We begin with Gabriel Fauré’s Piano Quartet No. 1 in C minor, Op. 15, composed between 1876 and 1879. It is one of Fauré’s earliest chamber works and remains one of his most frequently performed. The quartet reflects both his classical training and his uniquely French sensibility, elegant, refined, and emotionally restrained. The first movement is lyrical and tightly structured, while the Scherzo stands out with its light, almost playful texture. The slow movement offers a more inward, melancholic atmosphere, and the finale brings the piece to a dramatic close, with thematic material that recalls earlier moments in the work. It’s a piece that quietly rewards close listening.

After the intermission, we turn to Pyotr Ilyich Tchaikovsky’s Souvenir de Florence, Op. 70, written in 1890. Although Tchaikovsky had originally planned to write a string quartet, he expanded the work into a sextet to give himself greater freedom with texture and color. The title refers to Florence, where he sketched some of the themes, but most of the music is distinctly Russian in character. The first movement is bold and vigorous, driven by rhythmic precision and melodic development. The slow movement introduces a lyrical, song-like theme in the first violin, supported by warm harmonies. The final two movements draw directly on Russian folk influences, with dance rhythms, repeated motifs, and strong dynamic contrasts. The work requires precision and coordination among all six players, making it both technically demanding and exhilarating to perform.