Chamber Music

Handel’s Oboe Sonata in F Major, Héloïse Gaillard and Ensemble Amarillis

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Handel’s Oboe Sonata in F Major, HWV 363a unfolds as a vibrant musical dialogue between the solo voice and the accompanying basso continuo. Its five movements alternate in tempo between slow and fast, suggesting the Italian church sonatas of Arcangelo Corelli. The opening movement (Adagio) is both majestic and lamenting. Its expansive, singing melody might remind you of an aria from one of Handel’s operas or oratorios. The second movement (Allegro) erupts with …

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Fauré’s Second Piano Quintet: “Youth and Serenity”

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The Piano Quintet No. 2 in C minor, Op. 115 was one of Gabriel Fauré’s final pieces. Completed in 1921, three years before the composer’s death, it retreats into the lengthening shadows of late afternoon. It’s filled with the subtle and inexplicable sense of mystery and revelation we hear often in the late works of the most canonical composers. Dedicated to Paul Dukas, it was written in secret, seemingly for posterity, at a …

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J.S. Bach: Three Adventures in B Minor

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On Wednesday, we explored J.S Bach’s Orchestral Suite No. 2, a festive and celebratory collection of Baroque dances that is nonetheless shrouded in veiled, mysterious B minor. (It’s the only one of Bach’s four Orchestral Suites to be  set in a minor key). The nineteenth century Austrian pianist, composer, and educator Ernst Pauer believed that each musical key embodies a distinct atmosphere. He called B minor “that very melancholy key” which “tells …

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Remembering Ida Haendel

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The eminent Polish-born violinist Ida Haendel passed away Tuesday at the age of 91. As a student of Carl Flesch and George Enescu, Haendel represented one of the last direct links to the distinctive and personal violin playing of the nineteenth and early twentieth centuries. As a child prodigy, she was a top prize winner in the first Henryk Wieniawski Violin Competition, where she competed against such towering figures as David Oistrakh …

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Stravinsky’s Octet for Wind Instruments: Enter Neoclassicism

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Igor Stravinsky’s 1923 Octet for wind instruments is a playful drama filled with zany, spirited voices. Its comic “characters” take the stage with endearing exuberance and sincerity. With witty allusions to Baroque and Classical form, it represents the beginning of Stravinsky’s dry, pared-down neoclassical period. When this piece was premiered at the Paris Opera in October, 1923, it was met with bewilderment and what Jean Cocteau called, “a scandal du silence.” Among the …

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Poulenc’s Flute Sonata: Clara Andrada de la Calle in Concert

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Francis Poulenc wrote his Sonate pour flûte et piano in 1957 in response to a commission from the Elizabeth Sprague Coolidge Foundation at the U.S. Library of Congress. The work is dedicated to the memory of Coolidge, one of the twentieth century’s greatest champions of chamber music. A sense of restless melancholy pervades the first movement (Allegretto malincolico) of Poulenc’s Sonata. It opens with an expansive melody filled with delightfully unexpected twists …

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Shostakovich’s Second Piano Trio: A Haunting Elegy

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Dmitri Shostakovich completed the Piano Trio No. 2 in E minor in 1944, shortly after composing the “wartime” Seventh and Eighth Symphonies. Shostakovich had scarcely finished the first movement when he received word of the sudden death (at age 41) of his close friend, Ivan Sollertinsky, a brilliant musicologist, critic, and artistic director of the Leningrad Philharmonic. For nearly twenty years, Sollertinsky had been one of Shostakovich’s most loyal defenders. His influence included introducing …

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