The Amalfi Piano Quartet
Andrew Blankfield piano, Claire Parkin violin, Adam Clarke viola, Emma Chamberlain cello

DVORAK Quartet in E-Flat Major for Piano and Strings, Op. 87
I Allegro con fuoco
II Lento
III Allegro moderato, grazioso
IV Allegro ma non troppo

Chamber music was extremely important to Dvorak, both as a composer and as a performer. The Quartet in E-Flat was written when he was at his creative peak, in 1889. From the first bold statement of the strings in octaves to the rousing final notes, this work is filled with the joy, excitement, depth of feeling and distinctive character that can only be Dvorak. This is the second of his two forays into this combination of instruments. Though his earlier piano quartet, Op. 23 also contains these typical qualities, the second quartet is the work of a mature compositional genius, brilliantly and tightly constructed. When he wrote this work, Dvorak had not yet had his stint in America as Director of the National Conservatory in New York City, with the summers spent in the Czech community of Spillville, IA.

Those years in America produced works that were “New World” in character. Op, 87 however, is thoroughly Bohemian in style and feeling. Dvorak himself wrote to a friend: “As expected, it came easily and the melodies just surged upon me, thank God!” After the distinctive unison opening material, the first movement brings the greatest of contrasts including the most explosive piano writing with supporting punctuation from the strings, to the most tender, intimate sections, this time punctuated by soft heartbeats. The movement builds up with great intensity, again employing unison playing before coming to an exciting close. In the second movement, Dvorak shows his deep love for the cello in one of the great solos in the chamber music literature for that instrument, subtly accompanied by gentle chords and pizzicati in the piano and upper strings. There are two passionate, turbulent sections but the movement finishes the way it began, calmly and sweetly. The graceful third movement is almost waltz-like in feeling, but with a lilting, uniquely Bohemian folk-type character and a trio section of contrasting material. Dvorak even writes in a cimbalom style for the piano to achieve this wonderful flavor. The Finale is filled with tremendous spirit, with a fiery ascending four note motive throughout. The closing of the piece is both thrilling and satisfying, providing the listener with the feeling that they have journeyed along with the musicians through much of Dvorak’s magical world.

MOZART Piano Quartet in G major, K.564

I Allegro
II Andante
III Allegretto

The piano trio as we know it began with the trio sonata of the Baroque era, in which a solo instrument (the violin, for instance) would be accompanied by the basso continuo—often consisting of the harpsichord and a bass violin (now called the cello), which usually just reinforced the bass line of the keyboard part. Two major things occurred which transformed the trio sonata into the modern piano trio—the invention of the pianoforte by Bartolommeo Cristofori in 1709, and the birth of Mozart in 1756. The new piano allowed for more melodic lines and a greater dynamic range for keyboard players. Composers began to give the piano more dominance, promoting it as a solo instrument, rather than using it primarily for accompaniment. As the greatest pianist of his time, Mozart’s contribution to piano trios include not only his impeccable piano writing, but also the expansion of the cello part, giving it equal footing with the violin. Mozart’s last piano trio, K. 564, may have actually begun as a piano sonata. During the last year of his life, as Mozart struggled with poor health and crushing debts, he reworked the piano sonata into a piano trio as he hoped to capitalize on the growing popularity of chamber music. While perhaps written out of financial necessity rather than sudden inspiration, this work is impeccably crafted. The piano introduces the theme in the first movement, and skillfully passes to the other two instruments. The second movement, in theme and variations form, shows how effortlessly Mozart could transform a single melody to great dramatic effect. The final movement is a playful Rondo with dance-like grace and humour.