Quintessential Quartets: Brahms the Gypsy and a Fanciful Fauré
The music of Gabriel Fauré is at once structured and free, restrained and overflowing with emotion, precise and awash with texture; coloring an imagination of pure fantasy. Copland described the slow movement of Fauré’s second piano quartet as “a long sigh of infinite tenderness, a long moment of quiet melancholy and nostalgic charm.” Brahms the stoic, his substance and gravitas anchoring each note, nonetheless finds a way to depict Hungarian gypsy charm, a joyful explosion of virtuosity, the dance rhythm intensifying relentlessly into a climactic finale to our first full season of concerts.
The music of Gabriel Fauré is at once structured and free, restrained and overflowing with emotion, precise and awash with texture; coloring an imagination of pure fantasy. Copland described the slow movement of Fauré’s second piano quartet as “a long sigh of infinite tenderness, a long moment of quiet melancholy and nostalgic charm.” Brahms the stoic, his substance and gravitas anchoring each note, nonetheless finds a way to depict Hungarian gypsy charm, a joyful explosion of virtuosity, the dance rhythm intensifying relentlessly into a climactic finale to our first full season of concerts.
The music of Gabriel Fauré is at once structured and free, restrained and overflowing with emotion, precise and awash with texture; coloring an imagination of pure fantasy. Copland described the slow movement of Fauré’s second piano quartet as “a long sigh of infinite tenderness, a long moment of quiet melancholy and nostalgic charm.” Brahms the stoic, his substance and gravitas anchoring each note, nonetheless finds a way to depict Hungarian gypsy charm, a joyful explosion of virtuosity, the dance rhythm intensifying relentlessly into a climactic finale to our first full season of concerts.