Program Notes for October 21, 2022 Concert
Randolph Peters (b. 1959) is a Canadian composer of stage, orchestral, chamber, choral, vocal and film works. He is a professor of composition at York University. A tango is a ballroom dance originating in Buenos Aires, characterized by marked rhythms and postures and abrupt pauses. Like the tangos of Argentinean composer Astor Piazzolla, Peters’ Tango stretches convention with sudden wild contrasts and extended techniques balanced against the rich and languid main themes. The tango is about love and death, or more precisely, sex and death. A politically incorrect line in a tango poem goes: “The tango is manly. It tastes like life; it smells like death.” This is, after all, music that in the early 1900’s was more likely to be heard in brothels than in decent homes. This version is arranged for string orchestra, but the work was originally written for the Kronos String Quartet and was recorded by that ensemble for use in MB Duggan’s 1991 feature film Smoked Lizard Lips. The Penderecki String Quartet has also recorded the work. Following rather angular statements of music at the opening, a habanera appears, reminiscent of the dance from the opera Carmen. This will return twice within Tango. In contrast there are also moments of great exploration through the creation of a variety of sounds that string instruments can produce.
Leoš Janáček (1854–1928) wrote two works for strings in the late 1800s. Born into a family of professional musicians, Janáček received solid musical training and broadened it at every opportunity. His life and career moved between teaching and music making. He found time to study at the Prague Organ School, Leipzig Conservatory, and Vienna Conservatory. He spent most of his life in Brno (Czech Republic), where he made a significant contribution to the cultural life of the town. He developed strong admiration for the music of Dvořák. In his role as conductor of a choir and a symphony orchestra in Brno, Janáček championed those works. After initially meeting in 1877, the two composers did a walking tour of Bohemia, absorbing and collecting folk music of the region. Dvořák’s Serenade for Strings (1875) may have provided Janáček with inspiration and instruction. Originally, Janáček designed his Suite For Strings to be modeled after those of the Baroque period. However, his vision shifted in the process of composing it. In the Moderato an energetic opening theme gives rise to a melody that is fully developed. The second movement, Adagio, scored for violins and violas is counterbalanced in the fifth movement by the showcasing of the lower instruments. Andante con moto is built on a slow-stepping melody. The Presto incorporates a sharply rhythmical theme with a calmly stated trio. This portion of the suite partially conforms to the Baroque format. The following Adagio is built on a contemplative melody with subtle contrasts between the high and low ranges of the strings. The final Andante is set in a mould that approaches sonata form.
Joachim Raff (1822-1882) was born near Zürich and developed his skills in music composition quite independently. His work won the support of Felix Mendelssohn and Franz Liszt. During the six years he spent working alongside Liszt, Raff became a member of the “New German School”. This was a briefly productive association, but Raff eventually chose to go his own way. He drew influence from a variety of sources in his composing. Raff’s eleven symphonies combine the Classical symphonic form, Romantic penchant for program music, and contrapuntal orchestral writing of the Baroque. Much of his music has been said to forecast the early works of Jean Sibelius. Raff’s String Octet dates from 1872. The opening theme of the Allegro, is rhythmically powerful, while the more lyrical second theme presents an air of mystery. The Allegro molto is a short and swift scherzo whose main theme has the propulsion of a fast ride. The beautiful Andante moderato has the quality of a song without words. The Vivace (possibly inspired by Mendelssohn) has forward momentum that assumes the quality of moto perpetuo (perpetual motion). The syncopated second theme, in the minor key, ensures an exciting race to the finish line. Sources: Kathryn J. Allwine Bacasmot, Randolph Peters, Misha Rachlevsky, Janáček by Hans Hollander (1963), Silvertrust and Radio Swiss Classic websites
Randolph Peters (b. 1959) is a Canadian composer of stage, orchestral, chamber, choral, vocal and film works. He is a professor of composition at York University. A tango is a ballroom dance originating in Buenos Aires, characterized by marked rhythms and postures and abrupt pauses. Like the tangos of Argentinean composer Astor Piazzolla, Peters’ Tango stretches convention with sudden wild contrasts and extended techniques balanced against the rich and languid main themes. The tango is about love and death, or more precisely, sex and death. A politically incorrect line in a tango poem goes: “The tango is manly. It tastes like life; it smells like death.” This is, after all, music that in the early 1900’s was more likely to be heard in brothels than in decent homes. This version is arranged for string orchestra, but the work was originally written for the Kronos String Quartet and was recorded by that ensemble for use in MB Duggan’s 1991 feature film Smoked Lizard Lips. The Penderecki String Quartet has also recorded the work. Following rather angular statements of music at the opening, a habanera appears, reminiscent of the dance from the opera Carmen. This will return twice within Tango. In contrast there are also moments of great exploration through the creation of a variety of sounds that string instruments can produce.
Leoš Janáček (1854–1928) wrote two works for strings in the late 1800s. Born into a family of professional musicians, Janáček received solid musical training and broadened it at every opportunity. His life and career moved between teaching and music making. He found time to study at the Prague Organ School, Leipzig Conservatory, and Vienna Conservatory. He spent most of his life in Brno (Czech Republic), where he made a significant contribution to the cultural life of the town. He developed strong admiration for the music of Dvořák. In his role as conductor of a choir and a symphony orchestra in Brno, Janáček championed those works. After initially meeting in 1877, the two composers did a walking tour of Bohemia, absorbing and collecting folk music of the region. Dvořák’s Serenade for Strings (1875) may have provided Janáček with inspiration and instruction. Originally, Janáček designed his Suite For Strings to be modeled after those of the Baroque period. However, his vision shifted in the process of composing it. In the Moderato an energetic opening theme gives rise to a melody that is fully developed. The second movement, Adagio, scored for violins and violas is counterbalanced in the fifth movement by the showcasing of the lower instruments. Andante con moto is built on a slow-stepping melody. The Presto incorporates a sharply rhythmical theme with a calmly stated trio. This portion of the suite partially conforms to the Baroque format. The following Adagio is built on a contemplative melody with subtle contrasts between the high and low ranges of the strings. The final Andante is set in a mould that approaches sonata form.
Joachim Raff (1822-1882) was born near Zürich and developed his skills in music composition quite independently. His work won the support of Felix Mendelssohn and Franz Liszt. During the six years he spent working alongside Liszt, Raff became a member of the “New German School”. This was a briefly productive association, but Raff eventually chose to go his own way. He drew influence from a variety of sources in his composing. Raff’s eleven symphonies combine the Classical symphonic form, Romantic penchant for program music, and contrapuntal orchestral writing of the Baroque. Much of his music has been said to forecast the early works of Jean Sibelius. Raff’s String Octet dates from 1872. The opening theme of the Allegro, is rhythmically powerful, while the more lyrical second theme presents an air of mystery. The Allegro molto is a short and swift scherzo whose main theme has the propulsion of a fast ride. The beautiful Andante moderato has the quality of a song without words. The Vivace (possibly inspired by Mendelssohn) has forward momentum that assumes the quality of moto perpetuo (perpetual motion). The syncopated second theme, in the minor key, ensures an exciting race to the finish line. Sources: Kathryn J. Allwine Bacasmot, Randolph Peters, Misha Rachlevsky, Janáček by Hans Hollander (1963), Silvertrust and Radio Swiss Classic websites