American Encounters (1/27/18)

American Quartets presented by The New York Classical Players
Stella Chen, violin; Eunae Koh, violin; Wei-Yang Andy Lin, viola;
Madeline Fayette, cello

String Quartet in F Major, Op. 96, No. 12 “American” (1893) – I. Allegro ma non troppo; II. Lento; III. Molto vivace; IV. Finale. Vivace ma non troppo – Antonín Dvořák (1841–1904)
Two Sketches Based on Indian Themes, A. 99 (1918–1919)– I. Lento e mesto; II. Allegro giocoso – Charles Tomlinson Griffes – (1884–1920)
String Quartet No. 1, “From the Salvation Army” – (1898–1902) – I. Chorale (Andante con moto); II. Prelude (Allegro); III. Offertory (Adagio cantabile);
IV. Postlude (Allegro marziale) – Charles Ives (1874–1954)

Dvořák was, of course, not American but he spent time in the new world and actually traveled throughout the United States, even composing the quartet I heard while summering is Spillville, Iowa. Several of the themes from the work are very recognizable. The first movement featured the viola and then the violin with a pleasant, happy-sounding, energetic theme—in fact, the entire movement had that sort of feel. Between the first and second movements, a cell phone went off (even after a request from the stage before the concert!). The second movement had a gentle, rocking sound to begin with but then got a little more dramatic. Even with the slower themes, there was still a very positive feeling, though also with a touch of the plaintive. (It wasn’t my day for quiet audience behavior, as a chatty child had to be escorted out of the auditorium during this movement.) The third movement was also energetic and fun, with themes easily tossed back and forth between the players. Even the more subdued sections had a forward energy. The main theme of the final movement had what seemed like Czech roots but with a fresh feel. The forward energy here made me think of Dvořák exploring his time in this country, musically speaking.

Before the second piece, there was tuning onstage, exits from the auditorium and a guy seating himself who bumped the lady next to her, setting off a squabble. As I said, not a good audience day. The Griffes had a somewhat stark opening, with modern harmonies and tonalities in a collection of solo themes set against drone-like accompaniments. There was a great deal of tension built into several sections that then resolved into a very strangely subdued ending. The second sketch had an energetic opening, but driving to where? It was a little scattered, compositionally, and drove to a rather abrupt ending.

One of the highlights of the Lincoln Center Library for the Performing Arts is the access to its many holdings of historical materials. In a display case in the lobby, I saw handwritten preliminary sketches of two of the pieces on the program as well as a $2,000 check written to Dvořák; a first installment on his salary as Director of the newly opened (1892) National Conservatory of Music in New York City. Viewing them was a pleasant way to spend part of the intermission.

The first movement of the Ives quartet had a tune in the cello that was then joined, fugue-style, by the viola, second violin and, finally, first violin. That sounds more complicated than it is since the tune itself was very brief. It sounded as though perhaps it was part of a hymn tune—somewhat appropriate, given the names of the movements. It had odd harmonies that were not grating and ended quite traditionally. The second movement reminded me of a fairly lively folk song that splintered apart and then came back together again, with the entire procedure repeated a couple of times. The third movement sounded like a straightforward hymn tune until it also went slightly off the rails via sliding, chromatic harmonies. Nothing brash; more like just a little weird. The fourth was more of the same but quicker, jumping from one idea to another very quickly and very often. It was like abruptly shifting directions but ending up together exactly where you were headed all along.

One note about the playing. The group dynamic was tighter and more fluid in the Griffes and Ives than in the Dvořák, which was a little surprising to me. But the more I thought about it, the more I wondered if the Dvořák got short shrift in terms of preparation since it was a more well known entity. Maybe the Griffes and Ives, being less well known, got more concentrated preparation. Just a theory. And the playing was very good throughout the entire afternoon.

ConcertMeister