Dmitri Shostakovich composed and performed music under an oppressive Soviet regime that demanded its artists toe the official party line under any and all circumstances. Artists who were perceived to stray from the party line tended to disappear. And it is well documented— including on Festivals such as this one— that the music of Shostakovich is invariably tied to the idea of dissent. He needled, parodied, advocated, wept and fake-laughed, all under the guise of doing his Soviet best. The Piano Quintet in G minor is no exception… except in the way that it is an exception. For this piece, Shostakovich won the inaugural Stalin Prize, First-Class, and was awarded 100,000 rubles cash money. Rubles-Schmoobles you say? In 1941, 100,000 RUB equaled 20,000 USD. $20,000 in 1941 equals about $427,557 today.

It goes without saying that you will want to join us at Foundry Vineyards to see and hear what all the fuss is about! And a ticket is just $25. That’s 2,100 RUB if you’re curious. And we do not accept them.

Dmitri Shostakovich (1906-1975)

Piano Quintet in G minor, Op. 57

I. Prelude: Lento

II. Fugue: Adagio

III. Scherzo: Allegretto

IV. Intermezzo: Lento

V. Finale: Allegretto

Artists: Timothy Christie, viola; Conor Hanick, piano; Norbert Lewandowski, cello; Stephen Miahky, violin; Philip Payton, violin

Survey the entire catalog of Mozart’s music (side note, that ‘K’ you always see after the title of a piece by Mozart refers to said catalog) and you will find very few pieces designated in a minor key. Therefore, the music by Mozart framed in a minor key takes on special meaning by dint of its relative scarcity. And when it comes to minor keys, G minor makes a strong case for Mozart’s favorite—the stormy opening bars of his Symphony No. 25 open the film Amadeus. The opening bars of his Symphony No. 40 have disrupted concerts innumerable as a cellphone ringtone. And in his chamber output, the late String Quintet in G minor spins to epic proportions.

Here, Mozart begins with a forceful rhythmic unison one would be forgiven for attributing to Beethoven. Perhaps young Beethoven was listening. Yet, as forceful as the opening motif is, you know Mozart liked a good party. And the clouds rarely hang about Mozart very long. We’ll chase them away together at Pepper Bridge Winery.

Wolfgang Amadeus Mozart (1756-1791)

Piano Quartet in G minor, K. 478 (1785)

I. Allegro

II. Andante

III. Rondo

Artists: Timothy Christie, viola; Norbert Lewandowski, cello; Ronaldo Rolim, piano; Maria Sampen, violin

A man and a woman walk side by side in a cold, moonlit forest. There are no clouds to obscure the light above. After a time, the woman speaks, telling her companion that she is pregnant, and not by him.

Is this a trailer for the latest gripping, prestige TV drama on your favorite streaming service? No. (Note to self… develop TV show based on Dehmel/Schoenberg’s Transfigured Night.)

Where was I? No, it’s not the setup for some TV show (yet). It is the subject of Arnold Schoenberg’s chamber tone poem Verklärte Nacht. This sonic journey ravishes, transforming player and listener alike, even as the characters walking through the cold forest are transformed. In Verklärte Nacht, we encounter the apex of post-Romantic expression, fittingly penned at the dawn of a new century.

Arnold Schoenberg (1874-1951)

Verklärte Nacht (Transfigured Night), Op. 4 (1899)

For string sextet

Artists: Timothy Christie, viola; Mara Gearman, viola; David Requiro, cello; Svend Rønning, violin; Maria Sampen, violin; Meta Weiss, cello

It began as a wedding present, but would prove to be a gift to the music world that keeps on giving. The Franck Sonata, as it is known, defies categorization. Yes, it is 100% and inalienably a piece for violin and piano. Let’s be clear about that from the get-go. But there is something so universal in its DNA that every instrument wants a crack at it. The number of arrangements is staggering. There are versions for:

flute, cello, viola, double bass, oboe, clarinet, alto saxophone, tuba, violin and string orchestra, violin and full orchestra, two pianos and believe it or not, choir and organ. Of those myriad incarnations, the only extra version sanctioned by the composer is the one for cello and piano.

About that wedding. Franck composed the work for the young virtuoso Eugène Ysaÿe and his bride Louise Bourdeau de Courtrai. Ysaÿe played the sonata that very day for his guests. He would give the public premiere of the work a couple of months later, and it has taken on a life of its own ever since.

César Fanck (1822-1890)

Sonata for Violin and Piano in A Major (1868)

I. Allegretto ben moderato

II. Allegro (D minor)

III. Recitativo-Fantasia. Ben moderato — Molto lento

IV. Allegretto poco mosso

Artists: TBD, piano; Maria Sampen, violin