Hard to believe both these pieces were written in the same year — Dvorak an old man, Ives just starting out. So different, yet oddly connected. Anyone who grew up singing hymns in church will recognize all kinds of tunes in the Ives and Myles pointed out the other day in rehearsal that the slow movement of the Dvorak, written after he returned home from his long stay in the US, sounds remarkably like the old hymn, "Shall We Gather By The River."

Hard to believe both these pieces were written in the same year — Dvorak an old man, Ives just starting out. So different, yet oddly connected. Anyone who grew up singing hymns in church will recognize all kinds of tunes in the Ives and Myles pointed out the other day in rehearsal that the slow movement of the Dvorak, written after he returned home from his long stay in the US, sounds remarkably like the old hymn, "Shall We Gather By The River."

Hard to believe both these pieces were written in the same year — Dvorak an old man, Ives just starting out. So different, yet oddly connected. Anyone who grew up singing hymns in church will recognize all kinds of tunes in the Ives and Myles pointed out the other day in rehearsal that the slow movement of the Dvorak, written after he returned home from his long stay in the US, sounds remarkably like the old hymn, "Shall We Gather By The River."

Hard to believe both these pieces were written in the same year — Dvorak an old man, Ives just starting out. So different, yet oddly connected. Anyone who grew up singing hymns in church will recognize all kinds of tunes in the Ives and Myles pointed out the other day in rehearsal that the slow movement of the Dvorak, written after he returned home from his long stay in the US, sounds remarkably like the old hymn, "Shall We Gather By The River."

Join us at a benefit concert Saturday, February 4 to commemorate Konbit Sante's 10th anniversary in northern Haiti.

The Daponte String Quartet will be performing at 7:30 pm at St. Mary the Virgin Episcopal Church, 43 Foreside Rd, Falmouth. Tickets are $25 and are available by following this link http://konbitsante.org/daponte-tickets or you may purchase them at the door.

We are excited that the February 4 program will include Maine's first performance of Dyalòg by Haitian composer, Gifrants. Please join us for a wine reception following the concert. Haitian metal art will be on display and for sale at the event. Please save the date and join us for an evening of wonderful music, Haitian art, and good company.

After spending a decade writing comic operettas for the aristocracy, Franz Joseph Haydn decided to apply what he had learned in the theater to writing instrumental concert music. Haydn, "the father of the string quartet", pioneered the Sonata Allegro form for instrumental music. Understanding this form is essential to appreciating what we today call "Classical Music." Using the theme "boy meets girl," and drawing on examples from string quartet literature, the DSQ will present a delightful lecture-performance illustrating the evolution of this famous musical art form.

Bassist-composer Ed Allman holds Bachelor's and Masters' degrees from the University of Miami, where he was a student of the respected pedagogue Dr. Lucas Drew. While in Florida, Ed performed regularly with the University's Contemporary Music Ensemble, and the "Other Music" Ensemble, of which he was a founding member.

Currently Principal Bass with the Bangor Symphony, he is also the former Principal of both the Charleston and New Haven Symphony Orchestras, and has held numerous orchestral positions in FL, CT, and NY. He has been privileged to appear on Chamber Music Charleston's popular House Concert series, with the Wall Street Chamber Players, as a guest artist for both the Piccolo Spoleto and Spoleto USA Festivals, and in numerous duo recitals with his partner, violist Katrina Smith, and 'cellist Thomas Hudson.

In 2003 Mr. Allman's Lamentations for solo Double Bass won First Prize in the British and International Bass Forum's composition contest. His solo works and pieces for small ensembles have been heard on programs by the UM Contemporary Music Ensemble, Chamber Music Charleston, The Musicians of Ma'alwyck, and in recital in New York, Hartford, and Dorset, England.

Crumb wrote:

Black Angels was conceived as a kind of parable on our troubled contemporary world. The work portrays a voyage of the soul. The three stages of this voyage are Departure (fall from grace), Absence (spiritual annihilation) and Return (redemption).

View a 1970 Program of the work...

View some of the score...

Crumb wrote:

Black Angels was conceived as a kind of parable on our troubled contemporary world. The work portrays a voyage of the soul. The three stages of this voyage are Departure (fall from grace), Absence (spiritual annihilation) and Return (redemption).

View a 1970 Program of the work...

View some of the score...

Crumb wrote:

Black Angels was conceived as a kind of parable on our troubled contemporary world. The work portrays a voyage of the soul. The three stages of this voyage are Departure (fall from grace), Absence (spiritual annihilation) and Return (redemption).

View a 1970 Program of the work...

View some of the score...

Crumb wrote:

Black Angels was conceived as a kind of parable on our troubled contemporary world. The work portrays a voyage of the soul. The three stages of this voyage are Departure (fall from grace), Absence (spiritual annihilation) and Return (redemption).

View a 1970 Program of the work...

View some of the score...

Crumb wrote:

Black Angels was conceived as a kind of parable on our troubled contemporary world. The work portrays a voyage of the soul. The three stages of this voyage are Departure (fall from grace), Absence (spiritual annihilation) and Return (redemption).

View a 1970 Program of the work...

View some of the score...

Crumb wrote:

Black Angels was conceived as a kind of parable on our troubled contemporary world. The work portrays a voyage of the soul. The three stages of this voyage are Departure (fall from grace), Absence (spiritual annihilation) and Return (redemption).

View a 1970 Program of the work...

View some of the score...

Crumb wrote:

Black Angels was conceived as a kind of parable on our troubled contemporary world. The work portrays a voyage of the soul. The three stages of this voyage are Departure (fall from grace), Absence (spiritual annihilation) and Return (redemption).

View a 1970 Program of the work...

View some of the score...

When Franz Joseph Haydn invented a new kind of sonata, he began for the first time to build narrative into his music with the use of a protagonist, antagonist, conflict and resolution. His idea caught fire over the next two and a half centuries as composers found new ways of telling more complex musical "stories." Soon, observers began to notice something strange: these musical forms did not just resemble story structures, they more and more resembled "biological" ones.

This fascinating development is the subject of a presentation by the DaPonte String Quartet. The musicians will both play from and speak about three important nineteenth-century masterworks by Felix Mendelssohn, Robert Schumann, and Johannes Brahms.

When Franz Joseph Haydn invented a new kind of sonata, he began for the first time to build narrative into his music with the use of a protagonist, antagonist, conflict and resolution. His idea caught fire over the next two and a half centuries as composers found new ways of telling more complex musical "stories." Soon, observers began to notice something strange: these musical forms did not just resemble story structures, they more and more resembled "biological" ones.

This fascinating development is the subject of a presentation by the DaPonte String Quartet. The musicians will both play from and speak about three important nineteenth-century masterworks by Felix Mendelssohn, Robert Schumann, and Johannes Brahms.

Join us for this special fundraising event, featuring Maine's DaPonte String Quartet, who will play and talk informally about pieces they will be performing in upcoming concerts, giving listeners a fascinating insight into the music. Conversation will follow concerning rehearsal technique, score analysis, and phrasing choices. The audience is most welcome to take part.

Composed in 1787 from the full orchestral work commissioned thus:

Some fifteen years ago I was requested by a canon of Cádiz to compose instrumental music on the Seven Last Words of Our Savior On the Cross. It was customary at the Cathedral of Cádiz to produce an oratorio every year during Lent, the effect of the performance being not a little enhanced by the following circumstances. The walls, windows, and pillars of the church were hung with black cloth, and only one large lamp hanging from the center of the roof broke the solemn darkness. At midday, the doors were closed and the ceremony began. After a short service the bishop ascended the pulpit, pronounced the first of the seven words (or sentences) and delivered a discourse thereon. This ended, he left the pulpit and fell to his knees before the altar. The interval was filled by music. The bishop then in like manner pronounced the second word, then the third, and so on, the orchestra following on the conclusion of each discourse. My composition was subject to these conditions, and it was no easy task to compose seven adagios lasting ten minutes each, and to succeed one another without fatiguing the listeners; indeed, I found it quite impossible to confine myself to the appointed limits.

Composed in 1787 from the full orchestral work commissioned thus:

Some fifteen years ago I was requested by a canon of Cádiz to compose instrumental music on the Seven Last Words of Our Savior On the Cross. It was customary at the Cathedral of Cádiz to produce an oratorio every year during Lent, the effect of the performance being not a little enhanced by the following circumstances. The walls, windows, and pillars of the church were hung with black cloth, and only one large lamp hanging from the center of the roof broke the solemn darkness. At midday, the doors were closed and the ceremony began. After a short service the bishop ascended the pulpit, pronounced the first of the seven words (or sentences) and delivered a discourse thereon. This ended, he left the pulpit and fell to his knees before the altar. The interval was filled by music. The bishop then in like manner pronounced the second word, then the third, and so on, the orchestra following on the conclusion of each discourse. My composition was subject to these conditions, and it was no easy task to compose seven adagios lasting ten minutes each, and to succeed one another without fatiguing the listeners; indeed, I found it quite impossible to confine myself to the appointed limits.

Composed in 1787 from the full orchestral work commissioned thus:

Some fifteen years ago I was requested by a canon of Cádiz to compose instrumental music on the Seven Last Words of Our Savior On the Cross. It was customary at the Cathedral of Cádiz to produce an oratorio every year during Lent, the effect of the performance being not a little enhanced by the following circumstances. The walls, windows, and pillars of the church were hung with black cloth, and only one large lamp hanging from the center of the roof broke the solemn darkness. At midday, the doors were closed and the ceremony began. After a short service the bishop ascended the pulpit, pronounced the first of the seven words (or sentences) and delivered a discourse thereon. This ended, he left the pulpit and fell to his knees before the altar. The interval was filled by music. The bishop then in like manner pronounced the second word, then the third, and so on, the orchestra following on the conclusion of each discourse. My composition was subject to these conditions, and it was no easy task to compose seven adagios lasting ten minutes each, and to succeed one another without fatiguing the listeners; indeed, I found it quite impossible to confine myself to the appointed limits.

Composed in 1787 from the full orchestral work commissioned thus:

Some fifteen years ago I was requested by a canon of Cádiz to compose instrumental music on the Seven Last Words of Our Savior On the Cross. It was customary at the Cathedral of Cádiz to produce an oratorio every year during Lent, the effect of the performance being not a little enhanced by the following circumstances. The walls, windows, and pillars of the church were hung with black cloth, and only one large lamp hanging from the center of the roof broke the solemn darkness. At midday, the doors were closed and the ceremony began. After a short service the bishop ascended the pulpit, pronounced the first of the seven words (or sentences) and delivered a discourse thereon. This ended, he left the pulpit and fell to his knees before the altar. The interval was filled by music. The bishop then in like manner pronounced the second word, then the third, and so on, the orchestra following on the conclusion of each discourse. My composition was subject to these conditions, and it was no easy task to compose seven adagios lasting ten minutes each, and to succeed one another without fatiguing the listeners; indeed, I found it quite impossible to confine myself to the appointed limits.

Composed in 1787 from the full orchestral work commissioned thus:

Some fifteen years ago I was requested by a canon of Cádiz to compose instrumental music on the Seven Last Words of Our Savior On the Cross. It was customary at the Cathedral of Cádiz to produce an oratorio every year during Lent, the effect of the performance being not a little enhanced by the following circumstances. The walls, windows, and pillars of the church were hung with black cloth, and only one large lamp hanging from the center of the roof broke the solemn darkness. At midday, the doors were closed and the ceremony began. After a short service the bishop ascended the pulpit, pronounced the first of the seven words (or sentences) and delivered a discourse thereon. This ended, he left the pulpit and fell to his knees before the altar. The interval was filled by music. The bishop then in like manner pronounced the second word, then the third, and so on, the orchestra following on the conclusion of each discourse. My composition was subject to these conditions, and it was no easy task to compose seven adagios lasting ten minutes each, and to succeed one another without fatiguing the listeners; indeed, I found it quite impossible to confine myself to the appointed limits.

This exhilarating concert features the song cycle, The Golden Harp, by American composer Gwyneth Walker and the poetry of Rabindranath Tagore. Rose Horowitz, Poetry Out Loud Maine State Champion of 2015, will perform the readings. Also on the program, Eric Whitacre's Five Hebrew Love Songs set to poems by Hila Plitmann.

This exhilarating concert features the song cycle, The Golden Harp, by American composer Gwyneth Walker and the poetry of Rabindranath Tagore. Rose Horowitz, Poetry Out Loud Maine State Champion of 2015, will perform the readings. Also on the program, Eric Whitacre's Five Hebrew Love Songs set to poems by Hila Plitmann.

The DSQ will play and talk informally about such things as rehearsal technique, score analysis, and phrasing choices, demonstrating with excerpts from their upcoming concert series. The audience will be invited to ask questions on the topics discussed. The group will present passages from Mozart's Quartet in B flat Major, Ottorino Respighi's String Quartet in D Major, and Beethoven's String Quartet in E Minor Op. 59 No. 2. This group of works has been titled "Inside Job." Respighi has always been one of Dino Liva's favorites, and this will be a first performance of this work. The Beethoven and Mozart pieces are seemingly performed less frequently than these composers' other quartets, and it has been quite some time since DaPonte has brought them out.

Funded in part by a grant from the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts; and by grants from the Quimby Family Foundation, the Davis Family Foundation, and the Maine Humanities Council.

The DSQ will play and talk informally about such things as rehearsal technique, score analysis, and phrasing choices, demonstrating with excerpts from their upcoming concert series. The audience will be invited to ask questions on the topics discussed. The group will present passages from Mozart's Quartet in B flat Major, Ottorino Respighi's String Quartet in D Major, and Beethoven's String Quartet in E Minor Op. 59 No. 2. This group of works has been titled "Inside Job." Respighi has always been one of Dino Liva's favorites, and this will be a first performance of this work. The Beethoven and Mozart pieces are seemingly performed less frequently than these composers' other quartets, and it has been quite some time since DaPonte has brought them out.

Funded in part by a grant from the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts; and by grants from the Quimby Family Foundation, the Davis Family Foundation, and the Maine Humanities Council.

Funded in part by a grant from the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts; and by grants from the Quimby Family Foundation, the Davis Family Foundation, and the Maine Humanities Council.

Funded in part by a grant from the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts; and by grants from the Quimby Family Foundation, the Davis Family Foundation, and the Maine Humanities Council.

The DSQ will play and talk informally about such things as rehearsal technique, score analysis, and phrasing choices, demonstrating with excerpts from their upcoming concert series. The audience will be invited to ask questions on the topics discussed. The group will present passages from Mozart's Quartet in B flat Major, Ottorino Respighi's String Quartet in D Major, and Beethoven's String Quartet in E Minor Op. 59 No. 2. This group of works has been titled "Inside Job." Respighi has always been one of Dino Liva's favorites, and this will be a first performance of this work. The Beethoven and Mozart pieces are seemingly performed less frequently than these composers' other quartets, and it has been quite some time since DaPonte has brought them out.

Funded in part by a grant from the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts; and by grants from the Quimby Family Foundation, the Davis Family Foundation, and the Maine Humanities Council.

Funded in part by a grant from the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts; and by grants from the Quimby Family Foundation, the Davis Family Foundation, and the Maine Humanities Council.

Join us for this special fundraising event where the DSQ will play and talk informally about pieces they will be performing in the upcoming November concert series Running a Ground, giving listeners a fascinating insight into the music. Conversation will follow concerning rehearsal technique, score analysis, and phrasing choices. The audience is most welcome to take part.

Using excerpts from the Second Quartet, the Daponte will show how Prokofiev creates musical communication without words, through the use of tone-painting and musical quotations, about life in the Kabardino-Balkar region of the Caucasus mountains where he and other artists lived during their WWII evacuation from Moscow. The work's first movement is a stirring march based on a rising four-note motif that is enriched by Prokofiev's vivid impressions of life in the Caucasus, especially a euphoric love-song and a rich gallery of pictures, including both erotic dance and the alpen-horn calls of sheep-herders.

Katherine Murdock, viola, is a member of the Los Angeles Piano Quartet and a former member of the Mendelssohn String Quartet. She has toured and recorded with the Orpheus Chamber Orchestra, Music from Marlboro, the Boston Chamber Music Society, New York Philharmonic, and Boston Symphony Orchestra, and has collaborated with the Vermeer, Emerson, and Guarneri quartets. Formerly on the faculty of SUNY at Stony Brook, she is an associate professor at University of Maryland, is on the faculty of Kneisel Hall, and co-directs the National Orchestra Institute's chamber music program.

Katherine Murdock, viola, is a member of the Los Angeles Piano Quartet and a former member of the Mendelssohn String Quartet. She has toured and recorded with the Orpheus Chamber Orchestra, Music from Marlboro, the Boston Chamber Music Society, New York Philharmonic, and Boston Symphony Orchestra, and has collaborated with the Vermeer, Emerson, and Guarneri quartets. Formerly on the faculty of SUNY at Stony Brook, she is an associate professor at University of Maryland, is on the faculty of Kneisel Hall, and co-directs the National Orchestra Institute's chamber music program.