August 10 at 7 p.m. Quartetto Mosso: Ronald Gorevic, violin; Beth Welty, violin; Delores Thayer, viola; Yoonhee Ko, cello; with Manon Hutton De-Wys, piano.

Program:

 Caroline Shaw (b. 1982), Blueprint (2016)

 Dmitri Shostakovich (1906–1975), String Quartet no. 4 in D major, op. 83 (1949)

 Robert Schumann (1810–1856), Piano Quintet in E-flat major, op. 44 (1842)

 

August 17 at 7 p.m.  The Lysander Piano Trio. Itamar Zorman, violin; Liza Stepanova, piano; James Kim, cello. 

Program:

Enrique Granados (1867–1916), Intermezzo from the opera Goyescas, arranged by Gaspar Cassadó 

Franz Josef Haydn (1732–1809), Piano Trio in G Major, Hob. XV:25.
Jennifer Higdon (b. 1962), Color Through (2016)
Arnold Schoenberg (1874–1951) Verklärte Nacht, Op. 4 (1899). Scored by the      composer for string sextet, this arrangement is by Eduard Steuermann.

August 24 at 7 p.m. Members of The Borromeo Quartet with Raman Ramakrishnan

Program:

Ludwig van Beethoven (1770–1827), Duet ”for two obbligato eyeglasses“ for viola and cello, WoO 32

Iman Habibi, Relics, for viola and cello (2019)

Zoltán Kodály (1882–1967), Duo for violin and cello, op. 7

Anton Arensky (1861–1906), String Quartet No. 2 in A minor, Op. 35 (1894), scored for violin, viola, and two cellos

August 31 at 7 p.m.: Musicians from the Northeast, many of whom are members of the Hartford Symphony Orchestra and the Coast Guard Band, will perform Wolfgang Amadeus Mozart's Serenade for thirteen winds in B♭ major, K. 361/370a. The piece is scored for  2 oboes, 2 clarinets, 2 basset horns, 2 bassoons, 4 horns, and  contrabassoon.

 

In Peter Shaffer's play Amadeus, Mozart's rival Antonio Salieri, having at first taken the young composer for a buffoon, on examining the score of the third movement of the Serenade says, “On the page it looked nothing. The beginning simple, almost comic. Just a pulse. Bassoons and basset horns, like a rusty squeezebox. And then suddenly, high above it, an oboe. A single note, hanging there, unwavering. Until a clarinet took over and sweetened it into a phrase of such delight! This was no composition by a performing monkey! This was a music I'd never heard. Filled with such longing, such unfulfillable longing, it had me trembling. It seemed to me that I was hearing the voice of God.“