The Biava Quartet, which comprises Austin Hartman and Hyunsu Ko (violins), Mary Persin (viola), and Jacob Braun (cello), began their concert on November 4, 2006 at Seton Hill University’s (SHU) Cecilian Hall, with Felix Mendelssohn’s musical composition in String Quartet in f minor, Op 80. After performing the four pieces in this set, Persin said that Mendelssohn’s music was romantic. In what sense is his work romantic?
Is it the type of romantic that deals with heroic adventure, chivalry and love? Or is this the romantic type which “pertains to the musical style characteristic chiefly of the 19th century and marks by the free expression of imagination and emotion”.
By Mike Diezmos,
Photo Editor
The Biava Quartet, which comprises Austin Hartman and Hyunsu Ko (violins), Mary Persin (viola), and Jacob Braun (cello), began their concert on November 4, 2006 at Seton Hill University’s (SHU) Cecilian Hall, with Felix Mendelssohn’s musical composition in String Quartet in f minor, Op 80. After performing the four pieces in this set, Persin said that Mendelssohn’s music was romantic. In what sense is his work romantic?
Is it the type of romantic that deals with heroic adventure, chivalry and love? Or is this the romantic type which “pertains to the musical style characteristic chiefly of the 19th century and marks by the free expression of imagination and emotion”.
Mendelssohn’s pieces performed by the Biava Quartet are both these types of romantic. Catherine Schmidt-Jones, author of the online article ” The Music of the Romantic Era” said that romantic music was “deeply personal.”
The whole work conjures up an image of a medieval scene involving a knight and his quest for love.
The first piece, which is entitled “Allegro vivace assai,” is a lively piece in rapid tempo. It has a tone of a race. The cello begins and the rest of the string instruments join. The sounds produce weave in and out with low and high notes, which eventually build up. This is like the flirtation period, full of ups and downs and playing hard to get. The violin’s high note then pierces and breaks through like Cupid’s arrow but with a serene effect. The calming violins and viola slows down the music and eases the lovers. An image of lovers strolling down a meadow comes to mind. Then the ominous cello suddenly reaches a crescendo.
The second piece is called “Allegro assia.” It begins in medias res, like a chase scene. The knight on his horse is chasing after his lady. A storm is brewing. the pace of the music slows down and eventually picks up like the wind. In the end rain finally starts falling. This is realized by the plucking of the strings, which sound like raindrops.
“Adagio,” the third piece, begins with a sombre low note of the cello. The lovers are apart. It has a pensive mood. The lovers are reminiscing about their relationship. There is a gradual crescendo and then a decrescendo.
The last piece is called “Finale: Allegro molto.” It is very confrontational. It is quiet at first and then suddenly becomes loud. The violins, viola and cello seem to be arguing with each other. There is no harmony in their high and low notes. The piece ends in a vague bang. The loudness of the piece can convey either reconciliation or final separation.
The ambivalent ending is characteristic of Romantic music. Schmidt-Jones wrote that “(Romantic) music was not just happy or sad; it could be wildly joyous, terrified, despairing or filled with deep longing.”
View this writer’s profile.
