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Home , Juilliard String Quartet, String quartet

Monday Evening, November 19, 2018, at 7:30

The presents Juilliard String Areta Zhulla and Ronald Copes , Roger Tapping , Astrid Schween ,

Part of the Daniel Saidenberg Faculty Recital Series

LUDWIG VAN BEETHOVEN (1770 –1827) No. 3 in D major, Op. 18, No. 3 Allegro Andante con moto Allegro Presto

LEMBIT BEECHER (b. 1980) One Hundred Years Grows Shorter Over Time I. II. III.

Intermission

ANTONIN DVO Rˇ ÁK (1841 –1904) String Quartet No. 12 in F major, Op. 96 (“American”) Allegro ma non troppo Lento Molto vivace Finale: Vivace ma non troppo

Performance time: approximately 1 hour and 45 minutes, including an intermission

The taking of photographs and the use of recording equipment are not permitted in this auditorium.

Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving).

Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Notes on the Program was the first to be written, begun in the summer or fall of 1798 and finished late by James M. Keller that year or early the next. It therefore rep - resents the beginning of the remarkable String Quartet No. 3 in D major, journey that would culminate in 1824 –27, Op. 18, No. 3 when Beethoven composed the extraordi - nary five of his final years. In fact, Born probably on December 16, 1770 (he he effected revisions to Op. 18, No. 3 after was baptized on the 17th), in Bonn, then he provisionally completed it, drawing on an independent electorate of Germany his experience working out some of his Died March 26, 1827, in Vienna, Austria other early quartets.

When, in 1792, Beethoven left his native This is the most gentle and least obviously Bonn to seek his fortune as a pianist and a innovative quartet of the set, a piece that, in the heady cultural capital of in a sense, picks up where Mozart left off. Vienna, he was entering a world domi - That said, it is a work of terrific appeal and not nated by the spirit of the late lamented short on character. The opening theme of its Mozart and the still-living and universally first movement evolves out of the interval revered Haydn. Beethoven’s early string of a rising minor seventh—flirtatious or enig - quartets are clearly born of the tradition matic depending on the interpretation— and those defined, yet they already reaches a ferocious climax in its develop - strain in new directions. Succinct themes ment section before eliding into the exposi - capable of extensive development; imagi - tory material that launches the recapitulation. native melodic manipulation; startling The genial slow movement—not very dynamic contrasts; complete, sometimes slow, at Andante con moto —charms espe - radical, formal mastery: these are all evi - cially through a tick-tock figure that accom - dent in Beethoven's first set of six quar - panies the ornate second theme. Was tets, Op. 18, which he composed from the Beethoven thinking of Haydn’s “Clock” summer or autumn of 1798 to the summer , which was not yet five years of 1800. They were introduced at a series old? A spirited third movement, a synco - of private house concerts given on Friday pated proto-, includes a scurrying mornings at the Vienna home of Prince trio of flying scales passed between the Karl Lobkowitz, the Austrian aristocrat to violins; and the finale gallops along viva - whom the set is dedicated. These perfor - ciously in 6/8 time, passes through stu - mances were regularly attended by the dious patches of , and ends by city’s cultural and philanthropic elite, and it just disappearing into the distance off yonder. comes as no surprise that, shortly after these Beethoven quartets were unveiled, One Hundred Years Grows Shorter patrons showed an increasing interest in Over Time commissioning works from this intractable LEMBIT BEECHER but inescapable genius. Born November 23, 1980, in Santa Cruz, California The sketch books Beethoven employed for Currently residing in New York City recording and working out his ideas for these quartets reveal that the pieces were Lembit Beecher is now in his third season composed in a different order from how as composer-in-residence at the Saint they were positioned when published, in Paul Chamber , having previ - 1801. The D-major Quartet (Op. 18, No. 3) ously spent three years as the inaugural composer-in-residence for Opera Philadel - movement, but along the way it is rein - phia, in collaboration with Gotham Chambe r terpreted and reshaped into something Opera and -Theatre Group. His cham - quite different. The movements all share ber opera Sky on Swings , centering on two a similar obsessiveness of character, women grappling with Alzheimer’s disease, moments of exuberance, and a tendency was premiered by Opera Philadelphia in for long lines to emerge out of faster, September, in a production starring mezzo- restless music, but each movement is sopranos Frederica von Stade and Marietta shorter, slower, and more focused than Simpson; and his opera I Have No Stories the previous one. As I wrote a melody to Tell You was premiered by Gotham kept coming into my mind: a waltz writ - Chamber Opera in 2014. ten by my Estonian granduncle Ilmar Kiiss, now in his mid-90s. He had written Beecher has been strongly drawn to inter - the waltz in the 1950s, after the Soviet disciplinary work, as in his Sophia’s Forest , occupation of Estonia, and I had first a 2017 chamber opera for soprano Kiera played this music with my violinist brother Duffy, the Aizuri Quartet, and a multi-piece when we were teenagers. Over the sound sculpture built in collaboration with years we have kept returning to it and it architects and engineers at the University felt right to let this little bit of my of Pennsylvania and Drexel University’s granduncle’s life that had meant so much ExCITe Center. Born to mixed Estonian and to me into my piece. The waltz is hidden American heritage, Beecher has often turned or just hinted at in the first two move - his attention to compositions that involve ments but in the third it appears fully place, ecology, memory, and the multitude realized if a bit scratchy, as if an old of ways in which people tell stories— recording, a piece of the past both beauti - sometimes drawing on tales and reminis - ful and out-of-context, was rediscovered cences from his own family. by a future generation.

One Hundred Years Grows Shorter Over String Quartet No. 12 in F major, Time was commissioned by South Mountain Op. 96 (“American”) Association for the ANTONÍN DVO Rˇ ÁK and written in honor of the 100th anniver - Born September 8, 1841, in Nelahozeves, sary of South Mountain Concerts (Pittsfield, Bohemia Massachusetts), where the Juilliard four - Died May 1, 1904, in Prague, Bohemia some premiered it on September 23. Beecher provides this comment about Antonín Dvo rˇák composed his “American” the piece: string quartet while living in the United States, where he served as director of the As I began writing I thought about the National Conservatory of Music in New span of 100 years: how, over time, our York from 1892 –95. He had some expo - lives turn into stories told by our children, sure to Native American music during his grandchildren, and great-grandchildren, time in the United States. In the spring of the complications and subtleties of life 1893 he attended one of Buffalo Bill crystalizing into anecdotes as actual Cody’s “Wild West” shows in New York, memories fade. The three movements which would have included a fair amount of this quartet are like successive gener - of more-or-less authentic singing and danc - ations retelling the same story. Musical ing from a group of Oglala Sioux who material is passed from movement to belonged to Cody’s troupe. A few months later, during his summer vacation in piece into existence by defining nothing Spillville, Iowa, he encountered performers more than a chord, with the viola entering of a different tradition at a performance last, enunciating the principal melody with given by the Kickapoo Medicine Company. husky richness. Following the classically worked-out first movement, the second It is widely held that some of the sounds (Lento ) is a hyper-Romantic reverie with Dvo rˇák heard at those performances touches of harmonic suspension adding to worked their way into several pieces he its yearning quality; the French musicolo - wrote during his American years, although gist Pierre Barbier has cunningly referred debate swirls around how deep his indebt - to this movement as a sort of “Bohemian edness was. The Op. 96 quartet (premiered blues.” The third movement is a dance-like in Boston in 1894) is full of pentatonic scherzo (again with a pentatonic theme), melodies, including the two principal themes with the principal section alternating with a of the first movement—the first announced variant on itself to create an A-B-A-B-A staunchly by viola against a shimmering form. Dvo rˇák reported that some fig - , the second offered more uration in the middle of the A sections rep - hesitatingly by second violin. These may resents a transcription of the song of the sound somehow “Indian” but, in truth, scarlet tanager, which he heard at Spillville. five-note scales are redolent of any num - Good humor reigns over the Finale , although ber of folk . One might argue that halfway through the music slows down such melodies may be considered every and assumes a pious attitude, presumably bit as much Czech as they may be specifi - echoing the singing of a hymn—perhaps at cally American, and one is tempted to won - the Church of St. Wenceslaus in Spillville, der whether a specifically Native American where Dvo rˇák sometimes played the connection would occur to most listeners organ during his summer vacation. were it not for the work’s nickname. James M. Keller is the longtime program Having spent many years as an orchestral annotator of the New York Philharmonic violist, Dvo rˇák left a thoughtful legacy to and the San Francisco Symphony and the viola players of posterity: it is remark - serves as critic-at-large for the Santa Fe able how often he gives that instrument New Mexican , the oldest newspaper west the honor of announcing themes. A fine of the Mississippi. His book Chamber example comes at the outset of this quar - Music: A Listener’s Guide is published by tet, where the violins and cello ease the Oxford University Press. About the Artists in Detroit and Philadelphia, along with numerous concerts at home in New York, including appearances at Lincoln Center and Town Hall. Highlights of last sea - son included other visionary works by Beethoven, Bartók, and Dvor ák, as well as James MacMillan’s haunting and evoca - tive Quartet No. 2, Why Is This Night O

R Different? (1998). T E I P A P A

P Adding to its celebrated discography, the

O I

D JSQ’s newest release—featuring the world U A

L premiere recording of Mario Davidovsky’s C Fragments (2016), together with Beethoven’s Juilliard String Quartet Quartet, Op. 95, and Bartók’s Quartet With unparalleled artistry and enduring No. 1—was recently issued by Sony vigor, the Juilliard String Quartet (JSQ) con - Classical. Celebrating one of the great col - tinues to inspire audiences around the laborative relationships in American music, world. Founded in 1946 and hailed by the Sony Classical’s reissue of the quartet’s Boston Globe as “the most important landmark recordings of the first four Elliott American quartet in history,” the JSQ Carter together with the draws on a deep and vital engagement to 2013 recording of Carter’s Quartet No. 5 the classics while embracing the mission traces a remarkable period in the evolution of championing new works, a vibrant com - of both the composer and the ensemble. bination of the familiar and the daring. Each The quartet’s recordings of the Bartók and performance is a unique experience, bring - Schoenberg quartets, as well as those of ing together the four members’ profound Debussy, Ravel, and Beethoven, have won understanding, total commitment, and Grammy Awards, and in 2011 the JSQ unceasing curiosity in sharing the wonders became the first ensemble of the string quartet literature. Areta Zhulla to receive a lifetime achievement award joins the Juilliard String Quartet as first vio - from the National Academy of Recording linist for the 2018 –19 season, which includes concerts in Hong Kong, Singapore, Shanghai, Arts and Sciences. London, Oslo, Athens, Vancouver, Toronto, and New York, with return engagements all Devoted master teachers, the members of over the U.S. The season will also see the Juilliard String Quartet offer classes some collaborations with and open when on tour. The Marc-André Hamelin. JSQ is string quartet in residence at Juilliard and its members are sought-after Having recently celebrated its 70th anniver - teachers on the string and sary, the JSQ marked its 2017 –18 season faculties. Each May the JSQ hosts the five- with return appearances in Seattle, Santa day internationally recognized Juilliard String Barbara, Pasadena, Memphis, Raleigh, Quartet Seminar. Each summer the JSQ Houston, Amsterdam, and Copenhagen. It works closely on string quartet repertoire with continued its acclaimed annual performances students at the Tanglewood Music Center. BOARD OF TRUSTEES Ellen and James S. Marcus Institute for Vocal Arts Brian Zeger, Artistic Director Bruce Kovner, Chair Kirstin Ek, Director of Curriculum and Schedules J. Christopher Kojima, Vice Chair Monica Thakkar, Director of Performance Activities Katheryn C. Patterson, Vice Chair Julie Anne Choi Vincent A. Mai Lila Acheson Wallace Library and Doctoral Fellows Program Kent A. Clark Ellen Marcus Jane Gottlieb, Vice President for Library and Information Resources; Kenneth S. Davidson Nancy A. Marks Director of the C.V. Starr Doctoral Fellows Program Barbara G. Fleischman Stephanie Palmer McClelland Jeni Dahmus Farah, Director, Archives Keith R. Gollust Christina McInerney Alan Klein, Director of Library Technical Services Mary Graham Lester S. Morse Jr. Joan W. Harris Stephen A. Novick Preparatory Education Matt Jacobson Susan W. Rose Robert Ross, Assistant Dean for Preparatory Education Edward E. Johnson Jr. Jeffrey Seller Karen M. Levy Deborah Simon Pre-College Division Teresa E. Lindsay Sarah Billinghurst Solomon Yoheved Kaplinsky, Artistic Director Laura Linney William E. "Wes" Stricker, MD Ekaterina Lawson, Director of Admissions and Academic Affairs Michael Loeb Yael Taqqu Anna Royzman, Director of Performance Activities Greg Margolies Music Advancement Program Anthony McGill, Artistic Advisor TRUSTEES EMERITI Teresa McKinney, Director of Community Engagement

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