Sinfonia

Concert Program Notes:

W. A. Mozart: Divertimento in D Major, K. 136 - Riya Khattri, violin

In the winter of 1772, Mozart composed the Divertimento in D Major, K. 136 at just sixteen years-old during his return home to Salzburg as a way to blow off some steam after two successful tours in Italy. It is a set of 3 divertimenti (136-138), often remarked as bridging between chamber and orchestral music, though at the time they were considered Mozart’s first string quartets.The D-Major divertimento was composed solely to charm the audience musically, produced with simplicity while the young composer focused on other, more demanding works. Since Mozart wrote the Divertimento, it has remained admired without any obtrusion.

In the Allegro, it showcases the work of youthful brilliance and charm but also playfulness through the first violin’s running sixteenth note melody, structuring a popping energy that is supported by the viola’s constant eighth notes, as well as the rare moments of melodies passing between all the sections. The piece then moves on to the Andante, which slows down the acceleration of the previous movement into a warm, stroll-like tempo, while simultaneously retaining its elegance through the melody. The last movement, Presto, introduces a thrilling tempo boost similar to the first movement, only with more excitement. It is full of playful imitation, and closes the piece in a whirlwind of rejoice along with a swift finish.

Although written early in his career, Mozart’s Divertimento already hints at the exuberance, elegance, and formal perfection that would define his later masterpieces, but remaining unique as one of his most beloved examples of simplistic joy.

Antonin Dvořák: Serenade for Strings in E Major, Op. 22 - Nalini Ranjan, viola

Antonín Dvořák composed his Serenade for Strings in May 1875 in just over ten days, during a period of growing recognition and personal happiness. Born in 1841 in Bohemia, his Czech heritage shows through many of his works. He began playing the violin and later the viola in Prague under Bedřich Smetana, which gave him more insight into integrating harmonies and expressive countermelodies in his music. 

The Serenade for Strings consists of five movements, evoking a feeling of “pure goodness” throughout. The two movements you will hear today feature many expressive shifts in tempo. The push and pull of pace follow the shape of lyrical melodies passed around in all the voices.

The first movement, Moderato, presents a warm melody in the violins and cellos singing over the steady pulse of the violas. After a graceful, dance-like G major section, the initial theme returns, and the movement concludes in three soft E major chords. In the Larghetto, movement 4, a fragile opening gives way to the tender melody in the violins. The calm, simple melody shared among instruments alternates with faster notes near the middle, bringing out the music’s emotional depth and charm.

Gabriela Lena Frank: Leyendas: An Andean Walkabout - Vinayak Vikram, violin

Gabriela Lena Frank had quite an interesting upbringing; her parents were from various places but she was raised in a primarily Latin American culture. This influence shows itself very clearly in both the title, idea, and music of Leyendas: An Andean Walkabout. Written in 2001, it was a step back of sorts in the manner in which it was written; she abandoned the grotesque styles popular at the onset of the 21st century and used more folk-like, evocative sonorities and textures. Of the six movements the piece is comprised of, Eugene selected in my opinion the three most interesting; the opening Toyos, the exhilarating Chasqui, and the final, grandiose Coqueteos. 

Toyos is based around the rural folk music of the Andes, evoking the sound of one of its most recognizable instruments, the Toyo. Multiple Toyos are typically played in parallel fourths, and the pulsating fourths in the violas evoke just that. The ambient sounds of the mountains are always a constant background in the other instruments, punctuating the music and completing the feel of quiet, campfire folk music. 

The next selected movement, Chasqui, is a stark contrast from Toyos; it might very well be the most difficult movement on the program for the night. Most of the piece follows a legendary runner named Chasqui (which, of course, is the motivation behind the name of the piece) who delivered messages between various settlements separated by the mountains. Naturally, there are fleet, running sixteenth notes scattered across the orchestra through these sections, giving it a breathless and winding energy that takes us along Chasqui’s journey. In line with the rest of the piece though, with its focus on the music of the region, Chasqui’s music is also a forefront in the movement. To facilitate his travels, his instruments are said to be the Charango, a high-pitched cousin of the guitar, and the Quena, a bamboo flute. These are scattered throughout the movement in expertly written parts; for example, the sound of the Quena is beautifully evoked using various turns and tremolos.

The final movement of the concert, Coqueteos, is an exuberant love song sung by men known as Romanceros, accompanied by the driving sound of their guitars. The tune takes on many forms, beginning as a homophonic proclamation and eventually dissolving into snippets of song. At the end, however, the passionate tune pulls itself back together, this time over a “vendaval de guitars” (storm of guitars). The piece continues building up until the very end, where the Romanceros finish off their song with a flourish on their guitars.

Pictures coming soon...