DOCSLIB.ORG

Takács Quartet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Takács Quartet Sunday, December 7, 2014, 3pm Zellerbach Hall Takács Quartet Edward Dusinberre first violin Károly Schranz second violin Geraldine Walther viola András Fejér cello with Erika Eckert, viola PROGRAM Ludwig van B eethoven (1770–1827) String Quartet No. 13 in B-flat major, Op. 130 (1825–1826) Adagio ma non troppo — Allegro Presto Andante con moto ma non troppo Alla danza tedesca: Allegro assai Cavatina: Adagio molto espressivo Finale: Allegro INTERMISSION Wolfgang Amadeus Mozart (1756–1791) Quintet for Two Violins, Two Violas, and Cello in G minor, K. 516 (1787) Allegro Menuetto: Allegretto Adagio ma non troppo Adagio — Allegro Cal Performances’ – season is sponsored by Wells Fargo. PLAYBILL PROGRAM NOTES Ludwig van Beethoven (8==7-8>9=) but Beethoven, exhausted, was unable to begin String Quartet No. 8: in B-flat major, Galitzin’s quartets until May. “I am really im - Op. 8:7 patient to have a new quartet of yours,” badg - ered Galitzin. “Nevertheless, I beg you not to Composed in @FAC–@FAD. Premièred on mind and to be guided in this only by your in - March A@, @FAD, in Vienna, by the spiration and the disposition of your mind.” Schuppanzigh Quartet. The first of the quartets for Galitzin (E-flat major, Op. 127) was not completed until “I sit pondering and pondering. I have long February 1825; the second (A minor, Op. 132) known what I want to do, but I can’t get it was finished five months later; and the third down on paper. I feel I am on the threshold of (B-flat major, Op. 130) was written between great things.” These words of Beethoven, writ - July and November, during one of the few pe - ten in 1822, were prophetic. At the time, he riods of relatively good health that Beethoven was still involved in the five years of enjoyed in his last decade. (Beethoven com - Herculean labor that finally yielded up the pleted the Opp. 131 and 135 Quartets the fol - Missa Solemnis in 1823, a task that demanded lowing year to round out this stupendous all of his concentration lest it be crowded from ultimate series of his compositions.) Galitzin his thoughts by a head (and sketchbook) full received his three new scores in fine copies by of yet unconnected ideas for a new symphony, the middle of 1826, and promised payment “in into which, he was convinced, he needed to a day or two.” The Prince, for all his good in - somehow take the unprecedented step of in - tentions and evident sympathy for Beethoven’s tegrating a chorus. The string quartet, a genre creative process, however, found himself, as he for which he had not written in a dozen years, put it, “awkwardly placed” at the time, and the was also on Beethoven’s mind, as evidenced bill remained unpaid. (During the preceding by a letter of June 5, 1822, to the Leipzig pub - year, one of Galitzin’s children died, his wife lisher Carl Friedrich Peters urging him to con - fell gravely ill, and his indirect involvement in sider issuing a new quartet that he would have a revolutionary movement brought him to the ready “very soon.” Burdened by poor health, edge of bankruptcy.) Beethoven sued for his financial difficulties (Rossini was appalled at money without success, and the account was the squalor of Beethoven’s small, dank apart - not finally settled until 1852 (!) between ment when he visited him that year), the emo - Galitzin’s son and Beethoven’s heirs. tional drain of being guardian to a worthless The première of the B-flat Quartet was nephew, and the obsession with finishing the given by the ensemble of violinist Ignaz Missa and the Ninth Symphony, it was, how - Schuppanzigh, a champion of Beethoven’s ever, to be some time before he was able to re - works in earlier years and the first musician turn to quartet writing in earnest. in Austria to undertake public quartet con - On November 9, 1822, Prince Nikolas certs. Schuppanzigh had been in Russia for Galitzin, a devotee of Beethoven’s music and some time and only returned to Vienna at the an amateur cellist, wrote from St. Petersburg end of April 1823, when he resumed his series asking Beethoven for “one, two or three quar - of concerts, which once again became major tets, for which labor I will be glad to pay you events in the city’s musical life. There had whatever amount you think proper.” been problems with the performance when Beethoven was elated by the commission, and Schuppanzigh’s quartet gave the première of he replied immediately to accept it and set the the E-flat Quartet (Op. 127) in March 1825 fee of 50 ducats for each quartet, a high price, (exacerbated by Beethoven being unable to but one readily accepted by Galitzin. The music, deliver the parts for this extraordinarily diffi - however, took somewhat longer. The Ninth cult music until just two weeks before the con - Symphony was completed in February 1823, cert), and Beethoven granted them the honor CAL PERFORMANCES PROGRAM NOTES of introducing the B-flat Quartet with some one hand, the word implies a sort of informal trepidation. Perhaps that is why he chose to music-making with little regard for creating a spend the evening of the première (March 21, unified structural whole, and is certainly not 1826) in a local Viennese café waiting for applicable to this movement, which develops news. Karl Holz, the second violinist of the en - logically and inexorably from the motivic semble and a close friend of the composer, germs sown in its opening measures. On the brought a good report: the performance had other hand, the movement’s very process of gone well and the audience was generally en - organic growth makes it difficult to classify as thusiastic, though everyone seemed puzzled one of the traditional Classical formal types, by the Quartet’s slow movements and, espe - and is probably the quality in this music which cially, by its finale, a gigantic construction in occasioned Schumann’s appellation of implied fugal style. Holz tried to humor the composer musical miscellany, “intermezzo.” Placed as by telling him that the audience demanded emotional and stylistic foil between this encores of the lighter second and fourth movement and the deeply felt Cavatina is a movements. Beethoven was incensed. “Yes, Danza tedesca (“German Dance”), whose these delicacies! Why not the Fugue? … strict periodic construction, swaying rhythm, Cattle!! Asses!!!” Despite the composer’s epi - and buoyant spirits are much in the popular thets, the first hearers of this Quartet were a manner of Beethoven’s day. Karl Holz re - highly sophisticated lot, perhaps the most ported that Beethoven “wrote the Cavatina knowledgeable and sympathetic audience in (‘short aria’) amid sorrow and tears; never did all of Europe at the time, and Beethoven must his music breathe so heartfelt an inspiration, have ultimately found some merit in their and even the memory of this movement misgivings, for nine months later he replaced brought tears to his eyes.” Beethoven here ren - the Grosse Fuge with an alternate finale of dered his grand emotion into music of pro - more modest dimensions. It was the last found simplicity and purity. In but one music that he completed. The Fuge , in both its extraordinary passage, marked “ beklemmt ” original version and in a piano duet tran - (“oppressed”), does the first violin break into scription, was published separately as Op. 133 a kind of anguished free recitative whose ob - two months after his death. streperous rhythm challenges the solemn gait The B-flat Quartet comprises six move - of the lower instruments and threatens to rup - ments balancing profundity and humor. ture the music asunder. The emotion is Indeed, both of these sentiments are embod - purged, however, and the violin rejoins its ied in the very first page of the Quartet, which companions to murmur once again the theme boldly contrasts a solemn Adagio proclama - of the opening. tion with a skittering Allegro strain of Baroque Beethoven left the question of the Quartet’s rhythmic vivacity. (Beethoven had much ear - finale unsettled, so that the work may be per - lier tried a similar experiment in the famous formed with either the Grosse Fuge of the orig - “Pathétique” Sonata, Op. 13, of 1799.) These inal version or the substitute movement that two thematic cells together comprise the main he provided for it shortly before his death. theme, and are juxtaposed throughout the This latter movement, a splendid piece of movement. A lyrical episode, embellished music, was written in the manner of continu - with the fast scales of the Allegro , provides ous thematic expansion and development that contrast as a second theme. The following was central to the style of his last years. With Presto movement is actually a tiny, quicksilver its thrusting rhythms and brief returns of its scherzo that is graceful, witty, and thoughtful Gypsy-tinged opening theme, the movement all at the same time. Robert Schumann called has about it a rondo quality, though it is far the Andante con moto an “intermezzo,” a term advanced over the Classical version of that that is both perceptive and inaccurate. On the form in its tonal structure and in its stubborn PLAYBILL PROGRAM NOTES unwillingness to be bent into the tonic key of Viennese, his local popularity began to wane. B-flat major. Though he tried to economize by moving from his spacious apartment in the Schullerstrasse near St. Stephen’s Cathedral Wolfgang Amadeus Mozart (8=;<–8=?8) (now a Mozart museum known as the “Figaro Quintet for Two Violins, Two Violas, and House”) to a smaller flat at 224 Landstrasse, Cello in G minor, K.
Load more

Recommended publications
  • Rehearing Beethoven Festival Program, Complete, November-December 2020
    CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 115, 1995-1996
    BOSTON > V SYMPHONY ORCHESTRA ft SEIJIOZAWA MUSIC DIRECTOR 9 6 S E O N The security of a trust, Fidelity investment expertise. A CLumlc Composition Fidelity Just as a Beethoven score is at its best when performed by a world- Pergonal class symphony — so, too, should your trust assets be managed by Triittt a financial company recognized Serviced globally for its investment expertise. Fidelity Investments. That's why Fidelity now offers a % managed trust or personalized estment management account or your portfolio of $400,000 or more/ For more information, visit Fidelity Investor Center or call Fidelity Pergonal Trust Services at 1-800-854-2829. Visit a Fidelity Investor Center Near You: Boston - Back Bay • Boston - Financial District Braintree, MA • Burlington, MA Fidelity Investments' SERVICES OFFERED ONLY THROUGH AUTHORIZED TRUST COMPANIES. TRUST SERVICES VARY BY STATE. FIDELITY BROKERAGE SERVICES, INC., MEMBER NYSE, SIPC. Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Fifteenth Season, 1995-96 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Mrs. Edith L. Dabney, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Mrs. John H. Fitzpatrick, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Nader F. Darehshori Edna S. Kalman Mrs. Robert B. Newman James F. Cleary Deborah B. Davis Allen Z. Kluchman Robert P. O'Block John E. Cogan, Jr. Nina L. Doggett George Krupp Peter C. Read Julian Cohen Avram J. Goldberg R. Willis Leith, Jr. Carol Scheifele-Holmes Chairman-elect William F.
    [Show full text]
  • Quartet Dimensions
    concert program ii: Quartet Dimensions JOHANN SEBASTIAN BACH (1685–1750)! July 21 WOLFGANG AMADEUS MOZART (1756–1791) Sunday, July 21, 6:00 p.m., The Center for Performing Arts Fugue in E-flat Major, BWV 876, and Fugue in d minor, BWV 877, from at Menlo-Atherton Das wohltemperierte Klavier; arr. String Quartets nos. 7 and 8, K. 405 JOSEPH HAYDN (1732–1809) PROGRAM OVERVIEW String Quartet in d minor, op. 76, no. 2, Quinten (1796) The string quartet medium, arguably the spinal column of the Allegro chamber music literature, did not exist in Bach’s lifetime. Yet Andante o più tosto allegretto Minuetto: Allegro ma non troppo even here, Bach’s legacy is inescapable. The fugues of his semi- Finale: Vivace assai nal The Well-Tempered Clavier inspired no less a genius than Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Mozart, who arranged a set of them for string quartet. The influ- Fredrik Schøyen Sjölin, cello ence of Bach’s architectural mastery permeates the ingenious DMITRY SHOSTAKOVICH (1906–1975) Quinten Quartet of Joseph Haydn, the father of the modern Piano Quintet in g minor, op. 57 (1940) string quartet, and even Dmitry Shostakovich’s Piano Quintet, Prelude composed nearly two hundred years after Bach’s death. The Fugue Scherzo centerpiece of Beethoven’s Opus 132—the Heiliger Dankgesang Intermezzo CONCERT PROGRAMSCONCERT eines Genesenen an die Gottheit (“A Convalescent’s Holy Song Finale PROGRAMSCONCERT of Thanksgiving to the Divinity”)—recalls another Bachian signa- Gilbert Kalish, piano; Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; ture: the Baroque master’s sacred chorales.
    [Show full text]
  • Franz Schubert Written and Narrated by Jeremy Siepmann with Tom George As Schubert
    LIFE AND WORKS Franz Schubert Written and narrated by Jeremy Siepmann with Tom George as Schubert 8.558135–38 Life and Works: Franz Schubert Preface If music is ‘about’ anything, it’s about life. No other medium can so quickly or more comprehensively lay bare the very soul of those who make or compose it. Biographies confined to the limitations of text are therefore at a serious disadvantage when it comes to the lives of composers. Only by combining verbal language with the music itself can one hope to achieve a fully rounded portrait. In the present series, the words of composers and their contemporaries are brought to life by distinguished actors in a narrative liberally spiced with musical illustrations. Unlike the standard audio portrait, the music is not used here simply for purposes of illustration within a basically narrative context. Thus we often hear very substantial chunks, and in several cases whole movements, which may be felt by some to ‘interrupt’ the story; but as its title implies the series is not just about the lives of the great composers, it is also an exploration of their works. Dismemberment of these for ‘theatrical’ effect would thus be almost sacrilegious! Likewise, the booklet is more than a complementary appendage and may be read independently, with no loss of interest or connection. Jeremy Siepmann 8.558135–38 3 Life and Works: Franz Schubert © AKG Portrait of Franz Schubert, watercolour, by Wilhelm August Rieder 8.558135–38 Life and Works: Franz Schubert Franz Schubert(1797-1828) Contents Page Track Lists 6 Cast 11 1 Historical Background: The Nineteenth Century 16 2 Schubert in His Time 26 3 The Major Works and Their Significance 41 4 A Graded Listening Plan 68 5 Recommended Reading 76 6 Personalities 82 7 A Calendar of Schubert’s Life 98 8 Glossary 132 The full spoken text can be found on the CD-ROM part of the discs and at: www.naxos.com/lifeandworks/schubert/spokentext 8.558135–38 5 Life and Works: Franz Schubert 1 Piano Quintet in A major (‘Trout’), D.
    [Show full text]
  • Quartetto Di Cremona Ludwig Van Beethoven String Quartet in C Minor, Op
    BEETHOVEN COMPLETE STRING QUARTETS QUARTETTO DI CREMONA LUDWIG VAN Beethoven String Quartet in C minor, Op. 18, No. 4 24:05 1. Allegro ma non tanto 8:39 II. Andante scherzoso quasi Allegretto 7:01 III. Menuetto. Allegretto – Trio 3:37 IV. Allegro – Prestissimo 4:48 ‘Great Fugue’ in B flat major, Op. 133 15:13 Overtura. Allegro – Meno mosso e moderato – Allegro – Fuga – Meno mosso e moderato – Allegro molto e con brio – Meno mosso e moderato – Allegro molto e con brio String Quartet in F major, Op. 59, No. 1 39:13 I. Allegro 10:05 II. Allegretto vivace e sempre scherzando 8:45 III. Adagio molto e mesto 12:16 IV. Thème russe. Allegro 8:07 QUARtetto DI CREMONA Cristiano Gualco, Violine Paolo Andreoli, Violine Simone Gramaglia, Viola Giovanni Scaglione, Violoncello A quartet in C minor acquired in other genres. Only once Count Lobkowitz, one of Beethoven’s aristocratic During his first years in Vienna, Beethoven patrons, commissioned six string quartets noticeably held back from composing each from Haydn and Beethoven around string quartets and instead, apparently on the end of 1798 for the fee of 400 guil- account of studying this craft, resorted to ders, was there no turning back. Whilst copying quartets by Haydn and Mozart. Of the aged Haydn did not manage to ful- course he knew exactly that the much- fil his duty entirely, Beethoven feverishly quoted Bonn farewell by Count Wald- worked, alongside large-scale works such stein – “Sustained diligence will bring you as his First Symphony, the final version of Mozart’s spirit from Haydn’s hands” – did his Piano Concerto in C and his Septet not so much refer to the piano sonatas Op.
    [Show full text]
  • Digital Booklet Porgy & Bess
    71 TRACKS THE AMADEUS QUARtet ReCORDINGS VOL. I BEETHOVEN Berlin, 1950-1967 recording producer: Wolfgang Gottschalk (Op. 127) Hartung (Op. 59, 2) Hermann Reuschel (Op. 18, 2-5 / Op. 59, 1 / Op. 130-133 / Op. 135 / Op. 29) Salomon (Op. 18, 1+6 / Op. 59, 3 / Op. 95) recording engineer: Siegbert Bienert (Op. 18, 5 / Op. 130-133 / Op. 29) Peter Burkowitz (Op. 18, 6) THE Heinz Opitz (Op. 18, 2 / Op. 59, 1+2 / Op. 127 / Op. 135) Preuss (Op. 18, 1 / Op. 59, 3 / Op. 95) Alfred Steinke (Op. 18, 3+4) AMADEUS QUARtet ReCORDinGS Berlin, 1950-1967 Eine Aufnahme von RIAS Berlin (lizenziert durch Deutschlandradio) recording: P 1950 - 1967 Deutschlandradio research: Rüdiger Albrecht remastering: P 2013 Ludger Böckenhoff rights: audite claims all rights arising from copyright law and competition law in relation to research, compilation and re-mastering of the original audio tapes, VOL. I BEETHOVEN as well as the publication of this CD. Violations will be prosecuted. The historical publications at audite are based, without exception, on the original tapes from broadcasting archives. In general these are the original analogue tapes, MstASTER RELEASE which attain an astonishingly high quality, even measured by today’s standards, with their tape speed of up to 76 cm/sec. The remastering – professionally com- petent and sensitively applied – also uncovers previously hidden details of the interpretations. Thus, a sound of superior quality results. CD publications based 1 on private recordings from broadcasts cannot be compared with these. AMADEUS-QUARtett further reading: Daniel Snowman: The Amadeus Quartet. The Men and the Music, violin I Norbert Brainin Robson Books (London, 1981) violin II Siegmund Nissel Gerd Indorf: Beethovens Streichquartette, Rombach Verlag (Freiburg i.
    [Show full text]
  • The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL and INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors
    The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL AND INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors Music@Menlo Through Brahms the ninth season July 22–August 13, 2011 david finckel and wu han, artistic directors Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 Through Brahms Program Overview 6 Essay: “Johannes Brahms: The Great Romantic” by Calum MacDonald 8 Encounters I–IV 11 Concert Programs I–VI 30 String Quartet Programs 37 Carte Blanche Concerts I–IV 50 Chamber Music Institute 52 Prelude Performances 61 Koret Young Performers Concerts 64 Café Conversations 65 Master Classes 66 Open House 67 2011 Visual Artist: John Morra 68 Listening Room 69 Music@Menlo LIVE 70 2011–2012 Winter Series 72 Artist and Faculty Biographies 85 Internship Program 86 Glossary 88 Join Music@Menlo 92 Acknowledgments 95 Ticket and Performance Information 96 Calendar Cover artwork: Mertz No. 12, 2009, by John Morra. Inside (p. 67): Paintings by John Morra. Photograph of Johannes Brahms in his studio (p. 1): © The Art Archive/Museum der Stadt Wien/ Alfredo Dagli Orti. Photograph of the grave of Johannes Brahms in the Zentralfriedhof (central cemetery), Vienna, Austria (p. 5): © Chris Stock/Lebrecht Music and Arts. Photograph of Brahms (p. 7): Courtesy of Eugene Drucker in memory of Ernest Drucker. Da-Hong Seetoo (p. 69) and Ani Kavafian (p. 75): Christian Steiner. Paul Appleby (p. 72): Ken Howard. Carey Bell (p. 73): Steve Savage. Sasha Cooke (p. 74): Nick Granito.
    [Show full text]
  • Emerson String Quartet
    HOUSTON FRIENDS OF MUSIC THE SHEPHERD SCHOOL OF MUSIC present the EMERSON STRING QUARTET EUGENE DRUCKER, VIOLIN (1st in Aitken & Schubert) PHILIP SETZER, VIOLIN (1st in Beethoven & Barber) .. LAWRENCE DUTTON, VIOLA DAVID FINCKEL, CELLO MONDAY -,. APRIL 28, 2003 8:00 P.M. STUDE CONCERT HALL ALICE PRATT BROWN HALL RICE UNIVERSITY THIS PROJECT IS FUNDED IN PART BY THE CITY OF HOUSTON AND TIIE T EXAS COMMISSION ON THE ARTS THROUGH THE CULTURAL ARTS COUNCIL OF HOUSTON/HARRIS COUNTY. EMERSON STRING QUARTET -PROGRAM- LUDWIG van BEETHOVEN (1770-1827) Quartet in F Major, Op. 18, No. 1 (1798) Allegro con brio Adagio affettuoso ed appassionato Scherzo: Allegro molto Allegro HUGH AITKEN (b.1924) Laura Goes to India (1998) SAMUEL BARBER (1910-1981) A . Adagio for String Quartet, Op. 11 (1936) -INTERMISSION- FRANZ SCHUBERT (1797-1828) Quartet in D Minor, D. 810, "Death and the Maiden" (1824) Allegro Andante con moto Scherzo: Allegro molto Presto -.. The Emerson String Quartet appears by arrangement with IMC Artists and records exclusively for Deutsche Grammophon. www.emersonquartet.com LUDWIG van BEETHOVEN (1770-1827) Quartet in F Major, Op. 18, No. 1 (1798) ·.1 Beethoven wrote the Opus 18 Quartets during his first years in Vienna. He had arrived from Germany in 1792 by permission of the Elector of Bonn, shortly before his twenty-second birthday, in high spirits and carrying with him introductions to some of the most prominent members of music-loving Viennese nobility, who welcomed him into their substantial musical lives. At the end of his first four years in Vienna he had established himself as a pianist of major importance and a composer of the utmost promise; he had published, among other things, a set of three Piano Trios, Op.l, three Trios for Strings, Op.
    [Show full text]
  • The String Quartet
    The Cambridge Companion to THE STRING QUARTET ............ edited by Robin Stowell published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge, CB2 2RU, UK 40 West 20th Street, New York, NY 10011–4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2003 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printed in the United Kingdom at the University Press, Cambridge Typeface Minion 10.75/14 pt. SystemLATEX2ε [tb] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data The Cambridge Companion to the string quartet / edited by Robin Stowell. p. cm. – (Cambridge companions to music) Includes bibliographical references and indexes. ISBN 0 521 80194 X (hardback) – ISBN 0 521 00042 4 (paperback) 1. String quartet. I. Stowell, Robin. II. Series. ML1160.C36 2003 785.7194 – dc21 2003043508 ISBN 0 521 80194 X hardback ISBN 0 521 00042 4 paperback Contents List of illustrations [page viii] Notes on the contributors [ix] Preface [xii] Acknowledgements [xiv] Note on pitch [xv] r Part I Social
    [Show full text]
  • Cello Biennale 2018
    programmaoverzicht Cellists Harald Austbø Quartet Naoko Sonoda Nicolas Altstaedt Jörg Brinkmann Trio Tineke Steenbrink Monique Bartels Kamancello Sven Arne Tepl Thu 18 Fri 19 Sat 20 Sun 21 Mon 22 Tue 23 Wed 24 Thu 25 Fri 26 Sat 27 Ashley Bathgate Maarten Vos Willem Vermandere 10.00-16.00 Grote Zaal 10.00-12.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal Kristina Blaumane Maya Beiser Micha Wertheim First Round First Round (continued) Bach&Breakfast Bach&Breakfast Bach&Breakfast Bach&Breakfast Bach&Breakfast Bach&Breakfast Arnau Tomàs Matt Haimovitz Kian Soltani Jordi Savall Sietse-Jan Weijenberg Harriet Krijgh Lidy Blijdorp Mela Marie Spaemann Santiago Cañón NES Orchestras and Ensembles 10.15-12.30 10.15-12.30 10.30-12.45 Grote Zaal 10.15-12.30 10.15-12.30 10.15-12.30 10.15-12.30 10.30 and 12.00 Kleine Zaal Master class Master class Second Round Masterclass Masterclass Masterclass Masterclass Valencia Svante Henryson Accademia Nazionale di Santa Show for young children: Colin Carr (Bimhuis) Jordi Savall (Bimhuis) Jean-Guihen Queyras Nicolas Altstaedt (Bimhuis) Roel Dieltiens (Bimhuis) Matt Haimovitz (Bimhuis) Colin Carr Quartet Cecilia Spruce and Ebony Jakob Koranyi (Kleine Zaal) Giovanni Sollima (Kleine (Bimhuis) Michel Strauss (Kleine Zaal) Chu Yi-Bing (Kleine Zaal) Reinhard Latzko (Kleine Zaal) Zaal) Kian Soltani (Kleine Zaal) Hayoung Choi The Eric Longsworth Amsterdam Sinfonietta 11.00 Kleine Zaal Chu Yi-Bing Project Antwerp Symphony Orchestra Show for young children:
    [Show full text]
  • Carducci String Quartet
    Beethoven’s String Quartets VII Carducci String Quartet String Quartet in G major Op 18 No 2 String Quartet in E flat major Op 127 Monday 24 May 4pm Assembly Rooms This concert is generously supported by an anonymous donor. Beethoven and the String Quartet The writing of string quartets was a daunting challenge The ‘Razumovsky’ quartets, Op 59, stand in the same for any young composer in Vienna in the 1790s, even relation to the Op 18 quartets as the ‘Eroica’ does to the one as brilliantly gifted as Beethoven. Over the previous first two symphonies. In their sometimes truculent way, two decades Haydn, especially, and Mozart had raised Op 18 by and large had adhered to the 18th-century the quartet to the most exalted of classical genres: a notion, encapsulated by Goethe, of the string quartet as supreme vehicle for ‘learned’ taste and subtle, civilised ‘a conversation between four intelligent people’. With the musical discourse. In the words of the late 18th-century Op 59 quartets, unprecedented in their rhetorical force aesthetician Daniel Schubart, a string quartet expressed and symphonic cast, the private has become public. ‘the whole musical universe concentrated into one work’. Projection rather than intimate discourse is now the order of the day. Not surprisingly, Beethoven waited until he had established his credentials as a composer for the piano, These quintessential works of Beethoven’s so-called his own instrument, before venturing on to his string middle period were followed by two isolated quartets: quartets in the autumn of 1798. In preparation, he had the genial ‘Harp’, Op 74, in 1809, and the violently steeped himself in the quartets of his great compressed ‘Quartetto serioso’, Op 95, in 1810.
    [Show full text]
  • Liner Notes by Patrick Castillo © 2019 Medium for His Deepest Musical Thoughts
    Incredible Decades (2019) Disc 3. his father following its premiere). When the Opus 16 1–3 Quintet in E-flat Major for Winds and Piano, op. 16 Quintet was published, it appeared with an alternate (1796) version for piano quartet. LUDWIG VAN BEETHOVEN (1770–1827) The Quintet is cast in three movements. The Grave – Allegro, ma non troppo first movement begins with a slow introduction in the Andante cantabile French overture style, marked by stately dotted rhythms. Rondo: Allegro, ma non troppo The piano commences the Allegro proper with a melodious sixteen-bar theme, very much in the spirit of STEPHEN TAYLOR, oboe; TOMMASO LONQUICH, Mozart. Winds soon join in, enlivening the proceedings clarinet; PETER KOLKAY, bassoon; KEVIN RIVARD, horn; with a brilliant splash of color. As each voice engages in GILBERT KALISH, piano dialogue with one another, a magical quality comes to the fore—one, frankly, lost in the arrangement for 4–7 String Quartet in F Major, op. 135 (1826) strings. Each instrument’s timbre gives it a unique LUDWIG VAN BEETHOVEN identity, like distinct personalities in conversation: the Allegretto mellow clarinet, answered in turn by the jocular Vivace bassoon, the bellowing horn, the insistent oboe, with Lento assai, cantante e tranquillo the piano moderating all the while. Der Schwer gefasste Entschluss: Grave, A similar dynamic governs the lovely Andante ma non troppo tratto – Allegro cantabile. The tender melody is introduced, dolce, by the piano, then given luxurious voice by the full ensemble. ESCHER STRING QUARTET: ADAM BARNETT-HART, Two contrasting minor-key episodes feature expressive BRENDAN SPELTZ, violins; PIERRE LAPOINTE, viola; solo lines in each of the wind instruments: a mournful BROOK SPELTZ, cello tune sung by the oboe and later a solo turn by the horn—its brass timbre ideally suited to express a dignified melancholy.
    [Show full text]