Franck Piano Quintet Program Notes Beethoven

Beethoven died when Franck was only five years old. The Piano Quintet, the Symphonic Variations, the Violin Sonata, the Prelude, Chorale. Fine Arts Quartet, Cristina Ortiz, Cesar Franck, -- - Franck: String Quartet; Piano. Many listeners and writers of program notes find the music erotically charged. A COMPUTER TO LISTEN TO LIVE BEETHOVEN FROM ORCHESTRA HALL,.

The Piano Quintet, one of the earliest masterpieces of, marked his return to chamber music after more than 35 years. The work was dedicated to who, although he played the piano part in the premiere, so strongly disapproved of the musical language of the composer that he rejected the dedication. The first movement opens with a dramatic introduction, Molto moderato quasi lento, by the bowed strings.

The piano replies in a gentle manner. The strings restate their opening. The piano turns even more gentle. The dialogue continues along similar lines until the piano suddenly launches into the Allegro. The second subject is characterized by a wistful inflection to minor. The development reaches a stormy climax. A passage mirrors the introduction.

The reprise is very intense, but it concludes fading away. The second movement, Lento, con molto sentimento, is also in sonata form. Ecotect 2011 keygen download no virus. It opens with a motive with a falling figure on the first violin, with a background of repeated chords of the piano.

The atmosphere gradually turns more tragic. Then, a gentle melody in the lower strings is accompanied by piano in the high register. In the central section, the piano brings back the second subject of the opening Allegro.

The reprise is again highly dramatic. The finale, Allegro non troppo ma con fuoco, is characterized by a relentless rhythmic drive. Hindi dubbed movie torrent.

It opens with a repeated soft motive in the strings from which the first subject emerges. The second subject begins with a piano theme accompanied by the strings.

The agitation continues throughout. Near the ending, the second subject of the Allegro reappears. But the rhythmic urgency resumes and brings the work to an intense conclusion. Parts/Movements • Molto moderato quasi lento • Lento, con molto sentimento • Allegro non troppo, ma con fuoco Appears On.

Central to the repertoire of any string quartet are works in which it can play alongside a piano. Yet most concerts feature only a handful of such works. The Piano Quintets of Schubert, Schumann, Brahms, and Dvorak form the core, with occasional ventures to those of Gabriel Faure and Shostakovich. The Piano Quintet of the 19th C.

Belgian composer, Cesar Franck, is a remarkable work yet, in years of concert-going, I have never heard a live performance of it. While there have been recordings over the years, perhaps this neglect is explainable. Franck’s Piano Quintet did not have a good start. Written in 1880, its dedicatee, famed composer Camille Saint-Seans, disowned the work on its premiere performance, leaving behind the original manuscript.

Indeed, one can point to a lack of sophistication both string and the piano parts; the themes are often pretty simple and some of the piano writing could almost be described as crude. Yet why would Tournemire refer to this work as the ‘king of piano quintets’ and why would Parisian audiences demand that it be played again and again? Largely because it conjures up an uncomfortable world of passion and melancholy that goes much beyond the emotional range of many of the prettier pieces written at that time. In Franck’s Piano Quintet we find ourselves more in the brooding, unsettled post-Romantic world of Schoenberg in his Verklerte Nacht or possibly Scriabin. It is the darkness of expression that attracts some and pushes others away; the work’s chromatic melodies are not really that different in form than those in the composer’s ever-popular Symphony in D or the Violin Sonata in A. Traditional performances of the Quintet have sometimes tried to remove its apparent excesses by playing up its refined beauty at the expense of its raw passion.

Not on this occasion! The Kopelman Quartet, with pianist Elizaveta Kopelman (the leader’s daughter), played it all out with phenomenal grip and weight.

While the old-world Russian style of this ensemble may be too heavy and rugged for some pieces, here it fit perfectly -- bringing an intensity, concentration and glow to the whole work. The ebb and flow of the writing was judged perfectly, from the quiet rhapsodic piano statements at the opening to the volcanic punctuations from the full group that come later on. There was power, and indeed volume levels seldom heard at the Playhouse, yet there was always soft tenderness alongside. So exactly balanced was the group’s sound that one could hear every instrument at all times, including the softest piano notes. Each movement seemed to build naturally to its climax, evoking the deepest feelings. The care with which the quartet exposited the final movement was something to marvel at: each player so aware of what the others were doing, the pianist always watching her father, and the incredible beauty of the latter’s playing at the end. It all flowed as a beautifully-enchanting story.