Bridgeport Concert Series 2007 at the ZhouB Art Center
From Duet to Orchestra: The Many Faces of Momento Virtuosi Momento Virtuosi was formed in 2006 by four extremely talented and highly acclaimed musicians, including: Natalia Alenitsyna, viola player and violinist; Yang Liu, violinist; Pjotr Meshvinski, cellist; and I-Hsuan Tsai, pianist. This year Momento Virtuosi welcomes a new member, Guang-Yue Su, violist. Within one year, Momento Virtuosi has established its reputation and has been invited to teach and perform at the Oficina de Musica de Curitiba music festival in Brazil. Momento Virtuosi, unlike many other professional chamber ensembles is able to provide a repertoire consisting of diverse instrumentation. This year, the group will present music ranging from duets to full string orchestral pieces, which will further demonstrate “The Many Faces of Momento Virtuosi”. In the summer of 2007 the Bridgeport Concert Series will host four concerts featuring the musical renderings of Momento Virtuosi. Tara Horvath, January 2007 May 27th 2007 | June 1st 2007 | June 3rd 2007 | June 10th 2007 Concert 1 – Piano Quintets by Brahms and Shostakovich, May 27th 2007Brahms Piano Quintet Op. 34 in F minor
Brahms’ Op. 34 went through a series of different instrumentations prior to its finalization as a piano quintet. The musical piece originated as a string quintet with two celli, Brahms then rewrote the piece making a two piano version; however, neither version was well received. Brahms continued to alter the piece until its final publication in 1865, as the Piano Quintet Op. 34. This piece has remained one of the most prominent repertoires in chamber music history as it exemplifies Brahms’ lyricism within the well-controlled compositional structure. Brahms is most well known for his compilations of chamber music; the Piano Quintet Op. 34 is the sole piano quintet ever to be created by Brahms. Much like Brahms, Shostakovich is a prolific composer of chamber music who wrote just one piano quintet. Shostakovichs’ Piano Quintet Op. 57 was completed in 1940 and consists of five movements with highly contrasting styles ranging from calm and serene to fierce and dramatic. The second movement maintains a unique sound, as it is a fugue derived from a traditional Russian song. Prior to writing Op. 57 Shostakovich composed four chamber works and then went on to create fourteen string quartets, a piano trio, a violin sonata and a viola sonata. Intermission Shostakovich Piano Quintet Op. 57 in G minor
Concert 2 – Beethoven Piano Trios, June 1st 2007Beethoven Piano Trio Op. 70 No. 1 “Ghost”
Beethoven Piano Trio Op. 70 No. 2
Intermission Beethoven Piano Trio Op. 97 “Archduke”
Piano Trio is one of the most renowned instrumentations from the time of Haydn to Mozart and now the present day. Beethoven’s Piano Trio has a delicate setting reminiscing in the intimate and allowing composers to individually highlight instruments, demonstrating the beauty of each. This composition also allows the composer to expose the unique combinations and dialogue created through the juxtaposition of the instruments featured in the composition. Beethoven wrote Op. 70 in 1808 while faced with the challenges associated with deafness, social isolation and his audiences’ preoccupation with wealth and power. Op. 70 was created in two parts, the first of which is named “Ghost”, which is derived from the suspense and dissonance of the second movement. Beethoven’s Piano Trio Op. 70 is a representation of his middle period style and his attempt to stray from traditional classical structure, as well as his move toward the innovation embraced in his late period. Beethoven’s Piano Trio Op. 97 is his most highly acclaimed piano trio. Beethoven completed Op. 97 is 1811, dedicating the piece to his friend, patron and pupil Archduke Rudolph of Austria who was also the source of dedication for nine of Beethoven’s other compositions. Op. 97 demonstrates Beethoven’s immense intellectual capacity for music writing through the scope of the composition. Where & When June 1st, 2007
7:30PM-10:00PM
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Concert 3 – Chamber Music of France, June 3rd 2007Jean Francaix String Trio
Ravel Double Sonata
Intermission Ravel Tzigane Ravel Piano Trio
This concert celebrates 20th century chamber music of France, which has a colorful texture and is infused with distinct and harmonious French lyrics, offering an entirely different listening experience from the other concerts played in the series. Jean Francaix began composing at a very early age and by the time he reached eleven had received praise and recommendations for his talent from Ravel. Francaix received first prize of Virtuosite for piano from the Paris Conservatory in 1932 and continued his development studying composition with Nadia Boulanger. Francaix dedicated his trio to one of the most highly acclaimed string trio groups in Europe, Trio Pasquier. Ravel completed his Double Sonata for the violin and cello in 1922 after facing many challenges presented through World War I, as well as the emotional struggle he was forced to amend due to the death of his mother. This composition consists of extremely challenging instrumentation through Ravel’s use of two string instruments without a piano. Ravel notes the challenge of this piece and its lack of harmonic foundation, but states that the composition is skillfully compensated through its “pronounced reaction in favor of melody.” Ravel dedicated this piece to Debussy who died in 1918. Tzigane is an astounding and virtuous composition written for the violin by Ravel in 1924. Tzigane is permeated with exotic melodies and rhythms inspired by Ravel’s relationship with the violinist d’Aranyi. Ravel wrote this composition after being enchanted by d’Aranyi’s ability to render Gypsy melodies originating from Hungary. Ravel’s Piano Trio is a composition consisting of lush textures, contrasting colors, and divergent rhythms. Examples of the diversity of this composition are evident within the first and second movements, as the former exploits rhythms derived from Baroque folk dance, while the latter imitates the rhythms typically found in Malayan poetry. Where & When June 3, 2007 Purchase Tickets
Concert 4 – Momento Virtuosi with Friends, June 10th 2007Vivaldi Four Seasons
Haydn Cello Concerto in C major
Intermission Shostakovich Chamber Symphony Op. 110a
The Bridgeport Concert Series concludes as Momento Virtuosi expands the definition of chamber music to include a larger-scale ensemble. The prime difference between an orchestral ensemble and a chamber ensemble lies in the essence created in the chamber setting, which is further defined by the ability of each member to maintain his status as an equal and independent partner meeting the demands of a solo performance. In the most traditional orchestral setting players maintain the characteristics of the group leaving behind the musicians individuality and distinct musical personality, thereby necessitating the presence of the conductor. In order for a large chamber ensemble to achieve precise interactions and impeccable musical interpretations there must be the presence of great musicianship and partnership, which facilitates the ideal expression of each composition. Haydn’s Cello Concerto in C also exemplifies the contrast present within the style of concerto as the music played by each chamber musician interacts with that of the others. In Haydn’s Cello Concerto the source of the competition lies in the solo cellists’ interaction and relationship with all other members of the ensemble. The last composition presented in this concert series is Shostakovich’s String Quartet No. 8 played in chamber ensemble setting. Shostakovich created a new arrangement for this composition, which became known as Chamber Symphony Op. 110a. Shostakovich dedicated this piece to “the victims of Fascism and war”. Chamber Symphony Op. 110a is a highly personal and autobiographical work created by Shostakovich, in which he renders his own name transcribed as, “D-S-C-H”, into the musical notation, “D-Eb-C-B” and includes it in the composition. Further, Shostakovich incorporates quotations from his earlier compositions into the piece solidifying the author’s presence within his string quartet. Where & When June 10, 2007 Purchase Tickets
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