Featuring
with special guests
The Georgia State University Farrenc Players
Sextet in C Minor, op. 40 (1852)
Louise Farrenc (1804 – 1975)
I. Allegro
The Georgia State University Farrenc Players
The three movement Sextet in C Minor was written for an instrumentation which was fairly unusual for that time. Earlier known pieces were the piano quintets by Mozart, Beethoven, and Spohr. Written in a dramatic C minor, the Sextet is a muscular, concertante piece, in which the piano is as dominant as the piano quintets by Brahms and Schumann, but any momentary imbalance is soon overcome, and the equilibrium between the instruments is generally governed with extreme care. The tone of the two trios is more intimate and the conversation between instruments more delicate and mellow. Clarinet and cello are ideally matched by their dark colors (as can be noted in the soulful Adagio), whilst the Flute Trio, in a wistful E minor, is a rare example of a 19th-century chamber work featuring an instrument that by then was regarded primarily as a member of the symphony orchestra. Farrenc later scored the work for piano and String Quartet, renaming it, aptly, Piano Quinet in C Minor.
Nonet in E-flat Major, op. 38 (1849)
Farrenc
Ensemble ATL
Farrenc's Nonet was written in 1849, and had its premiere in 1850, with the famous violinist Joseph Joachim playing that concert. The first movement Adagio—Allegro, opens with a regal theme. When the Allegro section comes along, things liven up, but still keeping a majestic sense about the music. Farrenc's writing between the instruments is balanced well, and the parts blend effortlessly. In the Andante con moto, the violin has the melody, and once again we hear a theme which still has a regal feeling, even through out the variations of it, starting with the oboe, who plays a syncopated version of it. The first variation features the oboe by itself in a syncopated little motif. The violin has some fun runs in the second variation, which the clarinet and flute imitate briefly. The bassoon gets their tune at a variation, and then the horn. It's a charming movement, and the variations flow naturally into each other. The third movement, Scherzo vivace begins with the theme being plucked by the strings, and then it opens up ever so grandly for the whole ensemble to play. The finale, Adagio-Allegro, begins with some statements that leave you wondering how and when this movement will fully open up, and provides some exciting anticipation, especially after an oboe cadenza of sorts, and a horn and clarinet playing octaves. The theme is beautiful, and the work comes alive and propels itself forward in each measure. It is widely considered one of Farrenc's best works!
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