Performing this Week
Tara Helen O'Connor
The Santa Fe Chamber Music Festival
Summer 2009 — Week 9
Our radio broadcast this week features a Telemann Trumpet Concerto, the lesser known of Dohnanyi's two piano quintets, his opus 26 in e-flat minor, and "Mládí," a buoyant, late work for winds by Czech composer Leos Janáček.
Scroll down to find excerpts from Kerry Frumkin and Marc Neikrug's conversation about this week's program, comments from some of the musicians, and a few other things I found along the way.
Thanks for stopping by...
Tara Helen O'Connor, flute and piccolo; Liang Wang, oboe; Michael Rusinek, clarinet; Kyle Knox, bass clarinet; Nancy Goeres, bassoon; Julie Landsman, horn
One can hear a blend of romanticism and modernity in Janáček's. music. Similar to Robert Schumann's keyboard suite "Kinderzeinen," Janáček's Mládí, or "Youth," captures an adult's nostalgia looking back at one's younger days. Janáček wrote it in 1925 when he was 70 years of age.
Janáček composed "Mládí" when he was 70, and similar to Robert Schumann's "Scenes from Childhood," the work conveys the nostalgia of an adult looking back at youth. Here is a sample from a Phil Ramone classical music animation project for children based on the music from Schumann's "Kinderzeinen." Marc Neikrug is the pianist and the selection is Von fremden Landern und Menschen, "About strange Lands and people..."
GEORG PHILIPP TELEMANN
Trumpet Concerto in D Major
David Washburn, trumpet; Allen Vogel and Robert Ingliss, oboes; L.P. How and Kathleen Brauer, violins; Yu Jin, viola; Mark Brandfonbrenner, cello; Marji Danilow, bass; Kathleen McIntosh, harpsichord
Though Vivaldi also composed a great number of concerti, Telemann seemed capable of varying the capability of the concerto form in ways that Vivaldi never thought of. Here is an excerpt from Marc and Kerry's discussion on this subject.
Did you know?
Telemann liked the sound of the trumpet, and he wrote numerous concertos for that instrument, including a number of concertos for multiple trumpets. When Telemann wrote these concertos in the eightieth century, the valved trumpet had not yet been invented and these concerti were composed for an instrument Telemann knew as the clarino, a small valveless trumpet with a piercing and very clear sound. It was extremely difficult instrument to play, since the player had to produce the different pitches by varying lip pressure. The invention of the modern trumpet has solved many of these problems, but Telemann's brilliant writing for the trumpet in his concertos, often high in the instrument's range, remains difficult even on today's instruments. A large number of Telemann's trumpet concertos are in D Major, a key that was comfortable on the instrument of his day.
ERNST VON DOHNÁNYI
Piano Quintet No. 2 in E-Flat Minor, Op. 26
Daniel Phillips and Benny Kim, violins; Steven Tenenbom, viola; Eric Kim, cello; Jon Nakamatsu, piano
Although Dohnányi lived well into the 20th Century, his lush, romantic music was a "through-back to an older time." Daniel Phillips tells Louise Frank about Dohnányi's Piano Quintet No. 2 in e-flat minor, opus 26.
None of the members of the ensemble – all accomplished chamber musicians – had played this piece before. Here cellist Eric Kim describes how the group came to love this piece, despite a difficult beginning when they first saw the score.
In this unedited out-take from their conversation, Marc and Kerry discuss Dohnányi in conjunction with his fellow contrymen, Kodaly and Bartok, in respect to the adventuresomeness or conservatism in their music.