The American String Quartet Peter Winograd, violin FRIENDS OF Laurie Carney, violin Daniel Avahalomov, viola CHAMBER David Geber, cello

3:00 PM, April 7, 2002 Faye Spanos Concert Hall USI University of the Pacific Stockton,

Quartet in E-flat Major, K. 428 Wolfgang Amadeus Mozart Allegro non troppo (1756-1791) Andante can mota Menuetto: Allegro Allegro vivace String Quartet No.4 "Apparitions" (2001) Richard Danielpour Rudolpho's Dream (b. 1956) Katrina and the Children Swan Song Last Tango at Teatro Colon Johnnie Brown - Intermission-

Quartet in c-sharp Minor, Op. 131 Ludwig van Beethoven Adagio, rna non troppo e molto espressivo (1770-1827) Allegro malta vivace Allegro moderato Andante, rna non troppo e malta cantabile Presto Adagio quasi un poco andante Allegro

The AMERICAN STRING QUARTET is represented by Melvin Kaplan, Inc. 115 College Street, Burlington, Vermont 05401 www.melkap.com Recordings: CRI, Musical Heritage Socity, Nonesuch, New World, MusicMasters The American String Quartet Program Notes back the work's opening somber The American String Quartet has character. Mozart-Quartet in E-Oat, K 428 achieved a position ofrare esteem in The impish opening motif of the Quartet parties were the favorite form the world of chamber music. On annual Finale introduces a movement of entertainment among the groups of tours to virtually every important con­ Haydnesque in style, robust and intellectual families of bourgeois stock in vigorous. The form is a combination cert hall in eight European countries Vienna. In 1783, at one of these, a party of rondo and sonata; variations of the and across North America, the Quartet long planned by Mozart and in the themes in the rondo recapitulations has won critical acclaim for its present­ presence of his visiting father, the last taking the place of a development ations of the complete quartets of three of the Haydn quartets (Quartet in section. The attractive tunes, the Beethoven, Schubert, Schoenberg, E-flat was the fourth) were played with alternation ofloud and soft passages, Bartok and Mozart, and for collabor­ Haydn on the first violin and Mozart on the witty treatment, and the overall ations with a host of distinguished the viola. It was at these meetings with sturdiness show the influence of artists. In the 1998-1999 season, the Haydn the deep friendship between them Haydn. But the forward-looking American celebrated its 25th anniversary blossomed. Mozart dedicated the six Mozart is evident in the surprising with a tour that included concerts in all quartets of the set to Haydn for as he said chromaticism amidst the buoyant, 50 states, a performance at the he had learned the art from Haydn. He delicately strong playing. Kennedy Center in , and wanted Haydn to admire him, as he did Danielpour-String Quartet two European tours. his older friend, and in his dedication, he No.4 Resident quartet at the Aspen Music stated that he had labored long and hard Danielpour has been termed "one Festival since 1974, the American also over the quartets, as corrections in the of the most refreshing new old­ has ongoing series at Princeton timers" in music today. In the University and the Orange County manuscripts reveal. Haydn responded by dialectic of musical tastes, he turns Performing Arts Center in California. greatly pleasing Leopold Mozart in from the atonal and the minimalist The Quartet is credited with broaden­ stating: "I declare to you before God as schools, following in the line of ing public awareness and enjoyment of an honest man that your son is the American composers such as chamber music across North America greatest composer I know either Copland, Stravinsky, Barber, Britten, through educational programs, personally or by hearsay; he has taste and and Bernstein. He represents a neo­ seminars, broadcast performances, and moreover complete mastery of the art of romantic movement that uses the published articles. It was one of the first composition." inherited traits ofEuropean music. ensembles to receive a National Arts The main theme of the first movement Danielpour has been given Endowment grant for its activities on is presented in unison in the four commissions by major symphony college campuses. The American's instruments, begun with an octave leap. It orchestras and composers, including commitment to contemporary music then surprises with a sudden burst into Y0-Y0 Ma, who interpreted his Cello has resulted in numerous commissions dissonant harmony. A long trill on the . Danielpour is not and awards, including three prize­ first violin announces the arrival of the concerned with musical fashions, and winners at the Kennedy Center's second theme, more soothingly melodic. believes originality springs from the Friedheim Awards, and, most recently, The development reiterates the opening individual's style. He is allied to those Richard Danielpour's Quartet No.4. unison theme in the dominant key and composers who wish to reunite The American has been Quartet-in­ then entertains with a soaring passage of concert music with its audience, with Residence at the Manhattan School of triplets and scampering scales. One of the an emphasis on tonality, and on Music in since 1984, served exposition's linking phrases is used for a subjectivity. Danielpour's music as Resident Quartet at the Taos School little canon in the recapitulation. includes what he calls "public" and ofMusic from 1979 to 1997, and was The melodies of the Andante con moto "private" music; the former is loud, previously on the faculty of the are harmonized in a rich advanced busy, declarative, and extroverted Peabody Conservatory. They have chromatic harmony. In the second while the latter includes lush strings, recently completed a 3-year visiting section, a coincidental anticipation of the chorales, and shimmering lyrical lines. residency at the University of Michigan love potion theme from Wagner's Tristan A New Age spirituality can be found and have served as resident ensemble undIsolde haunts the music. A yearning in his music. He claims inspiration for the Van Cliburn International Piano quality combined with a certain sense of from A Course in Miracle, a popular Competition. In 1999, the American urgency is suggested by the use of self-help book written by the was invited to judge the first Bordeaux suspensions--one instrument holding on psychiatrist Helen Schucman in the International String Quartet to a note while the others change to a 1970's, which she claims was dictated Competition. new harmony. by Jesus. The four musicians studied at the The minuet begins with a strident little Apparitions was composed in , where the Quartet was motive suggestive of some of the December 2000, in Palm Beach, formed in 1974, winning the Coleman Hungarian folk dance motives appearing Florida. The composer grew up near Competition and the Naumburg Award in some of Haydn's works. The trio is this site and some of the stories of that same year. smoother, rather melancholy, bringing Apparitions are based there. Rudolpho's Dream stems from Puccini's ended his life the following year. He and of the entire quartet, is a hymn­ opera, La Boheme. Rudolpho dreams of had, however, succeeded in securing a like section, the sixth variation, Mimi returning from beyond the grave to place for Karl in BaronJoseph von Adagio ma non troppo e semplice. In the join him. In Katrina and the Children, the Stuterheim's regiment. The quartet was course ofvariations, an intrusive entire fatnily ofKatrina Trask, who had dedicated to the Baron. The initial public motif on the cello threatens to died in the great Diphtheria Epidemic, is performance did not take place until disrupt the texture, but it is repeated reunited in an old mansion. The evening 1835, long after Beethoven's death. in varied form in the other turns into a ghostly ball. Swan Song is the Sullivan, who wrote a text titled instruments, followed by an story of the last days of Danielpour's Beethoven: His SpiritualDevelopment, stated elaborate cadenza for each of the grandmother, who began to speak after a that these Quartets contained "the four instruments. long silence, saying her husband was profoundest and most valuable The naively playful scherzo (Presto) present, waiting for her. She sang Persian experiences that any artist has yet features at one point a powerful songs to her dear departed, and loved ones conveyed," finding in them a vision of fortissimo with an anapestic rhythm, felt they heard but one side of the love life. He explained that at one point, then makes an allusion to the fugue duet. The Teatro Conon was the famous Beethoven had opposed his creative subject, resolving the movement theater in Buenos Aires. After World War energy to his destiny. Now he saw that back to c# tninor in double II, audiences included both Nazi and his great creative force owed its exist­ counterpoint. Jewish refugees united by love ofopera. A ence to that destiny. To accept suffering A short Adagio,which is both common saying in reminiscences of the as a gift was almost a mystical solution. gentle and sorrowful, leads to the past days has been, "When the Teatro is Sullivan called the c# tninor quartet the finale, which contains allusions to dark and closed, then the seething passions most mystical, the most serene, and the the fugue with structural of these long-ago audiences continue their most unearthly of the quartets. reinterpretation and provides a own sort of dance-endlessly." Johnnie Beethoven made hundreds of pages of powerful coda. The fugue and the Brown was the pet monkey, and favorite sketches for the quartet, which became a finale act as stern outer columns companion of a Florida architect, Mizner, series of seven interconnected move­ framing a fantastic range ofdiverse who designed much of Palm Beach. The ments played without pause, creating a inner episodes, from the serious to monkey has a gravestone reading ''Johnnie completely organic, well-integrated the playful to the tragic. Brown-The Human Monkey." This whole. The burden for projecting the -Notes !?y Catherine RtJche movement explores the abstract underlying unity rests with the perform­ relationship of man and animal asking, ers, who must maintain the proper "Who is the master?" relationships oftempo and mood for the work to flow smoothly. The large-scale TO OUR AUDIENCE in Beethoven-Quartet c-sherpMinor, rhythtnic continuity is one aspect of the • The use ofcameras and recording Op.131 integrated network of relationships devices of any kind is forbidden. Opus 131 was the fourth in holding the seven movements together. • Smoking in the lobby and Beethoven's last set of quartets, which He uses techniques ofanticipation and auditorium is prohibited. were his final works. He had finished his quotation in which a series of musical • Please turn off cellular telephones MissaSolemnis and the last performance of possibilities is glimpsed or reviewed, and and disengage audible alarms on the Ninth Sympho'!J and he was thinking of rediscovered in the finale. pagers and electronic watches. returning to the medium untouched in The first movement is a slow fugue of • DOP & Delta students are admitted ten years. Prince Galizin, a wealthy impressive gravity, with a theme free on a space-available basis. Russian nobleman and cellist, offered a expressing a sublime melancholy. The • Concert programs are subject to timely commission for three quartets, use of dissonance contributes to the change without notice. which were finished in 1825. Beethoven bleak atmosphere at the opening and to • Seating is unreserved for the 2001­ 2002 Season. then started the c# tninor quartet, which the expressive tension throughout. The • Contributions, including memorials, he considered his greatest work, and it, fugue is followed by four episodes and a are tax deductible to the extent with the last two quartets, are considered coda, in a continuing mood, both allowed by law. his crowning achievement, compositions contemplative and serene. An octave unmatched in music, in spiritual depth, jump on C# leads into the second Tickets are available at the door. Adult: Single $20, Season $75 power, and beauty. Beethoven began the movement which begins with an octave Child 13-17: Single $5, Season $15 c# minor quartet in November of 1825 jump on D. This scherzo-like movement Child 12 and younger: Free and finished it in July 1826. Finishing dispels the serenity of the great fugue Suzuki Family Season: $50 opus 131 coincided with a crisis in with an outburst oflife. Beethoven's personal life; his nephew The third section is a short recitative FOCM welcomes children to its con­ Karl, on whom he had poured out years transition leading to the Andante, ma non certs. We do ask, however, that children of attention and concern, but with troppo e molto cantabile set ofvariations. ten years ofage & under (no babes in mistaken parental tactics, attempted The six freely innovative variations are a arms, please) be accompanied by an suicide. On returning to Vienna with Karl brilliant chain, with some of the adult. At the request ofartists, children in an open wagon, Beethoven caught variations undergoing a change of are not to sit in the first four rows. pneumonia, complications ofwhich character. At the heart of the variations, Friends of Chamber Music

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