The Chamber Music Society of Detroit presents…
American String Quartet
Violin: Peter Winograd
Violin: Laurie Carney
Viola: Wolfram Koessel
Aeolus Quartet
Violin: Nicholas Tavani
Violin: Rachel Shapiro
Viola: Gregory Luce
Cello: Daniel Avshalomov
Cello: Alan Richardson
FIRST SEGMENT: String Quartet in A minor, Op. 13, i. Adagio- Allegro vivace by Felix Mendelssohn (01:39 to
9:37)
This is Mendelssohn’s first string quartet composed when he was 18 drawing inspiration from Beethoven’s
quartets. The melody is from a song that was itself inspired by the opening line of a poem by Mendelssohn's close
friend, Johann Gustav Droyson: "Is it true that you are always waiting for me in the arbored walk?" The piece
begins with an upward rising, three-note motif asking “Ist es war?” (“Is it true?”). The question is answered with a
falling four-note answer as well, and it is this falling four-note answer that is transformed into the theme of the
piece. This question and answer mirrors Beethoven’s finale quartet with its similar musical question “Musst es
sein?” (“Must it be?”) – something that was certainly on young Felix’s mind as he composed this piece.
 Detailed Timeline for this segment
o 01:39 – Piece begins – Slow introduction
 2:36 – three-note “question” (twice) followed by four-note answer
 2:50 – transition to the main Exposition section
o 03:00 – Exposition Section
o 04:58 – Development Section (begun using the same transition material as the Exposition)
o 06:45 – Recapitulation Section (after several deceptive false starts…)
o 08:30 – Coda
 8:55 – main theme clearly in the first violin
o 09:37 – Piece ends
 Who doesn’t play the last chord?
 Teaching concepts demonstrated in this segment:
o Have the students identify where the question and answer (long-short-long) phrasing occurs. In
elementary and MS classrooms, have students compose question and answer phrases as a
beginning exploration in composition. This is an excellent example that a teacher can use to show
how elements of the question phrase are included in the answer phrase. This is similar to
restating the question, when students are asked to write an answer in a complete sentence.
(great connection to writing!)
o Musical choices – ask the students to consider why the composer chose the “answer” melody as
his theme for the piece. What point might he have been trying to make?
o Introduce Sonata Allegro Form, using a piece from the classical era. Then listen to the return of
the main theme at the start of the Recapitulation Section. How do you know you have really
arrived at the Recapitulation? (tonic key, theme fully intact)
Concerts can be found at www.MIStreamnet.org/cmsd or www.ChamberMusicDetroit.org/Education
SECOND SEGMENT: Introduction to the Instruments (9:47 to 15:51)
This is an excellent demonstration of the three different kinds of instruments in the string quartet, first
individually, and then in a long, six octave scale from the highest note in the violin to the lowest in the cello.
 Detailed Timeline for this segment
o 10:45 – Cello (brief excerpt from the Elgar Cello Concerto)
o 12:16 – Viola (quick scale demonstration)
o 13:38 – Violins (excerpt from the Bach double violin concerto)
o 15:12 – Scale demonstration across the four instruments
 Teaching concepts demonstrated in this segment:
o This is a wonderfully clear demonstration of the string instrument family – the only instrument
missing is the string bass (not part of a string quartet)
THIRD SEGMENT: Octet in E-flat major, Op. 20 by Felix Mendelssohn (16:35 to 57:40)
Nick Tavani, first violinist of the Aeolus Quartet, provides a detailed introduction for the piece.
 Detailed Timeline for this segment
o 16:35 – Biography background on Felix Mendelssohn
o 17:43 – First movement is written in sonata form (similar to an epic movie with a hero). Starts
with an Exposition, then transitions to the Development. Longest by far of the movements, the
first is marked by energy, sweep and an easy exchange between all eight voices before rising to a
grand climax derived from the opening theme.
o 18:58 – Excerpt from the Development
o 20:26 – Second movement introduced. Slow, beautiful love song. The simple melody is
announced by the lower strings and quickly taken up by the four violins.
o 20:44 – The third movement, a Scherzo, is arguably the most famous section of the piece. It has a
fast meter (using 2/4 time rather than the traditional 3/4) and is meant to be performed staccato
and pianissimo.
o 21:54 – Fourth movement is a fugue. This technique was developed by Johan Sebastian Bach, a
generation prior. Fugues generally feature two to three voices, introduced individually. In this
piece Mendelssohn features eight melody lines.
o 23:28 – Excerpt from the last movement, fugue.
o 24:48 – Allegro moderato ma con fuco
o 39:42 – Andante
o 47:02 – Scherzo
o 51:35 – Presto
o 57:40 – Octet in E-flat major, Op. 20 ends

Teaching concepts demonstrated in this segment:
o Quartet- four players
o Octet- eight players
o Form: This piece provides a very clear demonstration of Sonata-Allegro Form for any students
that might be studying it. The themes are clearly distinguishable from each other, and there is
also a clear example of a Coda.
Concerts can be found at www.MIStreamnet.org/cmsd or www.ChamberMusicDetroit.org/Education
o
The piece has numerous notable examples of counterpoint. Each instrument plays musical lines
that sound very different in terms of rhythm and contour, but blend harmonically. This is
especially evident in the beginning of the fourth movement as the movement begins with the
second cello and progresses from the cellos, to the violas, and then to the second and first violins.
Concerts can be found at www.MIStreamnet.org/cmsd or www.ChamberMusicDetroit.org/Education