Program Notes

"The piano quartet offers one of the richest genres to the composer's expression. It nearly parallels in dramatic purpose and importance the medium of the string quartet, and it offered me an opportunity to imbue a large canvas with bold musical designs, rich and varied harmonies, wide-ranging moods, and expressive contrasts—all amplified and expanded by a largely framed, narratively developed musical discourse. The first movement evolves from a passacaglia opening into large skyscraper-like sonorities, continuing with and elaborating upon the original passacaglia theme and structure. The second movement, in contrast, spins lyrically from a waltz theme, elegant and magical in mood, but all the while maintaining a serious attitude in its developmental working-out of the lighter and more lyrical waltz character. The third movement erupts into a jubilant pulsating rhythmic statement, cumulatively building from beginning to end, nearly relentless in its driving force but at the same time exalted in dramatic mood and foot-tapping pulse and developing its narrative in a quite ambitious architectonic layout and design of some 800 plus measures. The listener will easily recognize the traditional chamber-music aspects of this quartet and it is to the great Brahmsian tradition that this work specifically owes its spiritual homage and dedication."

—Willam Thomas McKinley (© 1988), from 15 Dec 1988 program.

McKinley’s program note for the Piano Quartet, dedicated to the Los Angeles Piano Quartet, describes the piece as a bold and expansive narrative canvas, rich in harmony and expression. He acknowledges the Brahmsian lineage of the piano quartet form and speaks of his own desire to contribute to that tradition. Piano quartets inherently allow for rich textural possibilities, and here, McKinley often frames the dialogue as two “teams”: the piano (both hands) versus the string trio.

I. Lento dramatico: A stark, massive F minor heard in the piano’s low register recalls the opening of Brahms’ op. 60. The movement contrasts textures between the piano and strings, the latter often maintaining steady rhythms. A thematic transformation occurs as the right-hand piano theme reappears in the viola, then the cello. After turbulent development, the music ends abruptly and catastrophically—perhaps foreshadowing the quartet’s ultimate close.

II. Tempo di valse e elegante: Melancholy and wistful, the music again touches on film noir imagery, though the waltz rhythm feels too cheerful for that comparison to hold. A central section evokes jazz before returning to the waltz, now simplified and syncopated. A coda emerges, with a pizzicato “burp” ending things with dry wit.

III. Allegro e giubilante: Opening with pizzicato unison rhythms, this has the spirit of a primitive dance—Bartók-esque. The piano joins with dotted rhythms and syncopated patterns. Later, triplets battle with duplets. A slower middle section introduces contrasting material, but the pulse remains vital. This is rhythmic playground music—energetic, inventive, and vibrant.

—Peter Chun, from MS102