Venue Great Hall
Running time 90 minutes
Ticket packages available:
FULL DAY PASS: book all 7 concerts for £50
FLEXIBLE PASS: any 4 concerts for £35
DAY PASS: both concerts on one day £20
Individual lunchtime concerts: £10 | £8 Concessions
Individual early evening concerts: £15 | £13 Concessions
Students and accompanied children under 18 are free
Next date 19th September 5:30 pm
Book online below
About this event
Dvorak: Quartet no 12 op 96 (American)
Dohnanyi: Piano Quintet in C minor no 1
One of the most played works in the chamber music repertoire, the String Quartet in F major, Op. 96, nicknamed the American Quartet, is the 12th string quartet composed by Antonín Dvořák. During the summer of 1893, Dvořák spent his vacation from being director of the New York Conservatory in the town of Spillville, Iowa, which was home to a Czech immigrant community. In that environment, and surrounded by beautiful nature, Dvořák felt very much at ease. He composed the quartet shortly after the New World Symphony, before that work had been performed.
Dvořák sketched the quartet in just three days and completed it in thirteen more. The American Quartet proved a turning point in Dvořák’s chamber music output: for decades he had toiled unsuccessfully to find a balance between his overflowing melodic invention and a clear structure. In the American Quartet it finally came together.
The quartet has four movements:
Allegro ma non troppo
Finale: vivace ma non troppo
Born in 1877, Erno Dohnanyi died in 1960, and hence was one of the countless European musicans whose career was tossed on the storms of political change. He was born in Posony in Hungary, which later became Bratislava in the Czech Republic. He was to go on to be fired from being principal of the Budapest Academy for refusing to dismiss Kodaly for his leftwing views and during the second world war, his refusal to dismiss and then to otherwise Jewish musicians from the Budapest Symphony orchestra saw him gain a reputation as a unsung hero of holocaust resistance.
Although labelled as Op 1, Dohnányi’s Piano Quintet in C minor, Op 1, was preceded by more than 70 works which he dismissed (perhaps undeservedly) as “worthless apprentice efforts”. Brahms was enthusiastic about the piece and arranged for it to be played in Vienna soon after the premiere, given in Budapest in 1895. It doesn’t sound like an early opus; full of imagination and beauty, it’s urgent, passionate, impulsive and ardent flowing lines require considerable technical skill.
The quintet is in four movements
Scherzo, allegro vivace
Adagio quasi Andante
The Callino Quartet, back in Dartington for their fourth annual Autumn chamber music festival, is widely considered to be one of the finest young ensembles to have emerged in Europe in recent years. They made their professional debut at the West Cork Chamber Music Festival in 1999 since when then they have impressed audiences and critics both at home and abroad with their fresh and insightful performances.
Based now in London, the Quartet has won several international prizes for their concerts and recordings. Their performances have been variously described in the press as “warm, expressive and risky” (Classics Online) and “tender, polished and dramatic” (Irish Times).
Tom Poster is one of the UK’s most outstanding young musicians whose skills and passions extend well beyond the conventional role of the concert pianist. He has been described as “a marvel, [who] can play anything in any style”(The Herald), “mercurially brilliant” (The Strad), and as having “a beautiful tone that you can sink into like a pile of cushions” (BBC Music).
Sasha Calin graduated with First Class Honours from the Royal Academy of Music and continued her studies in Leipzig with Christian Wetzel where she played with the Leipzig Gewandhaus orchestra. She went on to play regularly with Welsh National Opera and the London Symphony Orchestra and now plays first oboe with the Mozarteum Orchestra in Salzburg, Austria.
American-Dutch soprano Katharine Dain brings insatiable musical curiosity and expressive force to performances on both sides of the Atlantic. She sings music of many centuries and genres in both intimate and grand venues; recently she has become particularly known for assured, deeply-felt performances of contemporary scores and of the Germanic lyric repertoire from Mozart to Strauss.
Thursday 19th September
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