Last evening, we had a Hallowell sing for "one of our own," Joan Shimer, who is 91. Joan lives at Putney Commons (where Ellen and I considered moving for a while). She knew she might be the first Hallowell singer to become terminally ill, and said so a year ago or so. And now the time has come. She was surrounded by family - children and grandchildren - and was beautiful in her fragility and intentionality. She mouthed the words of every song we sang, and directed with her hand.
Later: Who knew?
The Dvorak rehearsal began with movement three, which is a beautiful "theme and variations." Ellen remarked on the "hymn-like" nature of the theme, and I found this analysis - it was intended not just as a hymn, but as an anthem - a new national anthem - a setting of My Country 'Tis of Thee."
The third part of the quintet is undeniably the composer’s loveliest variation movement. The very nature of its main theme is a testimony of this, a wistful melodic arc spanning 32 bars, whose first half in A flat minor is filled with melancholy, while the second in A flat major offers consolation. Dvorak had originally written this theme back in December of the previous year as the melody for a new American national anthem set to a poem by Samuel Francis Smith, “My Country, ‘Tis of Thee”. The theme is introduced in its essential form, followed by five variations which elaborate its primary rhythm, instrumentation and melody with a whole array of imaginative ideas. The movement ends with a return to the theme in its original cast.
This Quintet was written in 1893 when Dvorak was in Spillville, IA. It is called the "American" Quintet. Here is a general comment on its nature:
The Quintet in E flat major is a work of rare
originality, and its dazzling impact ensured it a permanent place among
Dvorak’s most successful compositions. In contrast to his previous
quartet, here, the extended instrumental setting makes for a more
colourful and more vibrant expression. The quintet also reflects the
environment in which it originated: in addition to the attributes which
are typical for Dvorak’s American oeuvre in general – the pentatonic
scale, syncopated rhythms, minor seventh in a minor key – we will hear
shades of Native American folklore which lend this piece its unique
colour. This particularly applies to the “drum” rhythm derived from the
rhythmical accompaniment to Indian ritual song. (At the time Dvorak was
spending his summer in Spillville, the village was visited by a group of
Iroquois Indians who offered some of their artifacts for sale; they
also performed traditional music and dance as part of their promotion.
Dvorak was enchanted by these performances and, for the duration of
their stay in the village, he apparently attended every one.) Like the
previous Quartet in F major, the quintet also distances itself
significantly from the trends in European chamber music at that time,
above all, in the frequent exposition of the unison melody on its own,
without additional contrapuntal voices and even without any harmonic
texture. Thus, in certain passages, the whole musical image is reduced
to a striking ostinato rhythm and “bare” melodic line – a clear echo of
Indian song in unison accompanied by primitive drum rhythms.
Not sure we'll get to hear the whole piece through today. They are working on fragments.
This evening we are having tacos with John and Cynthia and will watch the Dems debate after supper.
Even later:
We did get to hear the entire Dvoràk. What a beautiful work! It brought vivid images into my mind of life in Iowa, especially on the farm where I worked.
Then we had lunch outside out of our picnic cooler - potato salad, green beans and deviled eggs. Yummy! Ellen was disappointed with the potatoes - they were too firm. But they tasted good.
After lunch we have been listening to Carolyn Shaw's Dolce Cantavi - a 3-minute work for two sopranos and mezzo, unaccompanied. We heard it probably ten times or more, it is so short. It is very difficult, but really lovely, and I liked it more and more as it was repeated. The three women had incredible intonation!
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| The Billy Clocks and Dvoràk Museum in Spillville, IA |
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| Antonin Dvoràk |
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