall and Saturday evening at the Strathmore Center. The program opens with Beethoven's Egmont Overture and ends with the Symphony No. 5 by Antonin Dvořák.

If you can't make any of those performances, you can hear the one recorded this past Thursday with the Royal Liverpool Philharmonic (its European premiere) on-line live today at 2pm at BBC-3 with a program that begins with Gershwin’s American in Paris and concludes with Elgar’s 1st Symphony. If you can’t listen to it then, you can find it on the BBC web-site where it will be available for the next 7 days.

The Concerto was also recorded in Liverpool by Deutsche Gramophone for future release.

Check out this video of violinist Hilary Hahn talking with her former teacher at Curtis about the Violin Concerto she wrote for her.

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You can also read my post at Thoughts on a Train about it and find a few more links there, including an NPR interview between conductor Marin Alsop and composer Jennifer Higdon.

Then I'll be back to tell you about July's SummerMusic concerts and take a look at the up-coming 2009-2010 Season!

- Dr. Dick

Two More World Premieres in Harrisburg This Week

Earlier this year, there were two world premieres in Harrisburg within a two week period with Philip Glass’ Violin Sonata premiered at Market Square Concerts on February 28th and then Shulamit Ran’s “Lyre of Orpheus” on March 14th as part of Concertante’s on-going commissioning project called “1 + 5.”

This week there are two more world premieres in Harrisburg.

Tonight, Kevin Puts’ Arcana will be given its premiere at Concertante’s last concert of their Harrisburg season. This is another in their “1 + 5” series and will feature cellist Alexis Pia Gerlach with her colleagues. Those who attended Concertante’s preview last night at Harrisburg’s newly renovated Midtown Arts Center “Stage on Herr” (just before the mayoral debate) had a chance to hear the composer describe how the piece came about and what was going on with a few excerpts the musicians teased us with.

Along with Schoenberg’s Verklärte Nacht (Transfigured Night) and a Beethoven string trio, you can hear Arcana (which the composer pronounces Arcāna) tonight at 8:00 at the Rose Lehrman Arts Center of the Harrisburg Area Community College. I’ll be doing the pre-concert talk beginning at 7:15 and composer Kevin Puts and cellist Alexis Gerlach are planning on joining us to talk about the music, how it came about and what it’s like bringing a new piece to life.

Then this weekend at the Harrisburg Symphony’s final concert of the season, Jeremy Gill’s Symphony No. 1 will finally be getting its first performance. I say “finally” because, as he put it, the ink was dry on it ten years ago and it’s just been a long wait to get someone to perform it.

He describes it as a one-movement work, inspired by the 7th Symphony of Jean Sibelius and the different creative issues and challenges that arise from writing a full-formed symphony in one continuous movement.

He’s now teaching at Temple University in Philadelphia so he’s not far away from his hometown of Harrisburg. People who attended Market Square Concerts’ January program with pianist Matthew Bengtson playing Bach’s Goldberg Variations also had a chance to hear more recent works including a new work by Jeremy Gill written to honor Elliott Carter as he approached his 100th birthday called “Eliot Fragments” (the Eliot in this case being the poet T. S. Eliot whose lines inspired these very brief pieces). On that occasion, pianist and composer talked to several groups of students as part of Market Square Concerts Soundscape series.

I hope to catch up with Jeremy this afternoon when he talks to the students at Capital Area School for the Arts before heading over to the Forum to hear Stuart Malina rehearse the orchestra in his Symphony.

The concerts are Saturday at 8pm and Sunday at 3pm at the Forum. An hour before each performance, Stuart Malina and Jeremy Gill will be talking about the new piece during the pre-concert talk.

The Harrisburg Symphony concert is called “Fate & Fantasy” which applies very well to Tchaikovsky’s 4th Symphony with its fanfare-like fate motive that pervades the piece and to Pablo de Sarasate’s Fantasy on themes from Bizet’s Carmen which has its own fate motive. Concertmaster Odin Rathnam will be the soloist in the Carmen Fantasy and in Beethoven’s Romance in F.

But “Fate & Fantasy” may also apply to a composer writing a symphony today who fantasizes about getting it performed if it wasn’t written on a specific commission in the first place and then is often fated to waiting a long time till he gets a chance to hear it other than in his head.

Soon I’ll be back to tell you about Market Square Concerts’ SummerMusic 2009 which will take place at Market Square Church and the Glen Allen Mill in July – plus look at some of the details of the up-coming new season 2009-2010 which will include a performance by the Cypress Quartet and composer Jennifer Higdon who'll be here with them for that January 2010 concert.

Many of you may remember Ms. Higdon's Percussion Concerto which the Harrisburg Symphony played in March 2008. They'll be playing 'SkyLine' from her CityScape in January 2010. And composer Kevin Puts will be on the Harrisburg Symphony's April concert when they perform his Symphony No. 2, Island of Innocence.

- Dr. Dick