Ravel's String Quartet

Copyright 2011 Chrissy Misso.  Click for larger image

My favourite movement of the quartet is the second (Assez vif – Très rythmé), and although my favourite recording is the one on the CD I have from the Alexander String Quartet, I have posted the performance by the Hagen Quartet.  I have a visual poem-like thing that I feel embodies my response to the movement - think of the words as lyrics to the pizzicato melody.

ENJOY!! 

“In here can be found those well wrought, yet sensual melodies, amazing range of tone color, vibrant rhythm and touch of the exotic that characterizes Ravel’s music” (Joseph Way, programme notes 1994) 

Working on a Deadline

I've been working on a string quartet of dances - it will eventually have 4 movements. I finished the fandango, and now I'm working on the waltz in hopes of finishing it before the Alexander String Quartet (pictured on the right) comes to LC to do a residency at the beginning of March. They have been visiting LC for several years doing master classes with string players and reading student string compositions.

This will be the first year I've had something for a quartet - I had been waiting to finish other composition assignments, so I would have the time to devote to a multi-movement work.

Working with a deadline is somewhat new to me...I've always had my own goals as when to finish most of my compositions, but never an externally influenced one.


I've been studying composition with George Skipworth this semester. It is really fun (and sometimes amusing)! Last lesson he had me re-play 10 measures of a transition in the waltz because he liked it so much.

George also gives me exercises to do at the end of my lesson - usually a seed that I have to build from, I have 5ish min, and then we look at it. It is interesting how it pushes your creative juices! I regularly get an assignment for the next week: I have to compose 4ish measures of something. One week it was trumpet + accompaniment (he loved that one...I think I'm going to work on that more once I finish my quartet), one week was a rhythm cell, this week the second line of a poem for SATB (I did the first line during the lesson).

Better get to work! I have less than 2 weeks to finish the waltz! (and it's not the only thing I need to do!! other homework needs to be done too!)

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ASQ will have a performance at LC on March 4th.

Serenaded Back to School

On Wednesday, September 8, the Lewis & Clark College Music Department introduced some of their new faculty, Gregory Ewer and Susan Smith, at the Faculty Recital in Evans Auditorium on the Lewis & Clark College campus. Ewer, violin, and Smith, piano, were joined by Miriam English Ward, viola, Dorien de León, cello, and Jason Schooler, bass. The turnout was very good for a weeknight—at its peak filling at least half of the auditorium. The program was classically orientated featuring Mozart, Rossini, and Schubert, making the program very balanced stylistically, and the pieces selected were composed for slightly peculiar ensembles.

Much of W.A. Mozart’s Piano Quartet in E-flat Major K. 493 felt like a conversation between friends with the metamorphosing theme that returned throughout the piece. The second movement, “Larghetto”, brought soothing, lulling melodies—like a consoling talk with a friend. The pairing of the strings and playful interactions with the piano made for a pleasant listen. Smith did a brilliant job at balancing beauty with technique and interacting with the violinist’s cues. The cello seemed to act as the metronome throughout bulk of the piece but had its fair share of melodic prominence. The quartet was fluid, but the cellist and violist did not seem as comfortable participating in the theatrical aspect of the performance.

The most atypical instrumentation of the concert resided in Duo for violoncello and contrabass by Gioacchino Rossini. It was refreshing as a Classical music listener to hear the contrabass being focus of a piece. “Allegro” easily showcased the skills and extremes of each instrument—range, bowings, and quick fingers. The second movement had many exchanges of the theme that were completely fluid, as well as the switches from two-part harmonies to three- or four-part harmonies. The technical change to double-stops was likely unnoticed by the non-string players in the audience. The third movement was extremely playful, but the performers demeanour did not reflect such. During this movement, a group behind me kept giggling—never did find out what was so amusing in the back of the auditorium.

During intermission, a number of people blitzed the food for the reception; de Leon entreated the audience members join the performers afterwards to continue the celebration. Unfortunately, for much of the student audience that left during intermission, the group saved the best for last.

Franz Schubert’s Piano Quintet in A Major D. 667 “The Trout” seemed like it was played to help the students say goodbye to the scintillating summer sun and hello to the cool fall rain—a perfect close to the summer. The piece—composed for violin, viola, cello, bass and piano—rotated through the excitement and nonchalance of summer to the advancing autumn with its playful folk melodies, false endings, varying accompanying and melodic structures. However, the visual aspect at the beginning of the piece was imbalanced; the visible emotion was not coming everyone. By the last movement, the emotion and theatrics seemed to be flowing throughout the group—like a child getting accustom to a cool pool.

Overall, this concert was a great way to break the mundane normal schedule of the week.