Photo credit: Marie Lasáková owned by theLobkowicz family. Střekov Castle, ahistoric monument also to Terri Bullock July 26: Eileen andJoelBirnbaum July 25:Betsy Morgenthaler individuals withgratitude for their generous support: Music@Menlo dedicates theseperformances to thefollowing SPECIAL THANKS commissioned by ordedicated to theseventh prince. the Lobkowicz family’s richcultural legacy, withworks all trove Lobkowicz— of musical manuscripts—Concert Program III celebrates William by led 10), Maximilian’s modernheirandtrustee oftheLobkowicz family’s p. (see II Encounter with Third, Fifth,andSixth Symphonies. Presented inconjunction 74 quartets, thesongcycle , and his numerous works to the prince, including his Opuses 18 and nicknamed theLobkowicz and was the dedicatee of Haydn’s Opus 77 string quartets, Franz Maximilian,was a benefactor to Haydn andBeethoven significant arts patrons. The seventh Prince Lobkowicz, Joseph have ranked for generations amongtheWestern world’s most Bohemian lineagesdating backto thefourteenth century, Members oftheLobkowicz family, oneofthemost prominent P M S Friday, July25,8:00p.m., July 25and26 Lobkowicz Legacy concert programiii: aturday, July2 rogram enlo- A therton O 6, 8:00p.m., verv i ew S Quartets. Beethoven, too, dedicated tent Family T he Center for H all, P M erforming enlo S chool A rts at rts at String Quartet no. 10inE-flat Major, op. 74, Harp String Quartet inGMajor, op. 77, no. Hob. 1, III:81(1799) J Fredrik Schøyen Sjölin,cello Danish String Quart String Quartet no. 1inFMajor, op. 18,no. 1(1800) L Randall Scarlata, baritone; An dieferne Geliebte, op.(1816) 98 L I Fredrik Schøyen Sjölin,cello Danish String Quartet: Frederik Øland,RuneTonsgaard Sørensen, violins;AsbjørnNørgaard, viola; L Fredrik Schøyen Sjölin,cello Danish String Quart ntermissi OSEPH U U U D D D W W W I I I Allegro Scherzo: A Adagio affettuos Allegro con brio Nimm siehindenn,diese Lieder Es kehret derMaien Diese Wolken indenHöhen Leichte Segler indenHöhen Wo dieBerge so blau Auf demHügelsitzichspähend Allegrett Presto Adagio manontroppo Poco adagio–Allegro Finale: Presto Minuetto: Pr Adagio Allegro moderato G G G

HAY VAN VAN VAN o n D

o con variazioni BEETHOVEN BEETHOVEN BEETHOVEN N et: Frederik Øland,RuneTonsgaard Sørensen, violins;AsbjørnNørgaard, viola; et: RuneTonsgaard Sørensen, Frederik Øland,violins;AsbjørnNørgaard, viola; llegro molto

esto (1732–1809) o eappassionato Gilbert Kalish, piano

(1770–1827) (1809)

concert Programs concert Programs *Bolded terms are definedintheglossary, which beginsonpage100. of Beethoven’s Opus1pianotrios in1795. Haydn’s example isoneofthe currency in fashionable Viennese musical circles following the publication really afullydeveloped scherzo, aform that hadgainedconsiderable its openingmotive. The third movement islabeled“minuetto,” butitis been compared to a free Though it hints at traditional music ofSchubertand,initssuave butdaringharmonicflights, Schumann. a profound intensity ofintrospective expression that looksforward to the condensed by theexcision oftheearlierlyricalphrase. on furthermotivicandharmonicadventures. The truerecapitulation is movement’s concluding section hasbeenreached onlyto take thelistener of hisfavorite devices—a “false recapitulation, ” whichimpliesthat the phrase figure inthedevelopment section, into whichHaydn inserted one is introduced for contrast. Boththedotted-rhythm motive serves asthesecond theme, thoughashortphrase oflyricalcharacter rhythmic figures initiallyproposed by thefirst violin.This subject also focuses principallyonasingletheme, ateasing little ditty indotted- R presages initsinternal movements theexpressive vistas ofencroaching Haydn hadgainedinsomeeighty previous works inthegenre butalso Classicism to theirperfected states. a century withwhichHaydn brought thequintessential forms ofmusical in theincomparable seriesofinstrumental creations stretching over half strength, oldandweak amI.” The two quartets ofOpus77were thelast and correspondents duringthewaning years ofhislife: “Gone isallmy That originaleditionproduced thecallingcard Haydn presented to visitors Härtel to publish that final instrumental effort in 1806 as his Opus 103. minuet for athird quartet butgotnofurtherandallowed Breitkopf und the quartets. In 1803, he managed to write anAndante movement anda which sosappedhisstrength that hewas unableto finishany more of take uptheenormouslaborofThe Seasons, thesuccessor to The Creation, with 2, and Fmajor, publishedby ArtariainVienna in1802 as on Lobkowicz’s order for aseriesofsixnew quartets. age ofsixty-seven, hewas still vitalandenergetic andreadily set to work Creation in April 1798. Though Haydn had reached the not inconsiderable who was still baskingintheunalloyed triumphofthepremiere ofThe and the other from Joseph Haydn, then Europe’s most revered composer, van Beethoven, whohad first pounced uponthe city seven years before, not onebuttwo sets ofstring quartets—one from theyoung lionLudwig reduce himselfto bankruptcy.” In1799, theyoung prince commissioned profuse asquanderer ofhisincome uponthem,asintwenty years to of considerable powers and sodevoted alover ofmusicanddrama, so biographer Alexander Wheelock Thayer describedhimas“a violinist patrons ofmusicat theturnofnineteenth century. Beethoven’s most distinguished families in1772, was amongVienna’s preeminent Prince JosephFranz MaximilianLobkowicz, borninto oneofAustria’s A Hob. XXI: 3(1799–1801) (1797); Mass no. 12inB-flat Major, Theresienmesse (1799); The Seasons, O Composed: 17 S (Born March 31,1732, Rohrau, Lower Austria; diedMay 31,1809, ) Joseph Program Notes: LobkowiczLegacy tring Quartet in omanticism. The openingA pproximat ther works from thisperiod:K The The Quartet inGMajor, op. 77, no. notonlyculminates 1, theexperience major (G 1799 Lobkowiczin for pieces the of twocompletedHaydn ddcto t te rne, u te h boe f te eis to series the off broke he then but prince), the to dedication a Adagio, oneofHaydn’s most touching slow movements, achieves H e duration: 23minutes ay 99 d G n

M ajor, op. 77, no passacaglia because of the frequent returns of sonata llegro, buoyant andelegantly polished, eyboard Trio inE-flat Major, Hob. XV: 30 . 1, . 1, structure, the movement’s form has H ob. III:81 O pus 77, nos.1and and thelyrical imitation. The theme ismadefrom long,windingscalesgiven by theinstruments in in themovement suggested the quartet’s sobriquet— Harp. The second The upon whichisdraped amelodywithdotted rhythms inthe first violin. subject, asmoothlyflowing eighth-note figuration inthesecond violin commences withthree ensemblechords followed by theprincipal leads directly to the fast-tempo mainbodyofthemovement, which woven apreview oftheupcoming principaltheme. Aquickcrescendo in theE-flat Quartet. however, rather thanitsdisappointment anddestruction that are reflected of one’s presence of mind!) It is the optimism and confidence of that year, moorings threatensthe husband Beethoven a of as thought (The suit. his aristocratic debutante, he was deeply wounded by the family’s rejection of untidy thirty-nine-year-old composer was hardly alikely partnerfor an Therese Malfatti, ateenage pupilofhis.Though thedeaf, gruff, notoriously did Beethoven feel with this turn of events that he proposed marriage to in Vienna and not accept a proffered position in Germany. So confident provide Beethoven withagenerous annualincome ifhewould remain who, withPrince Kinsky andArchduke Rudolph,hadcontracted to early autumnof1809, was dedicated to Prince JosephFranz Lobkowicz, String Quartet inE-flat Major, op. 74. 79 completed theOpus78 andOpus81a(Lebewohl) pianosonatas, theOpus unpromising circumstances—by theendofthat year, 1809, Beethoven had flinty soil,however, anumberofsignificant musicalworks grew from these I’d give you fellows something to thinkabout.” Asasturdy tree canroot in a general andknew asmuchaboutstrategy asIdoaboutcounterpoint, bellowed hisfrustration at aFrench officer he chanced to meet: “IfIwere sorts.”He all of misery men, cannons, drums, but nothing me; aroundlife course ofevents hasaffected mebodyandsoul...What adisturbing, wild whole The fragment. a there and here only connected; is that little world a great dealofmisery. Itell you that since May 4th,Ihave brought into the he wrote to thepublisher Breitkopf undHärtel, “We have passed through pillows to protect themfrom theconcussion oftheblasts. OnJuly29th, bombardment was closeenoughthat hecovered hissensitive ears with scurrying andBeethoven into thebasement ofhisbrother’s house. The Napoleon invaded thecity withenoughfirepower to sendtheresidents The year 1809 was adifficultonefor Vienna andfor Beethoven. InMay, A op. 73, Emperor (1809) no. 5incminor, op. 67 (1809);PianoConcerto no. 5inE-flat Major, (1806); PianoTrio inDMajor, op. 70, no. Ghost 1, (1808);Symphony O First performance: Autumn 1809, Vienna Composed: 1809 S (Born Bonn,baptized December 17, 1770; diedMarch 26, 1827, Vienna) Lu the world ofEastern European folk music.” irresistible melody that H. C. Robbins Landon called “Haydn’s farewell to leaps, andextreme registers. The finaleisasparklingsonata basedonan most ferocious ofallClassical scherzi, bristling withdemonicenergy, flying especially itsdotted-rhythm motive, before thepizzicato arpeggiosreturn tring Quartet in pproximat ther works from thisperiod:T S d pizzicato arpeggiosheard inthetransition and frequently thereafter onatina, theOpus77PianoF The quartet opens with a hushed introduction into which is The Opus74 Quartet, apparently composed duringthesummerand —Dr. Richard E.Rodda w i g van e duration: 30minutes development section treats chieflythe principaltheme, E B -flat eethoven M ajor, op. 74, hree String Quartets, op. 59, Razumovsky antasy, theEmperor Harp Concerto, andthe collectively titledAn dieferne Geliebte (To theDistant Beloved)—is atrue also occasionally visited. Beethoven’s setting ofJeitteles’s verses— Castelli, whowas a fellow memberofalocalliterary clubthat Beethoven published in1815acollection edited by theViennese playwright Ignaz epidemic to care for thosewhoneededhishelp. Jeitteles’s poemswere a hero inhisnative Brünnwhenhelefthisown sickbedduringacholera became later(1794–1858), Jeitteleswho Alois student medical young the 1816, hecaptured thosefeelings inac an affliction rampant amongtheGerman years. Hewas acutely infected withchronic yearning throughout hislife, Piano Sonata inB-flat Major, Hammerklavier (op. 106). the (op.and 101),Major A in Sonata Piano the die ferne(op. Geliebte98), of 1820, theonlymajorworks that hecompleted were thesongcycle An two cello sonatas, op. 102, of1815andthePianoSonata inEMajor, op. 109, decade was theleast productive periodofhiscreative life. Between the half- that wonderthat little is it 1820), in fifty turned (he time that during hearing, andfamily turmoilsappingsomuchofBeethoven’s strength until itwas publiclyexploded incourt. With declininghealth,shattered that he was without noble ancestors, a lifelong belief he held tenaciously the young man tried to kill but himself) because the proceedings revealed later,years six thoroughly;boy the alienated but won (he suit the lost he The eventual settlement in1820was painful for Beethoven, notbecause took upthematter in1818.Litigation dragged onfor thenext two years. from the smothering attentions of his uncle), and the courts proceedings were instituted by Johanna (usually after Karl had fled to her first decidedinBeethoven’s favor inFebruary 1816.Various subsequent in miseryallthewhileby theunsettled state ofhisyoung life. The casewas between Beethoven andJohannaover thecustody ofKarl, whowas mired the earlierprovision. There ensuednearlyfive years ofbitter legalbattles in effect, namedhiswife andbrother ascoguardians, thereby contradicting had misgivingsabouttakingKarl from hismotherandaddedacodicil that, included that provision in hiswill. During thefollowing hours, however, he Carl Caspar died, he beforedaystwoboy’sguardian; the as him name to raise thecouple’s nine-year-old child,Karl, andheconvinced hisbrother vicious…The Queen of the Night.” Beethoven felt that shewas unfit to of sulliedreputation whomthecomposer characterized as“wicked and seems to have lived withhercontentedly, hiswife, Johanna,was awoman in Vienna, died of tuberculosis on November 15, 1815. Though Caspar Beethoven’s younger brother, Caspar Carl, abankclerkofmodest success A (1817–1818) op. 92 (1816);PianoSonata no. 29inB-flat Major, op. 106,Hammerklavier (1814); Two Cello Sonatas, op. 102 (1815);Symphony no. 7inAMajor, O Composed: 1816 An dieferne Geliebte, op. 98 Lu ends withaflurryofunisonscalesandkittenish surprise. finale isaset of (scherzo)–B(trio)–intervenes:A twicefigures scalar flying in that had spawned the Fifth Symphony the year before. A whirlwind trio dot–dot–dot–dash) motive: rhythmic (and force musical elemental same later. The third movement isafurious,minor-key scherzo grown from the peerless series of quartets that Beethoven was to undertake a decade harmonic daring,anddeepstillness ofthismusiclookforward to the the hymnal melodygiven at theoutset. The tightly woven partwriting, The An extensive coda, withmuchpizzicato writing,closesthemovement. to serve asabridgeto afullrecapitulation oftheexposition’s themes. pproximat ther works from thisperiod:S d Adagio consists ofthree increasingly elaborate presentations of Beethoven never married, but he didn’t give up trying until his later —Dr. Richard E.Rodda w i g van e duration: 14minutes variations onalongthemeofshortphrases. The quartet B eethoven tring Quartet infminor, op. 95, Serioso ycle of songsthat set sixpoemsby R omantics, andinthespringof again formally A – B – A . The Ewiglich sein! Könnt ich,Traute, beidir Ach, michzög’s nicht von hier, Innere Pein, Drängt michLiebesgewalt, Hin zumsinnigenWald Möchte ichsein! Weht soleisederWind, Still diePrimeldortsinnt, Wo imGestein Schweigen Schmerzen undQual. Dort imruhigenTal Möchte ichsein! wo dieWolke umzieht, Wo dieSonneverglüht, Schauen herein, Aus demnebligenGrau Wo dieBerge soblau II Was einliebendHerz geweiht! Und einliebendHerz erreichet, Jeder RaumundjedeZeit, Denn vor Liedesklangentweichet Die dirklagenmeinePein! Singen willich,Liedersingen, Nichts derLiebeBote sein? Will dennnichts mehrzudir In demRaumederunsteilt. Und dieSeufzer, sieverwehen Der zudirsoglühendeilt, Ach, denBlickkannst dunicht Unserm Glückunduns’rer Qual. Zwischen unsundunserm Trennend liegenBerg undTal Weit binichvon dirgeschieden, Wo ichdich,Geliebte, fand. Nach denfernen Triften sehend, In dasblaueNebelland, Auf demHügelsitz’ich,spähend I piano. the free strophic forms oftheindividualsongsinto mini-variations for the heightened thecycle’s structural andmusicalsophistication by making type. The melodiclineshave analmost folk-like simplicity, butBeethoven “circle ofsongs,” and itisgenerally recognized asthefirst work ofits Beethoven described An dieferne Geliebte as a Liederkreis, literally a music in the last number, and a carefully calculated balance of moods. to thenext, apurposefulprogression oftonalities, areturn oftheopening of thought throughout itspoemsbutalsodirect connection from onesong cycle in both its literary and musical components, with not just a continuity dringen, sehen, Frieden, be forever withyou! if, dear, Icould ah, Iwould notstir from here sickness ofheart, love’s power urges meon, To thedreaming forest, there would Ibe! wherever thewindsstir solightly, silently theprimrose meditates, Wherever amongthestones pain andaffliction are still. There intherestful valley there would Ibe! where thecloudencircles, ceases to glow, where thesun look down from themisty gray, Where thebluemountains II consecrates itself. that to whichaloving heart and aloving heartattains all space andalltime, For songeffaces complaining ofmy agony! I willsingyou songs, nothing beamessenger oflove? Will thennothingany longer in thespace that separates us. and my sighsdispersed searching soardently for you, Ah, you cannotseemy eyes our happiness andourtorment. between usandourpeace, between usliehillandvalley, I amfar away from you, where Ifound you, my beloved. looking for thedistant pastures into theblue, misty land, On thehillIsit,staring I reach you,

concert Programs III III Manch’ weicheres Stück zu dem many a soft piece here to the Leichte Segler in den Höhen, Light clouds above Brautbett hieher, bridal bed, Und du Bächlein klein und and you, brooklet, small and Manch’ wärmendes Stück fur die many a piece to warm the little schmal, narrow, Kleinen. ones. Könnt mein Liebchen ihr should my love espy you, Nun wohnen die Gatten Now the couple live so faithfully erspähen, greet her for me many thousand beisammen so treu, together, Grüsst sie mir viel tausendmal. times. Was Winter geschieden verband what winter has parted, May nun der Mai, binds together; Seht ihr Wolken sie dann gehen Ye clouds, if you see her walking Was liebet, das weiss er zu einen. whatever is in love, he can unite. Sinnend in dem stillen Tal, thoughtfully in the silent valley, Lasst mein Bild vor ihr entstehen let my image arise before her Es kehret der Maien, es blühet May comes again, the meadows In dem luft’gen Himmelssaal. in the airy hall of heaven. die Au’, are in bloom, Die Lüfte, sie wehen so milde, the breezes stir so gently, so Wird sie an den Büschen stehen, Should she stand by the bushes, so lau, warmly, Die nun herbstlich falb und kahl, now withered and lifeless in the Nur ich kann nicht ziehen von only I cannot go away from here. Klagt ihr, wie mir ist geschehen, autumn, hinnen. Though all things in love are Klagt ihr, Vöglein, meine Qual! lament to her of what has Wenn Alles, was liebet, der united by spring, happened to me; Frühling vereint, to our love alone no spring Stille Weste, bringt im Wehen complain to her, little bird, of my Nur unserer Liebe kein Frühling appears, Hin zu meiner Herzenswahl torment! erscheint, and tears are its only reward. Meine Seufzer, die vergehen Und Tränen sind all ihr Gewinnen. Wie der Sonne letzter Strahl. Silent West Wind, as you drift yonder to my heart’s chosen one, VI VI Flüstr’ ihr zu mein Liebesflehen, bear my sighs, which die Nimm sie hin denn, diese Lieder, Take them, then, beloved, these Lass sie, Bächlein klein und like the last rays of the sun. Die ich dir, Geliebte, sang, songs schmal, Singe sie dann Abends wieder which I have sung to you. Treu in deinen Wogen sehen Whisper to her my love’s entreaty, Zu der Laute süssem Klang! Sing them again in the evening, Meine Tränen ohne Zahl. let her, brooklet small and narrow, to the sweet sound of the lute! ms truly see in your rapids Wenn das Dämm’rungsrot dann a my numberless tears. ziehet When the red of twilight moves Nach dem stillen blauen See, toward the still blue lake, IV IV Und sein letzter Strahl verglühet and its last ray dies out Diese Wolken in den Höhen, These clouds above, Hinter jener Bergeshöh’, over yonder mountaintop, Dieser Vöglein munt’rer Zug these birds in happy passage, Werden dich, o Huldin, sehen. will see you, my goddess. Und du singst, was ich gesungen, and you sing what I have sung, Nehmt mich mit im leichten Flug! Take me with you in gentle flight! Was mir aus der vollen Brust what from my full breast Ohne Kunstgepräng’ erklungen, has artlessly sounded, Diese Weste werden spielen This West Wind will drift nur der Sehnsucht sich bewusst. conscious only of its longing, Scherzend dir um Wang’ und playfully about your cheek and Brust, bosom, Dann vor diesen Liedern weichet, then these songs will cause to yield In den seid’nen Locken wühlen. blow through your silken hair. Was geschieden uns so weit, that which has kept us so far apart, Teilt’ ich mit euch diese Lust! Oh that I could share this Und ein liebend Herz erreichet, and a loving heart attains

concert Progr concert pleasure! Was ein liebend Herz geweiht. that to which a loving heart Hin zu dir von jenen Hügeln consecrates itself. Emsig dieses Bächlein eilt. Away from that hill to you Wird ihr Bild sich in dir spiegeln, eagerly this brooklet hurries. —Alois Jeitteles (1794–1858) Fliess zurück dann unverweilt! If her image should be reflected in you, In his insightful study of the composer, Maynard Solomon wrote, “An flow back then without delay! die ferne Geliebte, which stands at the threshold of Beethoven’s third style period, occupies a special place in his life and work. It bids farewell to V V his marriage project, to romantic pretense, to heroic grandiosity, to youth Es kehret der Maien, es blühet May comes again, the meadows itself. It is a work that accepts loss without piteous outcry, for it preserves die Au’, are in bloom, intact the memory of the past and refuses to acknowledge the finality of Die Lüfte, sie wehen so milde, the breezes stir so gently, so bereavement.” so lau, warmly, —Dr. Richard E. Rodda Geschwätzig die Bäche nun chattering, the brooks are now rinnen. running. Die Schwalbe, die kehret zum The swallow returns to the wirtlichen Dach, hospitable roof, Sie baut sich so emsig ihr she builds so eagerly her bridal bräutlich Gemach, chamber— Die Liebe soll wohnen da drinnen. love must dwell in it.

Sie bringt sich geschäftig von She brings busily from all Kreuz und von Quer, directions

Ludwig van Beethoven String Quartet in F Major, op. 18, no. 1 Composed: 1800 First performance: 1800, Vienna Other works from this period: Piano Sonata no. 8 in c minor, op. 13, Pathétique Bringing the (1797–1798); Septet in E-flat Major, op. 20 (1799); Symphony no. 1 in C Major, op. 21 (1799–1800); Violin Sonata in A Major, op. 47, Kreutzer (1802–1803) concert hall to you. Approximate duration: 27 minutes Performance Today presents a daily The year of the completion of the six Opus 18 quartets—1800—was an “who’s who” in the classical music important time in Beethoven’s development. He had achieved enough world. Join host Fred Child as he success to write to his old friend Franz Wegeler in Bonn, “My compositions welcomes the finest solo, chamber bring me in a good deal, and may I say that I am offered more commissions than it is possible for me to carry out. Moreover, for every composition I and symphonic artists to the airwaves. can count on six or seven publishers and even more, if I want them. People no longer come to an arrangement with me. I state my price, and they Visit performancetoday.org to find pay.” At the time of this gratifying recognition of his talents, however, your local station or to stream the first signs of his fateful deafness appeared, and he began the titanic Performance Today online. You’ll struggle that became one of the gravitational poles of his life. Within two also find a wealth of archived audio, years, driven from the social contact on which he had flourished by the fear of discovery of his malady, he penned the Heiligenstadt Testament, including past performances from his cri de coeur against this wicked trick of the gods. These first quartets Music@Menlo. stand on the brink of this great crisis in Beethoven’s life. The string quartet, perfected by Haydn, was the favorite form of Celebrate music every day at musical entertainment in the salons of Vienna at the turn of the nineteenth performancetoday.org. century. As early as 1795, Count Anton Georg Apponyi had suggested to Beethoven that he undertake some works in the form, but the proposal did not bear fruit until three years later, when the Opus 18 set was ms a begun. Beethoven, at that time of his life still determined to impress the aristocracy, probably also wished to have his name attached to the most elegant musical form of the day. At any rate, the quartets were begun in mid-1798 (though some sketches apparently date back to the early 1790s), mostly composed the following year, and completed in 1800. They APM-0607-12 Menlo ad_bw2.indd 1 6/21/12 2:15 PM were first played by the ensemble of Ignaz Schuppanzigh either (reports differ) in the home of Förster or in the Viennese palace of Prince Joseph Franz Maximilian Lobkowicz, to whom they were dedicated upon their Music@Menlo publication in 1801. Lobkowicz was so pleased with the quartets that Music@Menlochamber music festival and institute he pledged Beethoven an annual stipend of six hundred guldens. With chamber music festival and institute their respectful renewal of the Classical style and technique of Haydn, the quartets enjoyed good (though, as was always the case with Beethoven’s works when they were new, not unanimous) success and were frequently

heard during the composer’s lifetime. Looking back on Opus 18 in 1811, a Progr concert critic for the Allgemeine Musikalische Zeitung wrote, “In them the loveliest melodies appeal to the feelings, and the unity, the supreme simplicity, the particular and firmly sustained character in each individual piece making up those quartets raise them to the level of masterworks and join Beethoven’s name with the revered names of Haydn and Mozart.” The F Major Quartet was the second of the Opus 18 set to be composed, but Beethoven, aware of the music’s dramatic sweep and emotional range, placed it at the head of the collection when the set was published. The first movement grows from the terse, pregnant opening motive, which, Live-Stream eveNtS according to Joseph Kerman, is like “a coiled spring, ready to shoot off in all directions.” Indeed, this phrase is heard almost constantly throughout If you can’t make it to campus for the master classes the movement, banishing alternate ideas with the strength of its rhythmic and Café Conversations, you can watch high-definition vigor and power of growth. The richly expressive second movement is live-stream web broadcasts of the popular series. marked to be played “tenderly and passionately.” Beethoven wrote at the end of one of his sketches for this music, “les derniers soupirs” (“the last Check out our website each weekday of the festival breath”), and confided to his friend Karl Amenda that he had in mind the at 11:45 a.m. to watch. Archived videos will also burial vault scene from Romeo and Juliet when he wrote it. The scherzo is enlivened by a generous portion of Haydnesque humor, while the finale is be available following each event. a dizzying display of ensemble virtuosity unfolded in sonata-rondo form. —Dr. Richard E. Rodda www.musicatmenlo.org/multimedia/livestream menlo.org/multimedia/livestream