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 minor, K.481

I Allegro
II Andante
III Rondeau

The Quartet is set in the stormy key of G minor, which the German-American musicologist Alfred Einstein called Mozart’s “key of fate.” (It’s the same key as Symphony No. 40 and several other pieces we explored in this previous post). The first movement (Allegro) begins with a stern musical “call to order” by all four instruments in unison. The motive ends with an ominous falling minor second which returns as a persistent ghostly “sigh” throughout the movement. Listen to the way this opening announcement develops with each instrumental voice taking the music in a new, unexpected direction. Also, notice the quirky, asymmetrical melody which takes shape a few moments later. The turbulent development section restores the mystery of G minor after the exposition’s sparklingly infectious exploits in the related key of B-flat major.
The second movement (Andante) develops out of a beautifully expansive melody. Filled with a quiet dignity and a tinge of sadness, this music seems to transport us to a shimmering and intimate scene from one of Mozart’s operas. We can almost imagine what the characters might be saying.
The final movement (Rondo) moves into the bright sunshine of G major, bringing the Quartet to a conclusion filled with endlessly inventive melodies, joy and warm gratitude.