Quintet No. 2
Michael Hopkins
About this work:
This piece is in a single movement that is divided into 5 main sections. The introduction begins with a fortissimo G major chord, followed by a sustained pianissimo G pedal in the bass, reminiscent of Schubert’s great “Trout” Quintet, for the same instrumentation. But the piece is not in G major. The piano enters with the 4 chords – Eb, Db, Cb, Ab, which will return in various moods and colors throughout the piece. In the Introduction, almost all of the thematic material in the work receives its initial presentation. But the G pedal in the bass always interrupts the material. Finally, the bass resolves upward to Ab, and the 4 chords return, this time with a resolution on Ab that leads into the second section.
The second section is an Allegro in Ab major. This section features a rhythmic playfulness, moving between a 3/4 and 6/8 feel, occasional 2/4 interruptions, and a 7/8 section. The theme is initially presented in the double bass, pizzicato, while the upper strings provide a light, rhythmic accompaniment. After the first 7/8 section, the theme returns in the bass, but now the piano is featured playing a light, crisp, playful melody in the right hand, light and floating, full of surprising leaps. The section continues to cascade and become more animated and joyous. The end of this section gradually slows down, and leads directly into the Andante.
The third section, Andante, begins by featuring the piano as accompanist, which “urges the cello into resonant song.” The section builds by gradually adding the viola, violin, and bass, creating a rich texture. A short bass solo leads into a triumphant return of the opening 4 chords, featuring the piano on virtuosic arpeggios. This leads into the fourth section, the Adagio.
The Adagio features the violin playing a strong melody in the low register, somewhat melancholy in character, while the piano plays a haunting accompaniment of descending 1/8 notes. The viola and cello punctuate this with pizzicato triplets. One of the ideas that emerged from several letters I read about Carol was that she has endured some difficult times and challenges in her life and has been strong, tough, and sensible, and able to overcome. This section is intended to be expressive of the types of emotions one may have reflecting on difficult times. The viola and cello join the violin to provide harmonic support, leading to a cadence point on F minor. The bass sustains the F pedal tone (like the intro), and the 4 chords return, but resolving on F major. This leads to the fifth section.
The fifth section is an Allegro that is in 3/4. Two melodic ideas, one in the piano, the other a contrapuntal theme in the strings, are presented together. This section leads to a surprise fermata in the viola, which leads into an even more surprising scherzando section. This section was supposed to be reminiscent of a piece called “Humoreske” that Carol performed on a recital in 2004, but by the time I finished this section I must admit the connection is a bit loose. The scherzando leads into a fortissimo return of the opening four chords, this time in 4/4 with the pianist playing very flashy virtuosic arpeggios up and down the instrument. The themes from the second section return, leading into a Coda that builds in frenetic energy. After the climactic moment, the music settles down and concludes in a quiet and reflective manner. The pedal G is now in the violin. The four chords are presented in the lower three strings, and the piano brings the piece to a final resolution in Eb major.
Year composed: 2004
Duration: 00:24:54
Ensemble type: Chamber or Jazz Ensemble, Without Voice:Other Combinations, 2-5 players
Instrumentation: 1 Piano, 1 Violin, 1 Viola, 1 Cello, 1 Double bass