General Description -
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American Virtuosi - formal photo
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Elizabeth, Emmanuel, and Frances - reduced length biographies
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Elizabeth, Emmanuel, and Frances - casual photo
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Elizabeth, Emmanuel, and Frances - formal photo
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Program Notes: Postcards from Dilsberg
"Postcards from Dilsberg" is a collection of five musical postcards portraying the history, legends, and people of Dilsberg, Germany. The music was composed in July 2008 by Frances, Emmanuel, and Elizabeth Borowsky during their residency at the historic Dilsberg Castle in Germany. The first movement (Morning in Dilsberg) depicts their restful daily awakening at the top of the Kommendantenhaus, with the sun shining through the windows, the birds chirping, and their view of the Neckar River far below, slowly winding around the mountain. The second movement (Ready for Battle) is a tribute to the numerous battles waged at or over the town and castle. The theme of “Dies Irae” is audible in the middle section. The third movement (The Legendary Sleeping Chamber) creates a magical and mystical atmosphere and was inspired by the legend of the haunted room in the castle – it was said whoever slept in it would not wake again for fifty years. The theme of Johannes Brahms' Lullaby is the foundation of the movement, but is marked by rhythmic, melodic, and harmonic manipulations. The fourth movement (Rose of Dilsberg) depicts the story of Rose, who chose death rather than marrying a man she didn't love. The story is performed by Dilsberg residents each Summer on an outdoor stage. A solemn version of Wagner's Bridal Chorus and a short fragment of Chopin's Funeral March permeate the middle section. The final movement (Triumphal March) celebrates Dilsberg's 800th anniversary, which was celebrated in the year 2008 during the Borowsky's stay in Dilsberg. A DVD recording (including scenic photos of Dilsberg) was released by ICRecords in 2009 and is available for purchase (http://www.intermusearts.org/shop/).
Program Notes: HARDY Trio
Dedicated to Hardy von Auenmueller, President of the German Society of Pennsylvania.
Completed January 2011. Premiered January 30, 2011 in Philadelphia, PA
This group of five little pieces (in the vein of Schoenberg) is an exploration of moods, styles, timbres, harmonies, and textures. Each movement is based on a note associated with a letter in the name "Hardy" - the "H" in German usage corresponding to the English "B", the "R" borrowed from the solfege scale degree "ra" (lowered second degree of the scale), the "Y" being changed to "E" as it is pronounced in the name, and the "A" and "D" corresponding with their matching pitches. The first three pieces are more pensive and dark in nature; the last two are decidedly playful. The trio begins with "H" written for solo cello. The piece uses only the five pitches corresponding to the name (B-A-D flat-D-E) and is meditative, somewhat reminiscent of the opening of Aaron Copland's Appalachian Spring. The second piece begins on A and is in the Dorian mode. The theme is presented by all members of the trio unison - the piano presenting soft commentary at the end of phrases - and then is immediately repeated in the violin while the cello plays the theme in inversion. The piece is in ABA' form. The third piece, "R" begins with melodic conversation between the cello and violin. The theme is closely related, however the surprising harmonic changes in the piano part changes the context of the melody and thus the meaning. The fourth piece is a Scherzo in triple meter. Though the piano beings with a short four-note introduction, the melody - a German folksong (Hop-Hop-Hop)- is carried by the violin and played pizzicato. The piano performs rapid-fire arpeggios up and down the keyboard. The final piece, "E" is based on an ostinato of the five notes of HARDY transposed to E major (F sharp - E - G sharp - A - B). The piano beings with 7/8 ostinato sequence, the strings enter after a few moments. The middle section is a chorale in 6/4 time - also heavily based on "HARDY". A fragment of the A section returns at the end.
Completed January 2011. Premiered January 30, 2011 in Philadelphia, PA
This group of five little pieces (in the vein of Schoenberg) is an exploration of moods, styles, timbres, harmonies, and textures. Each movement is based on a note associated with a letter in the name "Hardy" - the "H" in German usage corresponding to the English "B", the "R" borrowed from the solfege scale degree "ra" (lowered second degree of the scale), the "Y" being changed to "E" as it is pronounced in the name, and the "A" and "D" corresponding with their matching pitches. The first three pieces are more pensive and dark in nature; the last two are decidedly playful. The trio begins with "H" written for solo cello. The piece uses only the five pitches corresponding to the name (B-A-D flat-D-E) and is meditative, somewhat reminiscent of the opening of Aaron Copland's Appalachian Spring. The second piece begins on A and is in the Dorian mode. The theme is presented by all members of the trio unison - the piano presenting soft commentary at the end of phrases - and then is immediately repeated in the violin while the cello plays the theme in inversion. The piece is in ABA' form. The third piece, "R" begins with melodic conversation between the cello and violin. The theme is closely related, however the surprising harmonic changes in the piano part changes the context of the melody and thus the meaning. The fourth piece is a Scherzo in triple meter. Though the piano beings with a short four-note introduction, the melody - a German folksong (Hop-Hop-Hop)- is carried by the violin and played pizzicato. The piano performs rapid-fire arpeggios up and down the keyboard. The final piece, "E" is based on an ostinato of the five notes of HARDY transposed to E major (F sharp - E - G sharp - A - B). The piano beings with 7/8 ostinato sequence, the strings enter after a few moments. The middle section is a chorale in 6/4 time - also heavily based on "HARDY". A fragment of the A section returns at the end.
