Tippett Quartet Vidéos
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2024-05-04
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Arnold Bax Tippett Soar Tippett Quartet Bohemian Quartet 1844 1883 1914 1915 1917 1920 1953 2009
Arnold Bax +••.••(...)) - Piano Quintet in G minor, GP 167 +••.••(...)) I. Passionate and Rebellious (Tempo moderato. Con passione) [0:00] II. Slow and Serious (Lento serioso) [18:44] III. Moderate Tempo (Tempo moderato) - Allegro vivace - Lento con gran'espressione [28:48] The Tippett Quartet Ashley Wass, piano (2009) Arnold Bax's Piano Quintet in G minor is a work in three movements typically lasting around 43 minutes. "The Piano Quintet, one of the first works of Bax’s maturity, was composed during 1914–15, and dedicated to Bax’s friend, the critic Edwin Evans. Its première was given privately on 19 December 1917 by Harriet Cohen and the English String Quartet. The first public performance was on 12 May 1920 with Fanny Davies and the Bohemian Quartet. With its conception on a grand, expansive scale, its cyclic use of thematic material in the first and third movements, and the adoption of an epilogue at the end of the work, the Quintet may be deemed a precursor of the symphonies that were to follow. In addition the influence of Celtic music is fully absorbed by Bax for the first time here, and the work’s myriad musical material is subjected to a constant process of evolution as he exploits all manner of harmonic and instrumental colours to superb effect. The overall character of the first movement is passionate and tempestuous, created around three principal ideas: a yearning theme introduced by the cello over rippling piano figuration; a crisp rhythmical theme played by the piano with the hint of a dance, and by contrast to the prevailing mood, a tranquil Celtic melody, also presented by the piano marked ‘singing softly’. Both the piano writing and the surging chromatic climaxes are redolent of sea images, suggestive of the tone poems The Garden of Fand and Tintagel that followed hard on the heels of the Quintet. In a movement of luxuriant invention, a highlight is an eerie passage with muted strings indicated to be played ‘like a chant’. Just one bar of emphatic string pizzicato chords ushers in the main idea of the slow movement, a ‘cool and clear’ song without words of lyrical melancholic beauty, again clearly of Celtic roots. It is contrasted by ‘cold and unemotional’ chorale-like passages for the strings, accompanied by an obsessive rhythm on the piano which hints at an affinity with the second idea of the opening movement, as well as a nonchalant fragment of a folksong-like melody on the viola. During the climactic section in the middle of the movement, the piano figuration evokes images of waves as above the strings soar with the song. The finale is impressive in the manner in which Bax uses the same three main ideas of the first movement to create a wholly different mood. It commences with an introductory section where, over a wash of piano texture marked ‘vague’, the opening two themes of the first movement return, the cello theme now on violin and viola, and the persistent rhythmic idea again on piano. After a gradual crescendo as the music gets faster, the latter is transformed into an ebullient heady dance. Later the third theme from the first movement is heard ‘singing plaintively’ on the cello over an extended piano pedal-point and the obsessive rhythm. The tempo of the Introduction returns to usher in the Epilogue in which the first theme is transformed yet again, and others are reviewed as this work of powerful musical imagination and emotional force reaches its conclusion." (source: Naxos)
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