December 18, 2009: An abundance of chamber music by Antonín Dvorák

The latest collaboration between the Alexander String Quartet and lecturer Robert Greenberg will be a series of four 10 AM Saturday concerts on January 16 and 30, February 20 and March 27 at the Herbst Theatre, presented by San Francisco Performances, devoted entirely to the chamber music of Antonín Dvorák.  Dvorák is hardly a stranger to San Francisco chamber music fans, and it would probably be fair to say that he is one of the favored composers among both faculty and students at the San Francisco Conservatory of Music.  However, these Saturday morning events will provide the opportunity to supplement performances of the music with Greenberg's insights in his capacity as Music Historian-in-Residence for San Francisco Performances.  Those insights are sure to touch upon his nationalist influences, his relationship with Johannes Brahms (an equally prolific composer of chamber music), and, of course, the impact of the time he spent in the United States.  The complete schedule for this series of concerts (with some background on the music being performed provided by San Francisco Performance) is as follows:

Program 1
10 AM, Herbst Theatre, Saturday, January 16
String Quartet in D minor, Opus 34; String Quartet in E-flat Major, Opus 51

This program features the first two compositions that caused Dvorák’s sudden burst to fame in his late thirties. By 36, he had labored for years in obscurity, supporting his young family by giving music lessons, playing the viola in orchestras and the organ in church, and trying to compose. He was known in Prague but almost nowhere else. Dedicated to Brahms, who helped alert European publishers to Dvorák’s talent, the “String Quartet in D minor” (1877) is a little-known jewel, full of lovely music and showing some unusual thematic relationships.

As his fame grew, Dvorák was encouraged to give up his Czech identity and write music in the mainstream German tradition. The “Quartet in E-flat Major” (1879) shows how the composer found himself trapped between these two worlds; even as he writes for German performers and audiences, he insists on using Czech rhythms, sounds and forms.

Program 2
10 AM, Herbst Theatre, Saturday, January 30
Terzetto in C Major for Two Violins and Viola, Opus 74; Piano Quintet in A Major, Opus 81
(With Roger Woodward, piano)

An unusual combination of two violins and viola, Dvorák’s “Terzetto” (1887) is as genial and good-spirited as anything he wrote. Faced with the challenge of writing for three high voices (string quartet minus the cello), he provides a full harmonic palette and bass line.

Not long after completing that four-part piece, Dvorák composed what is universally acclaimed as one of his finest works, the “Piano Quintet” (1887), tremendously vital music full of fire, sweep and soaring melodies. For the Quintet, accomplished pianist Roger Woodward, currently a professor at San Francisco State University, joins the Alexander String Quartet.

Program 3
10 AM, Herbst Theatre, Saturday, February 20
String Quartet in F Major, Opus 96 “American”; Viola Quintet in E-flat Major, Opus 97
(With Andrew Duckles, viola)

While serving as director of the National Conservatory of Music in New York in the late 19th century, Dvorák composed what is known as the “American” Quartet (1893). The artist claims to have composed “in the spirit” of American music and national melodies; listeners will have to decide for themselves.

The “Viola Quintet” (1893), is said to be directly influenced by the uniquely American elements of Iroquois drumbeats and locomotives pounding along New York City’s rail lines. Joining the Alexander for this piece is Southern California-based violist Andrew Duckles.

Program 4
10 AM, Herbst Theatre, Saturday, March 27
String Quartet in A-flat Major, Opus 105; String Quartet in G Major, Opus 106

Dvorák composed the “String Quartet in A-flat Major” (1895) as he was leaving the United States to return to his native Bohemia. The piece, with its general mood of celebration, reflects the composer's relief at being home — it is saturated with Czech musical forms and the spirit of Czech music. Similarly, “String Quartet in G Major” (1895), his first work after returning, reflects Dvorák joy at this homecoming.

Tickets for individual concerts cost $36 and $24;  and the "package rate" for all four programs is $128 and $86.  Further information may be obtained by calling San Francisco Performances at 415-392-2545.  There is also a Web page for the entire series of events.