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Season Sponsor


Concert Sponsors

Bill Larson & Judy Ericksen

2021 - 2022

Chamber Music Series

 FRIDAY February 25 7pm
SUNDAY February 27 2pm

Three beautiful works combine strings and winds


History Museum

422 Second St S


First Congregational Church 

2900 9th Ave S

Quartet + Quintet 2021.jpg
Quartet + Quintet 2021.jpg

Chinook Winds

Cascade Quartet


Miguel del Águila

b. 1957

I. Nostálgica

II. Long Ago

III. Finale: Allegro

Cascade Quartet

with Natalie Law, BASSOON

Written in 1998 by Miguel del Águila and revised in 2016, Nostálgica was commissioned by bassoonist Barrick Stees who premiered it in 1998 at the International Double Reed Convention in Arizona. The composer writes, “I wanted to write a piece in which the bassoon would be the “solo singer” of the ensemble. Soon after I started writing this work, the tone qualities of the bassoon started determining the thematic material and even the form of the piece. Even though the bassoon is the solo singer here, the strings have a technically demanding role, which includes extreme registers and the extensive use of harmonics.”

1. Nostálgica is quiet and lyrical and sets the mood for the entire piece, establishing the bassoon as the main singing voice. The music is inspired by the Brazilian Chôro.

2. Long Ago is a calm, almost pastoral middle movement. The bassoon plays carefree arabesques often in the pentatonic mode and accompanied by shimmering string harmonics and the relaxed beat of violin pizzicati.

3. Finale concludes the piece with a lively Latin dance. Here the bassoon provides the beat with its fast, often percussive notes.

 – Notes by Miguel del Águila

1875 – 1916
Clarinet Quintet Opus 146

Max Reger

I. Moderato ed amabile

II. Vivace

III. Largo

IV. Theme with 8 Variations – Poco allegretto

Cascade Quartet

with Nick Davies, CLARINET

Although generally an unfamiliar name, the monolithic Max Reger stands at the gateway between Romanticism and Modernism at the turn of the 20th century, a composer of complex works of unusual harmonic fluidity and contrapuntal mastery that still demonstrate a love for the lyricism of an earlier time. The Bavarian-born composer acts as a missing link between Johannes Brahms and Arnold Schoenberg, Brahms being a composer Reger admired greatly and emulated, and Schoenberg in turn admiring both Brahms and Reger. Perhaps better known as a conductor and an organist in his lifetime, Reger died relatively young in 1916 at the age of 43, and his large output includes a considerable number of organ, chamber and choral works with a penchant for fugal writing. 

It is therefore surprising and notable to observe the autumnal simplicity of Reger’s final work, the Clarinet Quintet, Op. 146, completed just ten days before his sudden death. This plaintive work was part of an effort by the composer to reach further back to a simpler style, writing to his publisher “I know exactly what the music of today is missing: a Mozart!”

The combination of clarinet and string quartet, though relatively uncommon, is a genre best known through the works of Brahms, Mozart and Carl Maria von Weber. Reger, who would have been keenly aware of these works, chooses to do as Brahms did and modeled his quintet after Mozart’s. The result is a highly classicized work: a sonata-form first movement, followed by a rhythmically buzzing scherzo, a meditative slow movement, and a theme with eight variations. Whereas both Brahms and Mozart chose to highlight the clarinet’s separate nature in their works, Reger instead weaves the clarinet into the contrapuntal texture of the strings, as an equal voice as opposed to a soloist. 

Characteristic of the work are stretches of ambiguity which suddenly become lucid with tender coalescence. Reger makes this clear even with the use of language in the score, moderato ed amabile, moderately and lovingly, or dolce and espressivo, sweet and expressive. As a whole, the Clarinet Quintet is a humble swan song of refined technique, bittersweet melancholy and restrained poignancy, ending like it begins, in hushed tones. 

 – Notes by Nick Davies

1905 – 2000
Rondo Capriccio

Ferenc Farkas

Chinook Winds

with Mary Papoulis, VIOLIN

Born in Hungary, Ferenc Farkas studied composition at the Budapest Academy and with Respighi at the Accademia Nazionale in Rome. His life covers close to a century, surviving two world wars, two revolutions, fascism, communism, and finally the liberation of Hungary. 

In the years between 1932 and 1936, Farkas lived in Vienna and composed film music. From 1949 until his retirement in 1975, he was professor of composition at the Franz Liszt Academy of Music in Budapest, where he taught composers Ligeti and Kurtag, among many others. His work has played a huge role in the evolution of Hungarian music of the 20th century. His 800 works include operas, musicals, ballets, incidental and film music, orchestral works, concerti, chamber music, masses, oratorios, cantatas, choruses and Lieder. His compositions demonstrate his gift for melodic invention, a sense of rhythm, lively and spontaneous energy, and a constant desire to reconcile with tradition and the modern world. His work bestowed a whole new dimension on Hungarian music. He was recognized internationally with the Kossuth Prize (1950 and 1991), the Gottfried von Herder Prize (1979, and the Cavaliere dell’Ordine della Repubblica Italiana (1984).

Farkas’ compositions were very much influenced by the world wars of the 20th century. He composed a symphony in memory of the liberation of Budapest by Soviet troops in April 1945. In 1956 a nationwide revolution against the regime and its policies was imposed by the Soviets. It lasted a month before the Communists regained power. With regard to this period, Farkas writes, “With my family, we remained locked up in our apartment for several weeks, listening with anguish to the unfolding of events on the radio. I was so tense that I was unable to compose a single note.”

The Rondo Capriccio was written in 1957 for violin and piano and later arranged for woodwind quintet. One can imagine the influence of the times in the character of the work. The playful element to its rhythmic drive suggests the possible enthusiasm Farkas may have had for finally being unlocked and able to relax enough to continue to compose. One can also hear elements of suspense and drama that suggest Farkas’ work with film music. The slow middle section is mysterious and solemn with melancholy harmonies against the yearning of the melody in the violin, caressed by the passing lines in the winds. The high tesitura of the violin takes flight into a spacey celestial journey which releases into the return of the dance like rhythms of the opening material. The violin takes off in a flurry of suspenseful chasing, culminating in a flourish supported with the winds that ascends into the stratosphere, and ending in a staccato punctuation.

– Notes by Mary Papoulis

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