Classical music is filled with dance tunes: gavottes, minuets, gigues, pavanes; as a result of music was written for the leisure of rich aristocrats, and their events usually included dancing. The Galliard was a French Renaissance dance through which the person reveals off his prowess with leaps and prospers, like birds who strut their stuff to win their honest woman.
The Galliard String Quartet, true to its title, has a light-weight, vigorous, virtuosic type which imbued all three of their picks for his or her latest Kahilu TV live performance. They take extra liberties with tempo than most classical teams, permitting the listener to savor every phrase, and giving a extra trendy really feel to previous classics. They favor a detaché type, with every observe crisply articulated.
The primary motion of Mozart’s String Quartet No. 19 in C main, Okay 495, has been given the title “Dissonance.” That’s hardly a phrase you consider in connection to Mozart, or to the classical interval for that matter! It begins as a really sluggish Adagio, every instrument getting into on a special beat, and on a special chord; it appears like a minimum of one instrument is a tone off or a beat behind the others earlier than catching up. This dissonant introduction is a shock, however then the music shortly turns into a quick allegro, within the acquainted Mozart type.
Beethoven’s Quartet No. 3 in D main, Opus 18 expresses contentment. Whereas a lot of Beethoven’s work is tempestuous and dramatic, on this quartet, the small tensions that make life fascinating are shortly and simply resolved; that’s, chord progressions don’t maintain piling on, however return comfortably to the signature key with out a lot ado. That’s to not say that it’s boring. Within the first allegro motion, main and minor keys, sooner and slower sections alternate, and the devices additionally converse to one another in questions and solutions. The calm andante is sparked by repeated eighthnotes within the base, giving a sense of tiptoeing by means of the tulips at nightfall. The Aallegro third part is just not strenuous, extra like a brisk however leisurely stroll. Galliard performed the Presto with a splendidly gentle contact, and the motion ends moderately unexpectedly by tailing off softly. It’s an virtually humorously understated ending.
The ultimate choice was a re-imagination by cellist Stephan Koncz of French pianist Erik Satie’s Gymnopedia #1, irreverently named “A New Satiesfaction.” No. 1 has been referred to as music’s “Mona Lisa,” mysterious, lovely, deeply evocative of — “je ne sais quoi,” I don’t know what — feelings. Not like the unique, Koncz enlivens the velocity, and provides pregnant pauses. Whereas decrease notes pulsate expressing underlying turmoil, Satie’s melody, rendered by the violin within the very highest register, appears to return from one other dimension, floating eerily and serenely far above any worldly concern.
At this second when spring is right here, when the top of the pandemic is possible, Galliard’s optimistic efficiency matched our temper. Put your burdens down. Be gentle and cheerful, be prepared to bounce!
Meizhu Lui is a classical music reporter for Massive Island Music Journal.