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Ariel Quartet Orion Weiss GERSHON GERCHIKOV, VIOLIN ALEXANDRA KAZOVSKY, VIOLIN JAN GRÜNING, VIOLA AMIT EVEN-TOV, CELLO ARIEL QUARTET AND ORION WEISS PIANO DENVER NOVEMBER 9, 2016 FRANZ JOSEPH Quartet in F major, Op. 77, no. 2, Hob. III:82 HAYDN Allegro moderato (1732-1809) Menuetto: Presto, ma non troppo Andante Finale: Vivace assai BÉLA BARTÓK Quartet No. 6, Sz. 114 (1881-1945) Mesto – Vivace Mesto – Marcia Mesto – Burletta: Moderato Mesto – Molto tranquillo INTERMISSION ERNST VON Piano Quintet No. 1 in C minor, Op. 1 DOHNÁNYI Allegro (1877-1960) Scherzo: Allegro vivace Adagio, quasi andante Finale: Allegro animato ARIEL QUARTET Making its FCM debut this evening, the Ariel Quartet has earned its glowing international reputation with virtuosic playing and impassioned interpretations. Formed in Israel nearly twenty years ago when its members were students, the quartet was recently awarded the prestigious Cleveland Quartet Award. The quartet serves as the Faculty Quartet- GERSHON in-Residence at the University of Cincinnati’s College- GERCHIKOV Conservatory of Music, where they direct the rigorous violin chamber music program and perform their own annual series of concerts in addition to their busy touring schedule. ALEXANDRA KAZOVSKY In the 2016-17 season, the Ariel Quartet will perform violin the complete Beethoven cycle in Berlin, following JAN GRÜNING a performance of the cycle for Napa’s Music in the viola Vineyards, and will also tour with Alon Goldstein in performances of the Mozart piano concertos arranged for AMIT EVEN-TOV quartet and piano. The Ariel Quartet’s 2015-16 season cello featured their debut at Carnegie Hall, as well as a major collaborative project with clarinetist David Krakauer. Recent seasons included a groundbreaking Beethoven cycle performed at New York’s SubCulture that featured a midnight performance of the Große Fuge; a performance featuring music by three generations of Israeli composers at the Kennedy Center in Washington, D.C.; and a tour of South America. The Ariel Quartet performs widely in Israel, Europe, and North America, including two Beethoven cycles performed before all the members of the quartet turned thirty. The quartet has collaborated with violist Roger Tapping, cellist Paul Katz, and the American, Pacifica, and Jerusalem String Quartets. The quartet has toured with cellist Alisa Weilerstein and has performed a number of times with the legendary pianist Menahem Pressler. Additionally, the Ariel was quartet-in-residence for the Steans Music Institute at the Ravinia Festival, the Yellow Barn Music Festival, and for the Perlman Music Program. In addition, the Ariel was the Ernst Stiefel String Quartet-In- Residence at the Caramoor Festival. Formerly the resident ensemble in the New England Conservatory’s Professional String Quartet Training Program, the Ariel has won a number of prestigious international prizes including the Grand Prize at the 2006 Fischoff National Chamber Music Competition, the Székely Prize for their performance of Bartók, and Third Prize at the Banff International String Quartet Competition. The Ariel Quartet has been mentored extensively by Itzhak Perlman, Paul Katz, Donald Weilerstein, Miriam Fried, Kim Kashkashian, and Martha Strongin Katz. The quartet has received significant scholarship support for the members’ studies in the United States from the America- Israel Cultural Foundation, Dov and Rachel Gottesman, and the Legacy Heritage Fund. Most recently, they were awarded a substantial grant from The A. N. and Pearl G. Barnett Family Foundation. ORION WEISS Orion Weiss returns to FCM after his first appearance here in 2012 in a two-piano recital with Inon Barnatan. Weiss was a student of Emanuel Ax who personally recommended him to FCM. One of the most sought-after soloists in his generation of young American musicians, Weiss has performed with major American orchestras, including the Chicago Symphony, Boston Symphony, Los Angeles Philharmonic, and New York Philharmonic. His ORION WEISS deeply felt and exceptionally crafted performances go far piano beyond his technical mastery and have won him worldwide acclaim. The 2016-17 season has Weiss performing in collaborative projects including those with Alessio Bax, the Pacifica Quartet, and with Cho-Liang Lin and the New Orford String Quartet in a performance of the Chausson Concerto for piano, violin, and string quartet. Last year Naxos released Weiss’s recording of Christopher Rouse’s Seeing – a major commission Weiss debuted with the Albany Symphony – and in 2012 he released a recital album of Dvoˇrák, Prokofiev, and Bartók. That same year he also spearheaded a recording project of the complete Gershwin works for piano and orchestra with his longtime friendsofchambermusic.com 1 collaborators the Buffalo Philharmonic and JoAnn Falletta. Known for his affinity and enthusiasm for chamber music, Weiss performs regularly with violinists James Ehnes and Arnaud Sussman, and cellist Julie Albers. Weiss has appeared across the U.S. at venues and festivals including Lincoln Center, the Ravinia Festival, the Seattle Chamber Music Festival, La Jolla Music Society SummerFest, Chamber Music Northwest, the Kennedy Center, Spivey Hall, and in Aspen, where he appeared in 2015 in a two piano recital with FCM alumnus, Shai Wosner. He made his New York recital debut at Alice Tully Hall in 2005 and made his European debut in a recital at the Musée du Louvre in Paris the same year. He was a member of the Chamber Music Society Two program of the Chamber Music Society of Lincoln Center from 2002-2004. Weiss’s impressive list of awards includes the Gilmore Young Artist Award and an Avery Fisher Career Grant. A native of Lyndhurst, OH, Weiss attended the Cleveland Institute of Music. In 1999, Weiss made his Cleveland Orchestra debut performing Liszt’s Piano Concerto No. 1. Also that year, with less than 24 hours’ notice, Weiss stepped in to replace André Watts in a performance of Shostakovich’s Piano Concerto No. 2 with the Baltimore Symphony Orchestra. He was immediately invited to return to the Orchestra for a performance of the Tchaikovsky Piano Concerto the next season. He graduated from the Juilliard School in 2004. Weiss is married to the pianist Anna Polonsky, with whom he often performs. (Polonsky will appear at FCM’s next concert with violinist Stefan Jackiw on December 7th.) The couple has a three-year-old daughter. They live in New Jersey. Weiss is an avid outdoorsman and has enjoyed hiking Colorado’s 14ers when he appeared in Aspen and Vail. LEGACY GIFTS For those who want to leave a musical legacy, a planned or deferred gift to Friends of Chamber Music is a meaningful way for you to help insure our future artistic excellence and stability while providing enhanced tax benefits to you. Visit our website for more information. 2 friendsofchambermusic.com NOTES Program note from Guide to Chamber Music, by Melvin Berger ©1985 (used with permission). The F major, the last quartet that Haydn completed, was HAYDN: QUARTET written when he was in his late sixties, in failing health, IN F MAJOR, and deeply involved in composing his great oratorios OP. 77, NO. 2 and masses. Unaware that the F major was to be his last quartet, Haydn did not use it for any great summing up. Instead he composed a meticulous work that has all the characteristic drive and vigor of his more youthful works, yet is imbued with a certain wistful melancholy. The main theme of the first movement is essentially a melancholy descending F scale, but with many interruptions of its downward motion. To intensify the doleful impression, Haydn starts with a strong phrase, which fades away to a number of soft, weak extensions. Other motifs follow until the first violin introduces the new subsidiary melody while the second violin plays the opening of the principal theme. After a rather lengthy development section, which ends with a measure of silence, Haydn brings both subjects back for a truncated recapitulation. There can be little doubt that Haydn wrote the humorous Menuetto with tongue in cheek. The first clue is the gay and skittish melody. Then, although the movement is in the traditional triple meter, Haydn goes out of his way to create duple-meter rhythmic patterns that go in and out of phase with the underlying beat. He also writes a cello part that at times makes the instrument sound like timpani. After the high spirits of the Menuetto, the Trio, in a distant key, is quite unexpected. Smooth and sober, almost hymn- like, it is a sharp contrast to the impish playfulness of what came before. But Haydn’s hijinks are not yet over. In the transition back to the Menuetto, he throws in a few “wrong” beat entrances, just for fun. In the strange, striking opening of the Andante, the violin plays the staid, deliberate theme while the cello moves it forward with a slow, implacable tread. There are three quite freely realized variations on the theme (featuring the second violin, the cello, and the first violin respectively), friendsofchambermusic.com 3 Program Notes which are separated by contrasting episodes between the Continued variations. A tremendous crescendo and climax precede the final variation, which nonetheless starts very quietly, much as the movement began, and ends just as quietly. The Finale theme captures all the dash and fire of a fast folk dance. A slighty more subdued second theme, characterized by misplaced accents, on the third beat instead of the usual first, follows. With great rhythmic vitality, Haydn then builds the rest of the movement almost exclusively on the first theme, although he brings both ideas back for the recapitulation. A few soft Last performed on our measures in the midst of the bustling coda heighten the series March 19, 2014 impact of the exciting conclusion. (Elias String Quartet) Estimated duration: 25 minutes Program note by Robert Strong © 2012 Bartók’s string quartets were composed over a 30-year BARTÓK: STRING period, and they chart the evolution of his style.
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