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Arthur Foote completed his Piano Quartet in C major, Opus 23, in August, 1890, and dedicated the work to John Knowles Paine. The first performance took place on 21st April, 1891, in Boston with members of the Kneisel Quartet and the composer at the piano. The work became very popular and was played by the composer at least forty times in public concerts. Frequent performances were also given in Europe and in the United States by the Adamowski, Dannreuther, and other well known quartets. His biographer Nicholas E. Tawa finds that InchThe piece makes a statement that is benevolent and compassionate rather than passionate. Foote makes no attempt to achieve the heroism of Beethoven, the sensuousness of Wagner, the nostalgic sadness of Brahms, or the hysteria of Tchaikovsky. Like Schubert, he is a melodist first, but of quite a different sort. Schubert's edge of bitter-sweetness, ingenuous yearning, and moments of vehement excitement are absent. In contrast, Foote feels there is room in humankind's experience for a long stretch of quietude and repose that is relatively free from high turbulence, mental agitation, and emotional pressure. The quartet inhabits an expressive domain that is strictly the composer's own.Inch The opening movement is marked Allegro comodo, an opening which he wants to be in a lively tempo, but also to be performed with ease and in comfort. From the opening measures, we feel that Foote is in a celebratory mood. There is no Germanic angst here, but rather a well-integrated texture of strings and piano reminding of, perhaps, late nineteenth century French styles. The Scherzo which follows is vivacious and sprightly. The slow movement, marked Adagio, ma con moto, is one of Foote's most soulful and songful chamber music moments. Musicologist and historian, John Sullivan Dwight, compliments this movement's InchFiner feeling and sweeter melody, with more
