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Program Notes 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 1 Monday Evening, August 3, 2015, at 6:30 m a Pre-concert Recital r g Emerson String Quartet o Eugene Drucker , Violin r Philip Setzer , Violin P Lawrence Dutton , Viola e Paul Watkins , Cello h T HAYDN String Quartet in G major, Op. 76, No. 1 (c. 1797) Allegro con spirito Adagio sostenuto Menuetto: Presto Allegro ma non troppo SETZER, DRUCKER, DUTTON, WATKINS Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Alice Tully Hall , Starr Theater Adrienne Arsht Stage 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 2 Mostly Mozart Festival I Notes on the Program By Paul Schiavo m String Quartet in G major, Op. 76, No. 1 (c. 1797) a JOSEPH HAYDN r Born March 31, 1732, in Rohrau, Austria g Died May 31, 1809, in Vienna o r Approximate length: 22 minutes P Haydn composed string quartets—nearly six dozen individual compositions— over practically the whole of his long career. His earliest works of this kind may e have originated during his late adolescence (it is not certain when Haydn pro - h duced his first string quartets, but it may have been as early as 1750). His last t ones came perhaps half a century later, during his ultimate maturity. Between 1797 and 1799 he completed eight string quartets and part of a ninth. The initial n fruits of this final quartet harvest were six pieces published as Haydn’s Op. 76. o In this evening’s quartet in G major, Haydn establishes at once the essential qual - s ity of string quartet writing: an equitable discourse among the four instruments. e Following three prefatory chords, the principal theme of the opening movement t sounds in four phrases, one for each instrument in turn. From this flows the first o portion of the composition, a skillfully crafted sonata-form movement. N Haydn is justly admired for his musical wit, manifested in the form of abrupt pauses, surprising turns of line or harmony, and odd phrase lengths. Yet nei - ther this first movement nor the one that follows gives any instance of this quality. Indeed, the Adagio second movement conveys a sober spiritual atmos - phere not unlike that of Mozart’s Masonic opera The Magic Flute (we can eas - ily imagine Sarastro, the deep-voiced sage of that work, when Haydn’s melody line passes to the cello, as it does several times in this movement). But we find the composer up to his old tricks in the minuet, where momentary musi - cal lacunae and vigorous outbursts keep the proceedings unusually lively. Further surprises await in the finale. It begins in G minor, not G major, and launches at once into a theme of exceptional rhythmic energy. Eventually, after much twisting, turning, and traversing wide harmonic terrain, the music emerges into the placid tonal landscape of G major. Haydn lightens the move - ment’s complexion even further in the closing measures, transforming the erstwhile dramatic theme into a merry country dance—surely the most sur - prising development in the entire composition. —Copyright © 2015 by Paul Schiavo 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 3 Monday Evening, August 3, 2015, at 7:30 m a r Emerson String Quartet g Eugene Drucker , Violin o Philip Setzer , Violin r Lawrence Dutton , Viola P Paul Watkins , Cello Jean-Yves Thibaudet , Piano e h MOZART String Quartet in G major, K.387 (1782) T Allegro vivace assai Menuetto: Allegro Andante cantabile Molto allegro SETZER, DRUCKER, DUTTON, WATKINS BEETHOVEN String Quartet in F major, Op. 135 (1826) Allegretto Vivace Lento assai, cantante e tranquillo Grave, ma non troppo tratto—Allegro SETZER, DRUCKER, DUTTON, WATKINS Intermission FAURÉ Piano Quartet No. 1 in C minor, Op. 15 (1876–79) Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro molto THIBAUDET, DRUCKER, DUTTON, WATKINS Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano Alice Tully Hall , Starr Theater Adrienne Arsht Stage 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 4 Mostly Mozart Festival The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center UPCOMING MOSTLY MOZART FESTIVAL EVENTS: Tuesday and Wednesday Evenings, August 4–5, at 7:30 in Avery Fisher Hall Mostly Mozart Festival Orchestra Cornelius Meister , Conductor (New York debut) Sol Gabetta , Cello M|M MOZART: Overture to Le nozze di Figaro HAYDN: Cello Concerto in C major BEETHOVEN: Symphony No. 4 Pre-concert recitals by the Anderson & Roe Piano Duo at 6:30 Wednesday Night, August 5, at 10:00 in the Stanley H. Kaplan Penthouse A Little Night Music Sol Gabetta , Cello Ilya Yakushev , Piano M|M RACHMANINOFF: Sonata in G minor SERVAIS: Fantaisie sur deux Airs russes Thursday Night, August 6, at 10:00 in the Stanley H. Kaplan Penthouse A Little Night Music Alina Ibragimova , Violin M|M Steven Osborne , Piano PROKOFIEV: Violin Sonatas Nos. 1 and 2 M|M Mostly Mozart debut For tickets, call (212) 721-6500 or visit MostlyMozart.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about program cancellations or request a Mostly Mozart brochure. Visit MostlyMozart.org for full festival listings. Join the conversation: #LCMozart We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 5 Mostly Mozart Festival Welcome to Mostly Mozart I am pleased to welcome you to the 49th Mostly Mozart Festival, our annual celebration of the innovative and inspiring spirit of our namesake composer. This summer, in addition to a stellar roster of guest conductors and soloists, we are joined by composer-in-residence George Benjamin, a leading contemporary voice whose celebrated opera Written on Skin makes its U.S. stage premiere. This landmark event continues our tradition of hearing Mozart afresh in the context of the great music of our time. Under the inspired baton of Renée and Robert Belfer Music Director Louis Langrée, the Mostly Mozart Festival Orchestra delights this year with the Classical repertoire that is its specialty, in addition to Beethoven’s joyous Seventh Symphony and Haydn’s triumphant Creation. Guest appearances include maestro Cornelius Meister making his New York debut; Edward Gardner, who also leads the Academy of Ancient Music in a Mendelssohn program on period instruments; and Andrew Manze with violin - ist Joshua Bell in an evening of Bach, Mozart, and Schumann. Other preemi - nent soloists include Emanuel Ax, Matthias Goerne, and festival newcomers Sol Gabetta and Alina Ibragimova, who also perform intimate recitals in our expanded Little Night Music series. And don’t miss returning favorite Emerson String Quartet and the International Contemporary Ensemble, our artists-in- residence, as well as invigorating pre-concert recitals and lectures, a panel discussion, and a film on Haydn. With so much to choose from, we invite you to make the most of this rich and splendid festival. I look forward to seeing you often. Jane Moss Ehrenkranz Artistic Director 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 6 Mostly Mozart Festival I Words and Music Chamber Thicket By Sharon Olds As we sat at the feet of the string quartet, in their living room, on a winter night, through the hardwood floor spurts and gulps and tips and shudders came up, and the candle-scent air was thick-alive with pearwood, ebony, spruce, poplar, and horse howled, and cat skreeled, and then, when the Grösse Fugue was around us, under us, over us, in us, I felt I was hearing the genes of my birth-family, pulled, keening and grieving and scathing, along each other, scraping and craving, I felt myself held in that woods of hating longing, and I knew and knew myself, and my parents, and their parents, there—and then, at a distance, I sensed, as if it were thirty years ago, a being, far off yet, oblique-approaching, straying toward, and then not toward, and then toward this place, like a wandering dreaming herdsman, my husband. And I almost wanted to warn him away, to call out to him to go back whence he came, into some calmer life, but his beauty was too moving to me, and I wanted too much to not be alone, in the covert, any more, and so I prayed him come to me, I bid him hasten, and good welcome.
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