Oboist Peggy Pearson commissioned and premiered my Oboe Quartet, playing the first performances back in 2015 with members of the Apple Hill Quartet. This week’s performance here in Philadelphia will be the first time the Daedalus plays the work. Mark DeVoto reviewed the first performance of the Oboe Quartet for the Boston Musical Intelligencer – you can read the review here. Preview the piece with audio or the score.
Here’s a program listing and note on the piece:
2) Allegro con fuoco
3) Passacaglia: Adagio, ma non troppo
4) Moderato e fluente
5) Moderato; Allegro giocoso
I first heard Peggy Pearson’s eloquent playing as part of the performances of Bach cantatas at Emmanuel Church in Boston, and I think that baroque context has influenced this quartet. The work’s central passacaglia invokes a baroque form, while the first, second and fourth movements, though not suggesting a baroque idiom, perhaps hint at cantata recitatives and arias without words – lyrical, dramatic, plaintive. The impulse throughout the work is more songful than symphonic. Using a stylized dance, as I do in the finale of the quartet, also reflects baroque practice, though the choreography in my quartet clearly has more to do with a 20th century dance floor than with an 18th century ballroom.
The Academy Art Museum in Easton, Maryland was the venue for the Chesapeake Chamber Music Festival performance of my Oboe Quartet this week. Commissioned by Winsor Music, and its Artistic Director, oboist Peggy Pearson, the piece received its fourth performance, the first three having been given by Peggy and members of the Apple Hill Quartet this past spring.
This time it was not members of a particular string quartet that played, but rather an all-star group put together for the occasion: Robin Scott, the newly appointed first violin of the Ying Quartet; Steven Tenenbom, violist of the Orion Quartet; and Marcy Rosen, who was cellist of the Mendelssohn Quartet for 31 years. I was delighted by the group’s superb performance. For example, the fourth movement of the piece is lyrical, but with the principal line frequently passed from player to player. It was impressive to see in rehearsal how readily these players intuited when to come forward and when to pull back, creating a finely crafted web of song.
Here’s a picture of the Deco-ish interior of the Avalon Theater in Easton where one of our rehearsals took place:
And here is a shot from the sound check before the performance, this at the Academy Museum of Art:
The festival schedule is packed with elite players performing both standard and lesser-known repertoire. Heartfelt thanks for Marcy Rosen and J. Lawrie Bloom, Artistic Directors of the Chesapeake Chamber Music Festival, for giving me a chance to share my music with such wonderful players, and with an appreciative audience.
Here’s the poster for this coming Sunday’s Brookline, MA performance of my new Oboe Quartet. The piece will also be done in Peterborough, NH on Saturday, and in June at the Chesapeake Chamber Music Festival. An interview with me about the piece here; a review from the premiere here.
Katie Hoyer is the Communications Director for Winsor Music, the organization that commissioned my new Oboe Quartet. She has posted an interview with me on the Winsor Music website in which I chat with her about my music in general and the new piece in particular. You can find it here.