Program Preview, March 2013

Our March concert program brings together three composers spanning 200 years of music history and culture. From Beethoven, his “Spring” Sonata for violin and piano echoes the transition in music at the dawn of the 19th century. From Fauré, his piano quartet, Op. 45, conjures the French nationalism towards the end of the 19th century. And a world premiere by Kenneth Froelich represents the vision of what is to become known as music in the 21st century.

Our musicians are also looking forward to bringing these three composers’ works to life on this program. “It occurred to me that the three compositions on this program represent three different ‘stages’ in my musical life,” pianist Edith Orloff shared with me. “I’ve played the Beethoven ‘Spring’ Sonata many times. The Fauré is a piece that I came to in the last few years and which I had always wanted to learn. The third stage is the exciting prospect of a newly commissioned piece. It’s a perfect combination of creative challenges—how to keep the more familiar works fresh and at the same time how to make your mark on a premiere while realizing the composer’s intentions (with his or her help, of course!).”

The Violin and Piano Sonata in F major, Op. 24, was Beethoven’s fifth out of ten sonatas. Composed in 1800-01 as he turned age 30, he was showing off his mastery of the classical forms he inherited from Haydn and Mozart. Nicknamed the “Spring” Sonata after Beethoven’s lifetime, the Mendelssohnian opening is followed by the Adagio molto espressivo, evoking a pastoral character throughout, with a placid, following melody and slow moving harmonies that linger.

“Of the ten violin and piano sonatas Beethoven composed, the ‘Spring’ is probably the one I’ve performed the most,” Edie said. “It’s been enlightening over the years to program it in various combinations with the other sonatas. Changing the mix puts the repertoire in a different context and illuminates new ways to hear and approach such a familiar, beloved work. It’s youthful, exuberant, fun to play, and the slow movement is deeply moving and profound. I’m thrilled to play this cornerstone of the violin/piano repertoire with Roger. And the seasonal timing is perfect!”

Fauré composed his Violin Sonata No. 1 in 1876 for the Société Nationale de Musique. Founded by Camille Saint-Saëns and several of his colleagues in 1871 as a forum to promote French music, Fauré’s first contribution to the Société was his Violin Sonata No. 1. After its positive reception, Fauré composed his Piano Quartet in C minor, Op. 15. It was during his revisions of the piece in 1883 that he seemed to have become interested in providing it with a sequel.

The Piano Quartet No. 2 in G minor, Op. 45, was Fauré’s principal creative occupation during 1885 and 1886. Premiered in January of 1887 at the Société, Fauré gave the following explanation of his inspiration: “In the slow movement of my Second Quartet, I recalled a peal of bells we used to hear of an evening drifting over to Montgauzy [near Foix, in southwest France, where he lived as a boy] from a village called Cadirac, whenever the wind blew from the west.”

For cellist David Speltz, performing this work offers a new opportunity. “This will be my maiden voyage with the G minor quartet,” David said to me. “I’ve probably played the C minor quartet 20 times. I’m looking forward to getting acquainted with his second quartet, which, as a later period piece in Fauré’s life, shows new elements.”

For Edie, the Fauré quartet also hints at what was yet to come. “There is foreshadowing of elements in some of Debussy’s piano music, such as the harmonic patterns in Clair de Lune and the idea of hearing sounds from a distance, as in Cloches à travers les feuilles (Bells through the leaves),” Edie explained to me. “The scherzo movement has often been described as ‘demonic’, and is very different in mood from the scherzo of the first quartet [Op. 15]. The outer movements do have similarities to Op. 15 in the way the strings are used as a unit against the piano. All in all, it’s an incredibly expressive, dramatic piece—and very satisfying to play.”

Bringing the program to life is a quartet of musicians with many years of collaborating together. “Playing with Edie is always special because she is one of the most dedicated and beautiful musicians I’ve known,” violist Roland Kato told me. “The first time we collaborated was my undergraduate recital at Cal Arts 38 long years ago, when we performed the first Brahms viola sonata in F minor. In spite of the time, I reflect fondly on that piece and how Edie was and still is such a great inspiration and a wonderful chamber music colleague and friend.”

“Violinist Roger Wilkie and I are Pacific Trio colleagues,” Edie added. “I’ve also worked with cellist David Speltz for many years, mainly through the Idyllwild Arts summer program.”

“If my math is right, this is my 23rd season with Pacific Serenades,” David shared with me. “It’s family, needless to say. I always look forward to a new season. Call me picky if you like, but these days I tend to limit my chamber music experiences to performances with musicians such as Roger, Roland, and Edie. It’s so important that the people you are spending hours with in preparation, are fun and easy going, as well as fabulous performers. Laughs, and some more-than-occasional gossip, is essential! Long live this wonderful series.”

Edie also echoed David’s affection: “The whole Pacific Serenades experience is an ideal set-up for performers, composers, and audiences alike. We are provided with the opportunity to play familiar, lesser-known, and brand new works in both intimate and formal settings, while Pacific Serenades’ mission of promoting new music through their commissions is known for its vital contribution to chamber music in Los Angeles and beyond. The musicians have the all-important opportunity of working directly with composers, such as Kenneth Froelich, in forming interpretations of new pieces. From my own study so far on Kenneth’s Piano Quartet No. 1, I think that Mirror will add a particular musical balance as a complement and contrast to the context of Beethoven and Fauré—it is evocative, structured, and has elements of impressionism. Everyone will have to come hear the piece—I don’t want to give too much away!”