Franz SCHUBERT: Death and the Maiden

Franz Schubert: Death and the Maiden: String Quartet in D minor D. 810

The title of Schubert’s penultimate string quartet comes from a song that he wrote with the same title from seven years prior, which also provides the main theme for the second movement. In the song the Maiden asks Death to leave, who responds charmingly for her to softly rest. 

Written four years before his death, Schubert had begun to realize the gravity of his chronic illness. Though many of his compositions express joy and happiness during this time, this work has a darker tone, perhaps as a bold statement against Death, especially in the first and third movements, to rather express something of a frustration to accept his life.

The main theme of the first movement Allegro appears to express some anger and frustration in a stately manner. The second theme provides relief in a major key (A in the Exposition and Bb in the Recapitulation). The coda slows the pace towards the end.

The second movement Andante con moto uses the melody of the previously mentioned song with the same title as the main theme in the form of a Theme and Variations in G minor. Unlike earlier quartets from Schubert, this movement allows all musicians to share time to play the main melody and also includes difficult accompanying parts with broken chords and fast scales.

The third movement Scherzo: Allegro Molto has a similar theme to the first movement but with a bit more confidence and syncopation with a lead-in. The middle section Trio provides a peaceful contrast for the entire work, perhaps as a glimpse of heaven.
The finale Presto is an exciting Tarantella in a fast 6/8 meter. The main theme includes a rhythm of long short long short. As with most rondos, the first theme returns twice with several contrasting sections, which include, among the exciting themes in minor keys, episodes of contrast and hope. Notes by William Harned..

Dylan FIXMER: A Poem Without Words

Colorado based composer and musician Dylan Fixmer is a genuine and passionate artist whose works reflect his diverse music career and variety of musical influences.  His music is inspired by the beauty of nature and the human spirit. Composing for others is Dylan’s way to seek truth and heal the soul.  He draws upon a multitude of musical styles and traditions from Classical to Rock, Jazz to Irish, Bluegrass to Hip-hop, and beyond. 

Classically trained at University of Colorado and Indiana University Jacobs School of Music. Dylan is currently the Composer in Residence for the Greeley Philharmonic Orchestra.

Fixmer’s Poem without Words, written in 2021, receives its premiere performances by the Front Range Chamber Players at its May concerts. Recent works include commissions and premiers from Opera Guanajuato, the Greeley Philharmonic Orchestra, the Crested Butte Music Festival, The Burroughs, the Mt. Blanca Fine Arts Association, Old Machines Duo, and University of Northern Colorado Faculty Recital Series.  Dylan is currently the Composer in Residence for the Greeley Philharmonic Orchestra who premiered his Concerto for Violin: In Memory of Terri Sternberg with violinist Sarah Off. 

As an educator, Dylan served as Associate Instructor of Music and “First Voices” Choir Director at the Jacobs School of Music at Indiana University.  He currently teaches Music History at the Early College Academy in Greeley, and previously taught K-8 general music, jazz band, and drama at Hotchkiss K-8 School, K-4 general music at Highland Elementary School, and is a current faculty member at the Mt. Blanca Music Conservatory in Colorado. Notes from the composer’s website.

Robert SCHUMANN: Piano Quartet in Eb Major

In each of the early years in the 1840’s, after previously writing almost exclusively for piano solo,  Schumann chose to focus exclusively on one genre. 1840 was the “year of the song”  during which he composed 140 of his 260 lieder, including his four greatest song cycles. In 1841 he concentrated on orchestral works, while in 1842 he produced exclusively chamber music, including three string quartets, a piano quintet, and the piano quartet to be performed tonight. 

The Quartet’s first movement begins with a slow, chorale-like introduction which reappears later in the movement. Its theme also functions as the primary melody of the body of the movement in a vigorous setting. The second movement is an elfin scherzo, recalling Mendelssohn’s works of this type. It includes two contrasting trios, the second of which features ambiguous rhythmic material. The third movement offers one of Schumann’s most haunting melodies, introduced by the cello and then taken up by the violin. At the end of the movement, the cellist is asked to retune his lowest string a whole step down, a rarely encountered technique called scordatura. The final movement begins and ends with lively fugal sections, encircling an energetic theme which also receives some contrapuntal treatment.

Despite Schumann’s remarkable productivity in 1842, the year was nevertheless a difficult one for Schumann emotionally as he struggled with bouts of depression. During these dark periods, Schumann frequently found solace in studying counterpoint with his wife, the brilliant pianist Clara. These studies are certainly reflected in the Piano Quartet, which features many contrapuntal passages, including canons and fugues. Despite Schumann’s troubled mental state, the piece is one of his most jovial works. Notes by William David

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