Quartet In Bloom
With newest Cascade Quartet Member: Violinist, Nathaniel Basa!
What's interesting about this concert:
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A journey through three musical worlds, from Franz Joseph Haydn’s elegant and playful classical style, to Dmitri Shostakovich’s sharp contrasts and irony, to Antonín Dvořák’s warm, folk-inspired melodies, this program spans over a century of musical evolution.
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Each piece showcases the string quartet as a true conversation, where all four musicians share the spotlight and trade ideas in real time.
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You’ll hear everything from lyrical beauty and quiet reflection to biting humor and high-energy dance, all within an intimate chamber setting.
The Program
QUARTET IN BLOOM
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SEASON SPONSORED BY
BRICE ADDISON
CONCERT SPONSORED BY
NANCY LONCKI
IN PARTNERSHIP WITH
About the Music
PROGRAM NOTES BY CHRISTINE SHERLOCK
Joseph Haydn’s String Quartet in F major, Op. 74 No. 2, is one of the three “Apponyi” quartets, composed in 1793 during the composer’s second visit to London. By this point in his career, Haydn had fully transformed the string quartet from a light divertimento into a sophisticated, conversational art form.
The opening Allegro spiritoso begins with a bold unison gesture, immediately establishing a sense of confidence and clarity. From there, this first movement unfolds with both rhythmic vitality and playfulness, while the opening theme still passes through each voice.
The second movement, Andante grazioso, offers a striking contrast. This movement shows refined lyricism, spinning a graceful melody that unfolds with gentle ornamentation. The atmosphere is intimate and poised, with subtle harmonic shifts lending emotional nuance beneath the surface calm. The interplay among the instruments feels almost vocal, as if the quartet were engaged in a quiet, expressive conversation.
In the Menuetto: Allegro, Haydn plays with expectations. Rather than a stately courtly dance, this minuet has a rustic edge, driven by strong accents and earthy rhythms. The trio section provides contrast, softening the texture and offering a more lyrical interlude before the return of the robust minuet.
String Quartet in F Major
op.74 no.2
I. Allegro spiritoso
II. Andante Grazioso
III. Menuetto: Allegro
IV. Presto
Franz Joseph Haydn
1732 -- 1809
25 MINUTES
The final movement, Presto, is a tour de force of energy and invention. Often described as a “hunting” finale, it features rapid figurations, offbeat accents, and a sense of exhilarating forward motion. The music seems to chase itself to the finish, showcasing Haydn’s wit and his mastery of form. Despite its speed and brilliance, the movement retains a sense of control and clarity that underscores the composer’s craftsmanship.
Throughout Op. 74 No. 2, Haydn demonstrates his mature style: inventive yet balanced, expressive yet precise. The quartet exemplifies his ability to combine technical writing with sheer delight, leaving both performers and listeners with a sense of joy and admiration.
Ernest John Moeran is an English composer born in 1894. He was an avid collector and arranger of folk music. While Moeran was born in England, he was also from Irish descent and eventually moved to Ireland during the latter half of his life. Greatly inspired by the landscape in which he was surrounded, Moeran’s music captures the rolling hills and lush greenery of both Ireland and his homeland. As the First World War transpired, Moeran served in the British Army from 1914-1919. However, he received a head injury in 1917 due to shrapnel being lodged in his head, but too close to the brain to be removed. Due to the current medical technology and surgical knowledge, after rigorous and primitive surgery, he was still declared unfit to serve and was therefore discharged. Moeran asserted himself as a master of lyricism through his use of diatonic scales and suspensions as early as the 1920’s. He married cellist Peers Coetmore in 1945 for whom he wrote his cello concerto. As a young man, Moeran would often heavily drink with his friends, which dampened his music output between the years 1925-1930. His struggle of alcoholism was eventually put to an end in 1930 when Peers insisted that they move to a villa in the countryside, where he wrote his String Trio the following year.
Two Pieces for String Quartet
I. Elegy
II. Polka
Dimitri Shostakovich
1906-1975
6 MINUTES
Consisting of four movements, Moeran’s String Trio opens with an allegretto giovale in a ⅞ time signature, creating a unique and folky feel. The emotional second movement contains elements of both internal conflict and external outcry as the performers explore the emotional depth of their instruments. The movement ends with a sigh motif and continues into the blustery and conversational vivace as a series of vivacious notes are passed between the strings. The movement loses momentum as it leads into the andante grazioso of the fourth movement, which concludes with a firework of energy as the players dance to resolution of the piece.
Dvorak’s String Quartet in E-flat major, Op. 51, composed in 1879, stands at a turning point in his career. Written shortly after his growing international recognition, this quartet reflects Dvorak’s deepening engagement with the folk traditions of his native Bohemia. The end result is a quartet that blends classical structure with the rhythmic vitality and melodic warmth of Slavic dance and song.
The opening movement, Allegro ma non troppo, begins with a gentle, flowing theme that quickly blossoms into a richly textured conversation among the four voices. Unlike the dramatic openings of many earlier quartets, Dvorak goes for lyricism and subtlety, allowing the music to grow organically. This movement holds both folk rhythms and charming interplay.
The second movement, Dumka: Andante con moto, draws on a traditional Slavic form characterized by alternating moods; melancholic reflection and livelier, more animated passages. Here, Dvorak explores a wide emotional range: introspective melodies give way to brighter, more rhythmic episodes, only to return again to a sense of wistful longing. The contrast feels natural rather than abrupt, as if shifting between memories and present emotions.
The Romanza: Andante con moto offers a moment of sustained lyric beauty. This movement unfolds as a song without words, its long, singing lines entangled with tenderness and expressive nuance. The texture is transparent, allowing each instrument to contribute to the overall warmth of the sound, and the movement lingers in a state of gentle, heartfelt introspection.
String Quartet in E-flat Major
Op. 51
I. Allegro ma nan troppo
II. Dumka: andante con moto
III. Romanza: andante con moto
IV. Skočná: Allegro assai
Antonin Dvorak
1841-1904
33 MINUTES
In the fourth movement, Skočná: Allegro assai, Dvorak turns decisively toward dance. The skočná is a lively Czech folk dance, and its spirited rhythms drive the movement forward with infectious energy. Syncopations, offbeat accents, and quick exchanges between instruments create a sense of exhilaration and communal joy. The quartet concludes in a burst of brightness, leaving a lasting impression of vitality and national character.