1.00pm on Tuesday 7th of May

Live and Free at Scots’ Church

Students from the

VICTORIAN COLLEGE OF THE ARTS SECONDARY SCHOOL

Sturt Street Six

Violin - Hannah Tyrell, Honami Yum

Viola - Tom Protat, Pascal Uxo Williams

Cello - Ethan Chiao, Mahalia Shelton

Associate Artist - Julie Haskell

Sextet in D minor Op.70 ‘Souvenir de Florence’ by Pyotr Ilyich Tchaikovsky

I. Allegro con spirito

II. Adagio cantabile e con moto

Duet for Two Violas No.1 in C Major by Carl Philipp Stamitz

II. Andante

III. Rondo - Minore

Cello Sonata No. 4 for 2 Cellos in G major by Jean Baptiste Barriere

II. Adagio

III. Allegro prestissimo

Concerto for Two Violins in D minor BWV 1043 by Johann Sebastian Bach

I. Vivace

String Sextet in D major Op.10 by Erich Wolfgang Korngold

IV. Finale: Presto

String Sextet in D minor Op. 70 Souvenir de Florence by Pyotr Ilyich Tchaikovsky

Tchaikovsky was a leading Russian composer of the late 19th century whose works are notable for their melodic inspiration and orchestration. After returning to Russia from his 2-month refuge for musical activities in Florence, Italy, Tchaikovsky drew inspiration to write his final piece of chamber music, his famous ‘Souvenir de Florence'. Written in the summer of 1890, he poured his emotional self into every bar. A string ‘sextet’, is an unusual combination of two violins, two violas, and two cellos.

Compared to a traditional quartet, this ensemble creates a thicker, louder and lusher sound, exploring a wider range of textures and effects. Although Tchaikovsky struggled to complete this work due to its unusual instrumentation and the difficulty of the six-part texture, it has become a staple in chamber string music. He wrote, “There has to be six independent and at the same time homogenous parts.” The word ‘Souvenir’ in French translates as a ‘remembrance’ or a ‘memory', rather than the English concept of a souvenir as a physical item that is kept as a momento.

The first movement, ‘Allegro con spirito’ (lively, with spirit), is in D minor and opens with a highly intense, rich-textured melody led by the violins. This melody is further developed and evolves into a calmer second subject, typical of Tchaikovsky’s romantic style. The movement follows the excepted sonata form of a first movement and concludes with a vigorous coda.

The second movement, Adagio cantabile e con moto (slowly in a singing style with movement) in the key of D major, is the only movement of the sextet in a major key. This generally calm movement begins with a unified chordal introduction leading into a laid-back pizzicato section with an extended dialogue between the first violin and the first cello. A contrasting middle section consisting of rapid triplets played at the very tip of the bow and including wide dynamic contrast from ppp to ff.

Duet for Two Violas No. 1 in C Major by Carl Philipp Stamitz

Stamitz, a German composer with Czech ancestry, was a renowned violinist, violist and viola de gamba player and was widely known for his symphonies, concertos, and chamber music. His viola concerto is one of the best-known concertos for this instrument; it is an essential part of every viola player's arsenal!

This viola duet comprises three movements: Allegro, Andante, and Rondo. It is the first piece in a series of three duets. A noteworthy aspect is the main theme of the contrasting 'Minore' section, written in triple time, which prominently employs a 3-2 polyrhythm—a simultaneous blend of two contrasting rhythms. This intricate and multilayered texture generates a thrilling sense of excitement and energy.

Cello sonata No. 4 for 2 cellos in G major by Jean Baptiste Barriere

Of the four books of sonatas that Barrière composed for the cello, this G major duet is by far the most popular and widely performed today. Written around 1740, this piece would likely have been performed with the support of other continuo players on instruments such as a harpsichord, organ or even theorbo. Comprising three movements, the players share the limelight throughout. With the improvisatory nature and the harmonious blending of the two cello voices in the soulful Adagio, Barrière explores the full technical range of the instrument (as thought playable at the time). In the final virtuosic Allegro, we hear an almost constant rush of fast semiquavers from beginning to end, reflecting Barrière's reputation as one of Europe's foremost cellists.

Concerto for Two Violins in D minor BWV 1043 by Johann Sebastian Bach

Johann Sebastian Bach's Double Violin Concerto stands as a pinnacle of the Baroque concerto repertoire. Composed around the early 1730s during his tenure as the director of the Collegium Musicum at Leipzig, this masterpiece showcases Bach's profound compositional skill and intricate musical craftsmanship. One of the most striking features of the first movement is the unity achieved through the interaction of the various musical voices. The famous and infectious melody, passed seamlessly between the soloists and the orchestra, serves as a unifying thread that binds the entire ensemble together. As the movement progresses, this melody undergoes various transformations, culminating in a rich and vibrant tapestry of sound.

String Sextet in D major Op. 10 by Erich Wolfgang Korngold

Korngold was an Austrian composer who fled the First World War and adopted an American identity. Generally recognised as a child prodigy, Mahler declared Korngold a genius at the age of nine. This finale movement, written when Korngold was just 17, was premiered with high success. It has a vivacious, cheerful energy and is undoubtedly one of Korngold’s most joyous creations. The players are instructed to play “as fast as possible with fire and humour”. A breathtaking finish reuses the beginning of the finale’s fanfare theme, briefly references the main theme of the first movement, then closes with a bang.