The Aurora Ensemble - Programme Notes

Stamitz (1745 - 1801) Quartet in Eb Major, Opus 8, No. 2

1. Allegro Moderato
2. Andante
3. Rondo

Born in Mannheim, Stamitz was taught by his father. His father, Johann Stamitz was Konzertmeister for the Mannheim orchestra which he developed into one of the most renowned ensembles of its time. The orchestra was particularly well known for its dynamic effects, which were novel, with its fine crescendos and diminuendos.

After his father's death Stamitz continued his musical studies with the other court composers. In 1770 he travelled to Paris and became court composer for Duke Louis of Noailles. Whilst working for the Duke, Stamitz travelled widely as a celebrity virtuoso. From about 1777 Stamitz did not hold a permanent position and spent nearly all his time travelling. A concert for the Prince of Orange in 1783 featured Stamitz and a young Beethoven (aged 12).

Karg-Elert (1877 - 1933) Trio in D minor, opus 49 (1902) 

1. Introduction
2. Doppel fuge 
3. Sarabande
4. Rigaudon et Musette

The Trio Opus 49 was originally scored for oboe, cor anglais and clarinet. The horn, in this arrangement, takes the place of the cor anglais. The substitution of horn for cor anglais is not uncommon; in the Quintet by VillaLobos the horn is replaced by cor anglais and this also occurs in Stockhausen's epic Zeitmasze.

Karg-Elert's Father died when Karg-Elert was just twelve leaving the family in financial difficulty. Karg-Elert had to support himself with extra work as a cafe pianist and orchestral musician whilst studying at the Leipzig Conservatory with Reinecke. In the early 1900's Karg-Elert met Grieg who encouraged him and promoted his music to several important publishers. In 1915 he joined the army and on his return he succeeded Reger as professor of theory and composition at the Leipzig Conservatory.

Poulenc (1899 - 1963) Trio (1926)

Poulenc began learning the piano at the age of five. At the age of sixteen he began to take lessons with Ricardo Vines, friend of Debussy and Ravel, and in 1917 and 1918 he met Honegger and Milhaud. From 1921 to 1924 Poulenc studied with Koechlin.

It is very interesting that for Poulenc the sound of wind instruments were closer to his inspiration, the voice. He destroyed two violin sonatas before he felt happier with the existing one and a string quartet ended up in the sewers of Paris. Poulenc felt that many sections of the cello sonata would have sounded better on the bassoon.

The Trio (1926) contains the acidic humorous writing and the soulful lyrical lines so often associated with Poulenc.

Reinecke (1824 - 1910) Trio in A Major Opus 188 (1877)

In 1860 Reinecke was appointed professor at the Leipzig Conservatory, later he went on to became the director. During his time in Leipzig he met both Schumann and Mendelssohn. There are hints of these composers in the Trio with the light, fluid piano writing and the lyrical melodic lines. His great skill for writing charming melodies shines through in all his works. In the later compositions there is a Brahmsian warmth and majesty.

Reinecke was a stern disciplinarian and believed strongly in tradition. His still hands, curved fingers and exacting attitude gave him a virtuoso piano technique. This technique is clearly evident when listening to the piano accompaniments of many of his chamber pieces and requires great skill from the pianist to sound light and will'o'the wisp like. Liszt described Reinecke as having a `beautiful, gentle, legato and lyrical touch'.

Martinu (1890-1959) Madrigals (1937)

Martinu began composing in 1900 at the age of ten. A wayward student, Martinu was expelled from the Prague Conservatory for neglecting the prescribed curriculum; his interest lay in theatre and in literature. He settled in Paris in 1923 and took lessons with Honegger whom he admired greatly. Around the time the Madrigals were written Martinu was using the forms of 18th century music and filling them with 20th century harmonies. He was to return to the from of the Madrigal later in life with the Madrigal Sonata (1942) for flute, violin and piano, 5 Madrigal Stanzas (1943) for violin and piano and several choral and solo vocal works using traditional Slovak and Moravian melodies titled `Madrigals'.

Mozart (1756 - 1791 ) Quintet in Eb Major K452

1. Largo - Allegro moderato 
2. Larghetto
3. Rondo

The quintet for piano and winds was written around the time when Mozart's fame as a composer and performer of concertos was at its peak. Mozart held this work in such high regard that when writing to his father only days after its premiere (1 st April 1784) he stated it was the `best work' he had written in his life. The quintet begins with a dignified Largo, which upon its climax breaks into a lively Allegro. The second movement is in a more majestic mood, the rippling piano figurations contrasting with the more gentle wind lines. The Finale is a wonderfully light Rondo, culminating in a cadenza in which all the players participate.