Zermatt, Switzerland North faceoftheMatterhorn, Ann S. Bowers support. withgratitudeforhergenerous Music@Menlo dedicatesthisperformanceto SPECIAL THANKS most transcendentinallofmusic:Schubert’s CelloQuintet. Music@Menlo 2015 withaworkthatmany regardasthe art form.Andaftertakinganother deepbreath,weclose fully summarizeshisincomparablecontributiontothe beloved songs, all composed in his final months, power a briefinterval,quartet ofSchubert’s most famousand bed, making it the last music Schubert heard. Following Quartet was performedatSchubert’s request athisdeath- and Beethoven, whoseforward-looking Opus131String ill Schubertwalked topay hisrespectsinearlyOctober, to whosegrave, thirty-five milesaway, theterminally ing Schubert’s devotion totwoother composers:Haydn, who died on November 19, 1828. We begin by recogniz- Program, which serves as a musical eulogy for Schubert, Great.” Thesame couldbesaid ofourfestival’s final Concert when describingSchubert’s CMajorSymphony, “The length” Robert Schumanncoinedthephrase“heavenly P Arts atMenlo-Atherton Saturday, August 8, 5:00p.m., TheCenterforPerforming August 8 Ascent totheSummit, concert programvii: rogram O verview -

Arnaud Sussmann,BenjaminBeilman, Quintet inCMajorforTwo Violins, Viola,andTwo Cellos, op. posth. 163, D. 956(1828) BRIEF INTERMISSION Nikolay Borchev, baritone;Wu Han,piano Die Taubenpost fromSchwanengesang, D.(Seidl) 965a Der DoppelgängerfromSchwanengesang, D. 957/13 (Heine) (1828) Joélle Harvey, soprano; José González Granero,clarinet; Wu Han, piano Der HirtaufdemFelsen forSoprano, Clarinet, andPiano, op. posth. 129, D. 965 Nikolay Borchev, baritone;Kevin Rivard,horn;Wu Han,piano Laurence Lesser, cellos JOSEPH HAYDN FRANZ SCHUBERT INTERMISSION Do LUDWIG VAN BEETHOVEN Dover Quartet: Joel Link,BryanLee,violins;MilenaPajaro-vanviola; CamdenShaw, deStadt, cello String Quartet indminor, op. 103, Hob. III:83(unfinished) (1803) Auf demStrom forVoice, Horn, andPiano, op. posth. 119, D. 943(Rellstab) String Quartet inc-sharpminor, op. 131(1825–1826) ver Quartet: Joel Link,BryanLee,violins;MilenaPajaro-vanviola; CamdenShaw, deStadt, cello (Müller, von Chézy) (October 1828) (March 1828) Allegretto Scherzo: Pr Adagio Allegro manontroppo Allegro Adagio quasiunpocoandante– Presto – Andante manontroppo emoltocantabile– Allegro moderato –Adagio Allegro moltovivace – Adagio manontroppo emoltoespres Minuetto, manontroppo pr Andante grazioso 1828 esto –Trio:Andantesostenuto (1732–1809) (1797–1828)

esto

violins; Paul Neubauer, viola;Keith Robinson, (1770–1827) sivo – sivo – (October 1828)

concert Programs concert Programs *Bolded termsare defined intheglossary, whichbegins onpage94. unser theurer Fürst, WoO 106 (1823);Symphony no. 9indminor, op. 111(1821–1822); Prince Lobkowicz: BirthdayCantatafor Eslebe Other works fromthis period:PianoSonatano. 32incminor, Dedication: BaronJoseph von Stutterheim Published: 1827, Mainz Composed: 1825–1826 String Quartet inc-sharpminor, op. 131 (Born Bonn,baptized December17, 1770; diedMarch 26,1827, Vienna) LUDWIG VAN BEETHOVEN decline over thenext three yearsanddiedin1809. announcement thatthesewouldserve ashisfarewell.He continuedto two completed movements publishedontheirown in1806, withan But uponrealizingthathishealthwouldnot improve, Haydn hadthe more challenging outer movements when he was back at full strength. these wereeasiertotackle.Haydn probablyfigured hewouldgettothe tionally, theslow movement andtheminuet—presumably because compose anewquartet. He beganwiththeinnermovements—tradi- the commissionfromMoritz von Fries, aVienneseartspatron,to jected fourmovements. Haydn was inpoorhealthwhenheaccepted work remainsunfinished: wehave onlythesecondandthirdofitspro- Haydn set toworkonhisStringQuartet indminor, op. 103, in1803. The Approximate duration:12minutes Organ, andOrchestra, Hob. XXII:13, Schöpfungsmesse (1801) MajorforSoloists,Harmoniemesse Chorus, (1802);MassinB-flat Major forSoloists, Chorus, Organ,andOrchestra, Hob. XXII:14, no. 2,Hob. Quartet III:82(“Lobkowicz” no. 2)(1799); MassinB-flat Empress MariaTheresa (1800);StringQuartet inFMajor, op. 77, Hob. XXI:3 (1799–1801); Te DeuminCMajor, Hob. XXIIIc: 2,For Other works fromthisperiod:DieJahreszeiten (TheSeasons), Published: 1806 Composed: 1803 String Quartet indminor, op. 103, Hob. III:83(unfinished) Vienna) (Born March 31,1732, Rohrau, Lower Austria;diedMay31,1809, JOSEPH HAYDN Notes ontheProgramby Patrick Castillo Program Notes: Ascent totheSummit, the genteel mannerofthetraditional minuet.the genteel Drang the opening. this materialthroughvariouskeys, Haydn returns tothematerialof a seriesofdecorative triplet figurations. Aftermischievously steering ing and strange:itbeginswithafour-bar phrase,derived- fromtheopen rarefied key ofG-flatmajor. Thismusicissimultaneouslycharming ment hereresultsinarichlysatisfying ensembletexture. between fourdistinct voices. Andtheindependenceofeachinstru - from afirst violinplussupportingcast toasophisticated conversation was thecomposerresponsiblefortransformingstring quartet seeming simplicitybeliesitsrefined craftsmanship. Haydn, afterall, movement beginswithasimple,tunefulmelody. Butthismusic’s major.jected secondmovement—is intheamiablekey ofB-flat The intended key, its Andante grazioso movement—the quartet’s pro- theme—but ratherthancomplete themelody, Haydn proceedsto Though theOpus The stern dminorminuet movement forecasts theSturmund The movement’s middlesectionenters, withoutwarning, intothe sensibility oftheRomanticcomposersmorethanitreflects 103 Quartet isproperlylisted indminor, its for thesecondmovement, marked Allegro molto Afterthe vivace. sustains aquiet c-sharp. The fuguefinally comestoamysterious stillness; thefullensemble recur withincreasingfrequency, becomingnearlytoomuchtobear. of melancholyinitswake. Neartheendofmovement, thesepains nounced, evoking astabbing painthatdissipatesandleaves afeeling texture develops, the piercing effect of this gesturebecomes more pro- sforzandi—sudden accentsthat puncture the line. Astheensemble its enigmatic melody, this subject is characterized by its recurring human struggle intothework’s DNA. instruments’ naturalresonance,Beethoven hasencodedthenotion of on theirinstruments’ openstrings. Itisasthough,by suppressingthe ture: c-sharpminor—a key thatprecludestheplayers fromrelying totheperformers beginwithitsrarekey signa- 131. Itschallenges and inspireboth listeners andperformersasdoesBeethoven’s Opus his magic.” master, grown conscious ofhisart,weresettling himselftoworkon content. Ofthisprofoundwork,Wagner wouldremark,“’Tisasifthe are tobeplayed withoutstopping—as wellasinitspowerful emotive among Beethoven’s quartets initsstructure—its seven movements later worked asBeethoven’s secretary, relatesthefollowing: in FMajor, op. 135. are theStringQuartet inc-sharpminor, op. 131,andtheStringQuartet so many musicalideasthatheneededtocontinue.Theresultingworks commission forone,two, orthreequartets, Beethoven hadconceived glad topay youwhatthinkproper.” Even afterfulfilling Galitzïn’s Beethoven for“one,two, orthreequartets, forwhichlaborIwillbe the Russianprinceandamateurcellist Nikolay Galitzïn,whoasked The impetus forBeethoven’s latequartets was acommissionfrom Approximate duration:35minutes MajorforPiano,1825); Écossaise inE-flat WoO 86(1825) Fuge (1825–1826);Major, StringQuartet inE-flat op. 127(1824– Major, op.Major, 135(1826);StringQuartet inB-flat op. 133, Grosse 1826); StringQuartet inaminor, op. 132(1825);StringQuartet inF op. 125(1822–1824);Majorop. StringQuartet130(1825– inB-flat Shifting up a barely perceptible half step, the music turns bright The quartet beginswithaslow, sinewyfugue.Inadditionto Few worksintherepertoiresocompletely fascinate,challenge, Opus 131holdsaspecialplaceintheheartsofmany. Itisunique c-sharp minorQuartet [op. 131]hisgreatest. lacking thanever before!”Laterhesaid thathethoughtthe leading, and,astoimagination,itwill,Godwilling,beless don’t stand still…You willfind hereanewkindofvoice- replied, “Eachinitsown way! Artdemandsofusthatwe I said thatIthoughtitthebest ofthethree.To whichhe MajorQuartet [op.When hehadfinished theB-flat 130], one, sincethenext onealreadyhastoo many movements.”… sketchbook. “Butthatbelongstothequartet afterthenext for awalk; andhewrote down somenotes inalittle pocket ing mannerandwithshiningeyes, out whenwewouldgo I have just hadanother newidea,” heusedtosay, inajok and Fmajorquartets [opp. 131and135].“My dearfriend, almost involuntarily compelledtowritethec-sharpminor from Beethoven’s inexhaustible imaginationthathefelt Opus 132,suchawealthofnewquartet ideasstreamed forth commissioned by PrinceGalitzin,Opus 127, Opus130, [and] During thetimewhenhewas composingthethreequartets Karl Holz, thesecondviolinist oftheSchuppanzighQuartet, who 1828 - by setting thewords“And sothewaves bearmeforward /with stanzas. At thestart ofthesecondverse, Schubertsalutes Beethoven piano and horn providing a dignified preludeto each of the song’sfive the next world.Schubert’s setting isforvoice, piano, andhorn,withthe journey toafaraway place, asametaphor fordeathandpassage into whom hemost revered. tothecomposer March 26concert,then,represented anhomage he died.Schubert’s setting andtheinclusionofAufdemStrom onhis poem by Ludwig Rellstab which Beethoven had intended to set before on thefirst anniversary ofBeethoven’s death.AufdemStrom sets a Schubert’s lifetime devoted entirelytohismusic,andittookplace sented onMarch26, 1828:thiswas theonlypublicconcertduring Schubert composedAufdemStrom (OntheRiver) foraconcertpre - Auf demStrom Approximate duration:28minutes D. 957/13, andDieTaubenpost, D. 965a,fromSchwanengesang: 1829 (The Shepherd ontheRock):1830asOpus129; DerDoppelgänger, Published: AufdemStrom: 1829asOpus119; Der HirtaufdemFelsen October 1828;DerDoppelgänger: 1828;DieTaubenpost: October1828 Composed: AufdemStrom: March1828; Der HirtaufdemFelsen: Die Taubenpost fromSchwanengesang, D. 965a(Seidl) Der DoppelgängerfromSchwanengesang, D. 957/13 (Heine) posth. 129, D. 965(Müller, von Chézy) Der HirtaufdemFelsen forSoprano, Clarinet, andPiano, op. (Rellstab) Auf demStrom forVoice, Horn, andPiano, op. posth. 119, D. 943 (Born January 31,1797, Vienna; diedNovember 19, 1828,Vienna) FRANZ SCHUBERT ding tothecrossing.” words: “Thekingofharmony hadsentthekingofsongafriendlybid- Opus 131,whichwas played forhim five days beforehedied.InHolz’s his death, Schubert made his last musical request: to hearBeethoven’s that wewereallfrightenedforhim.” InNovember 1828, shortlybefore 131 Quartet, “He fellintosuchastate ofexcitement andenthusiasm violinist Karl Holz reports that when Schubert first heard the Opus held adeepreverence forthisiconicwork.Another anecdote from entire spectrumofhumanexperience. with remarkableinsightandempathy, given voice toseeminglythe ideas. Thejourneyhascomefullcircle.Alongtheway, Beethoven has, contributes totheunified qualityofthework’s wide-rangingmusical bulent finale. Thereturn ofthismaterialinthequartet’s final chapter motif onwhichthefirst movement isbuilttransformedinthistur ment’s sustainedTheattentive rage. listener mightdetect thedark quartet’s tempestuous finale. ment, assearinglyexpressive asitiscompact,preparestheway forthe movement, marked Adagioquasiunpocoandante.Thispithy move- rambunctious conclusion, three strident G-sharps extend the proceedings, and the tet’s wild fifth movement acters. key butproceedatdifferenttempiandtraverseofchar awiderange duced by theviolins. Theseven variationsthatfollow sharethesame center ofthequartet: aset ofvariationsonaneloquenttheme,intro- ment serves asarecitative, prefacingthesubstantial Andanteatthe forcefully announcethearrivalofsomething new. Thethirdmove- movement comestoanunderstated conclusion,twoloudchords Rellstab’s text—fittingly, inmoreways thanone—describesa Aside from Wagner, countless others throughout history have A suddenburstpointsthequartet ofanger towards itsfinal move- Without pause,thecellobrashlyinterrupts, launchingthequar Presto dissolves intothedesperatesadness ofthesixth Presto. After what seems like a triumphant - - - von Chézy—becomes dark: portrays theecho of hervoice over thevalleywithclarinet. shepherd describessingingfromthehighest rock,Schubertcleverly register totheroundwarmth ofitslow end. Schubert tracestheclarinet’s fromitsbrightupper expansive range clarinet begins the song with a long-breathed, pastoral melody. lonely miseryand,finally, tohopefuloptimism. on theRockchartsanemotional journeyfromRomantic yearningto TheShepherdshow andSchubertobliged: offawideexpressive range, another poet, thoughttobeHelmina von Chézy. poetry by WilhelmMüller;thewordsforfifth andsixth comefrom Schubert’s lieder. Rock .Butdespiteitsgreaterbreadth,TheShepherd onthe for voice, piano, and clarinet, placing it in the more public realm of thanalmostger any other ofSchubert’s songs. Itismoreover scored Schubert . and, indeed,thesongexhibitsgranderaspirationsthantypical Anna Milder-Hauptmann, whorequested aconcertshowpiece— ond-to-last ofhismorethansixhundredlieder. Rock) inOctober1828, onemonthbeforehedied.Itwouldbethesec- Schubert completed Der Hirt auf dem Felsen (The Shepherd on the Der HirtaufdemFelsen lamation. But,alas, Schuberthimselfhadjust eightmonthsleft. first anniversary ofBeethoven’s death,might be heardasaveiled proc- mantle, andhisallusiontotheEroica inoneofhisown songs, onthe him?” Schubertknewthatitwas hewhoshouldassumeBeethoven’s the eulogy. shall stand In beside his remarks, Grillparzer asked, “Who the pallbearers, andhisfriend,thepoet Franz Grillparzer, delivered Eroica Symphony. At Beethoven’s funeral, Schubert served as one of unsympathetic speed”tothefuneral-marchthemefromBeethoven’s So longinglydid sound thesong, But thegloominess gives way toanunderstated resolution. I amsolonesomehere. Hope hasoneartheludedme, Happiness isfarfromme, I amconsumedinmisery, The song’smiddlesection—where thetext turns fromMüllerto Over there. I hotly longtobewithher My sweetheart dwellssofarfromme, From underneath. So muchthebrighteritechoes The fartherthatmy voice resounds, The musicturnsmoreimpassioned,astheshepherdsings: The vocal melodycomesfromtheclarinet’s openingtune;asthe The chasm. Echoes rushthrough,upward andbacktome, Far fromthevalleydarkanddeep And sing, I lookdeepdown intothevalley, When, fromthehighest rockuphere, The song’sfirst twostanzas set thescene: Following thepiano’s mysterious introductorymeasures, the Hauptmann asked Schubertforasongthatwouldallow herto The song comprises seven verses: the first four and the last use Schubert composedthesongforaprominentsopranonamed still that contains characterizes the all expressiveof immediacy At deallon- sometwelve minutesinlength,itis a good

concert Programs concert Programs post’s note. Itbetrays alove oflifemadeallthemorepoignantby DieTauben- text withexquisite precisionandendsSchwanengesang Johann GabrielSeidl,isacheerfulodetocarrierpigeon. , DieTaubenpost (ThePigeonPost). Thetext, by The starknessinthefinal songof ofDerDoppelgängerisassuaged Die Taubenpost sive chordsinthepiano, keens aforlorn melody. thesinger during hisfinal years. solitude and existential angst that resonated with Schubert, especially Romantic poet Heinrich Heine. Thepoemconjuresthefeelingsof two songsofthisposthumous cycle. Schwanengesang (Swan Song). This evening’s program offers the last Die Taubenpost—and thefourteensongswerepublishedin1829as songs Schubertdidcomplete—toadded which hispublisherHaslinger butafterhisdeath,brothereither cycle, collectedthethirteen stab and the other on poems by Heinrich Heine. He didn’t complete oneonpoemsbywas projectedtobetwonewcycles: LudwigRell- Between August andOctoberof1828, Schubertset toworkonwhat Journey) and (Winter two ofthefinest in therepertoire:hisfamousWinterreise song cycles Schubert’s mammoth outputof morethansixhundredsongsincludes Der Doppelgänger pation ofspring. magical, shiftsinharmony. inatmospherethroughsubtle,Schubert affectsthechange bututterly Schubert’s musicalsetting, naturally, captures thespiritofSeidl’s Schubert’s setting isunsparinglybleak.Against aseriesofimpas- So many anight,intimeslongago? That hastorturedmehereinthisspot Why doyouapethepainofmy love, You my fearfuldouble,youpalepartner! The moonshows memy own form. It horrifies me,whenIseehiscountenance, And powerfully wringinghishandsin torment. A manisstanding there,too, staring upintospace, The housecertainlystill stands, inthesame place. She hasalreadyleftthecitylongago, My sweet onelived inthishouse; The nightiscalm,theavenues arequiet, Der Doppelgänger(TheWraith) sets wordsby thegreatGerman To wander forth. Now must Imake ready The springtime,my happiness, The springtimewillcome, The song’sfinal stanza finds theshepherdrenewed by theantici- With amazingstrength. Towards heaven itdrawsallhearts So longinglythroughwoodandnight, placeasthelast songSchubertcomposed. Die schöneMüllerin(TheFair MaidoftheMill). on anuplifting V V tryside festivities cheerfully resume. to theensemble’s timbre.Afterthismoment ofreflection,thecoun- emn centraltriosection.Here, thesecondcelloaddsincreasedgravity atmosphere. Schubertoffsets thescherzo’s buoyant ländler cellos’ deepsonoritycontributes tothedance’s festive, rollicking danceresemblingtherustica vigorous Vienneseländler. Thetwo extroverted blissandprivatemeditation.Thescherzobeginswith turbulence oftheslow movement, here,Schubertbrings together reconciles two opposing philosophies. Instead oftheserenityand the tranquilAsection. slows toareflective halt,leadingbacktoanornamentedvariationof ister backdrop tothefirst violin’s desperate cry. Thistumultuousride syncopations against turbulenttriplet figures, evokes analmost sin- is fiery andimpassioned. Itsrelentlessrhythmic energy, pitting hard while thefirst violinextemporizes above. Thecontrasting Bsection pizzicati inthesecondcelloprovide thelullaby’s rhythmic grounding, laby, sunginshimmeringchordsby thethreemiddlestrings. Hushed angst.” The Quintet’s slow movement, “divinepeaceconfrontsanddispelshuman the codathatclosesfirst movement. technique. Witnesstheperfectcohesionandlogicofmusicalideasin thing thatcannot beachieved simplythroughpolishedcompositional musical universe comesintobeinginSchubert’s CelloQuintet, some- that cannot be quantified. As with Beethoven’s late quartets, a unique this work,thequintet’s trueartisticliesinthoseelements genius second theme,oneofthequintet’s most memorablepassages. measures aresimultaneouslyexpectantandserene. ing between major andminortonalities, theprimordialintroductory effortless stream ofcharacteristically Schubertianmelodies. Oscillat- later. did not receive itspremiereuntil1850andwas publishedthreeyears publication amonthafteritscompletion, buttheworkwas refused.It of 1828, just weeksbeforehisdeathonNovember 19. He offereditfor and fluidity. of twoviolins, viola,andtwocelloswithperfectinstrumental clarity matic narrative. Formally speaking, the workcombinesitsensemble prototypically Romanticpoignancy, andaBeethovenian senseofdra- flawless melodies supported by expressive harmonic schemes, a erature. ItexhibitsallofSchubert’s chiefcompositionalstrengths: the most perfectlyconceived worksintheentirechambermusiclit- Schubert’s StringQuintet in C Majoriswidelyregardedasoneof Approximate duration:55minutes D. 950;Drei Klavierstücke, D. 946; Schwanengesang, D. 957 Psalm 92 forBaritoneandChorus, D. 953;Massno.Major, 6inE-flat Major,B-flat D. 960; Fugue ineminorforOrgan, Four Hands, D. 952; in cminor, D. 958;PianoSonatainAMajor, D. 959; PianoSonatain Other works fromthisperiod:Allcomposedin1828:PianoSonata First performance:November 7, 1850, Musikverein Hall,Vienna Published: 1853, asOpus163 Composed: 1828 op. posth. 163, D. 956 Quintet inCMajorforTwo Violins, Viola,andTwo Cellos, FRANZ SCHUBERT c. c. ¢ ° B B 4 4 4 4 Like thesecondmovement, thethirdmovement presentsand Schubert biographerBrianNewbouldwritesthatintheCello While Schubert’s supremecraftsmanshipisclearlyevidentin The celloscombineintheirrichtenorregister tosingthelyrical The CelloQuintet’s openingAllegro manontroppo featuresan Schubert composedtheCelloQuintet fromAugust toSeptember pp pp ˙b ˙ ™ ™ Adagio begins with a soft and timelessly slow-moving- lul œ œ œ œ œ œb œ œ œ œ œ œ œ œb œ œ ˙b ˙ ™ œ œ œ œb œ œb œ œ œ œ œ œ œ ™ œb J œ œ ˙ ˙ ™ > ˙ > œ with asol- œ w w line atbreakneckspeed. point, thetempoquickens even further, barreling towards thefinish the antewithafaster repeatofthedancetheme.Asiftoreinforce dance. Afterreprisingeachofthemovement’s themes, Schubertups curial musicescalatesintoaseamlessreturn totheopeningHungarian accompanied by sighing legato figures in the upper strings. This mer yet another musicalidea:athoughtfulduet between thetwocellos, flavor. Afterextending thisheartwarming theme,Schubertpresents the hot-blooded Hungariandanceinfavor ofadistinctly Viennese without reservation.Theliltofthesecondmusicalideadepartsfrom ian dancethemethrows allquestioning tothewindandembraceslife polarity between thescherzoandtrioofthird,finale’s Hungar following theemotionally exhausting secondmovement andthe “a stirring paeanto the indomitability of the human spirit.” Indeed, Commentator Melvincallsthequintet’s Berger final movement - - for communitynewsandinformation. A proud sponsorof Music@Menlo www.hyperion-records.co.uk n t noaieAudioNotes innovative its and ui@el 2015Music@Menlo Season s lae ospotthe support to is pleased

Palo Alto’s localsource

Records Hyperion

pre-concertguides. record record label’ ‘Britain’sbrightest

concert Programs