DOCSLIB.ORG

Mozart's String Quartet in D Minor, K

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mozart's String Quartet in D Minor, K THE BIOGRAPHY OF A STRING QUARTET: Mozart’s String Quartet in D minor, K. 421 (417b) by Alexa Vivien Wilks A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Alexa Vivien Wilks 2015 The Biography of a String Quartet: Mozart’s String Quartet in D minor, K. 421 (417b) Alexa Vivien Wilks Doctor of Musical Arts Faculty of Music University of Toronto 2015 Abstract Wolfgang Amadeus Mozart’s String Quartet K. 421 in D minor remains one of his most celebrated quartets. K. 421 is the second work in a set of six quartets dedicated to Mozart’s colleague and mentor, Joseph Haydn, and is the only ‘Haydn’ Quartet in a minor key. An overview of the historical background of K. 421, the significance of D minor in Mozart’s compositions, as well as the compositional relationship between Mozart and Haydn situates this work amongst Mozart’s other string quartet compositions and provides context for the analysis of different editions. An outline of the historical practices and roles of editors, as well as a detailed analysis and comparison of different editions against the autograph manuscript and the first edition published by Artaria in 1785 examines the numerous discrepancies between each of the different publications of K. 421. Using the information acquired from the comparative study of selected historical editions, some possibilities for future editions of K. 421 are discussed. When undertaking the study of a new quartet, performers can learn a great deal from listening to recordings. In addition to this analysis, an outline of the evolution of string quartet performance practices is provided. The individual conclusions formed from studying the historical background, different publications and selected recordings of a specific composition can be extended beyond this quartet and applied by performers to any work they choose to undertake. ii Acknowledgments Writing this paper has been a long and, at times, difficult process. I am forever indebted to the following people who have encouraged, listened, cajoled and tolerated me throughout this journey. My gratitude to my parents, Jane and George, for their constant support and endless hours spent reading and re-reading this document. I owe many thanks to my best friend, Laura, for her continuous reassurances and uplifting messages that all too often went unanswered. To my quartet colleagues Sarah, Linnea and Alex, who introduced me to this great work, I wish to express my sincere appreciation for the four wonderful years we spent together. Professors Annalee Patipatanakoon, Tim Ying, Jeremy Bell and Mary Ann Parker provided me with many thoughtful insights as well as important corrections and additions. My fiancé Kevin showed me infinite patience and compassion, from the biggest of hurdles to the smallest of requests. That you still wish to marry me after all of this perhaps remains my biggest accomplishment so far. And lastly, to my supervisor and mentor Professor Robin Elliott, whose tremendous knowledge of Mozart, string quartets and music would be incredibly intimidating in anyone less humble and kind, you have ignited in me an enthusiasm for research which I will carry with me always. iii Table of Contents List of Tables and Illustrations ...................................................................................................... x List of Appendices ........................................................................................................................ xi Introduction .................................................................................................................................... 1 CHAPTER 1: THE HISTORICAL EVOLUTION OF K. 421 The History and Genesis of K. 421 1.1 Early Quartets .............................................................................................................. 4 1.1a String Quartet in G Major “Lodi”, K. 80 [73f] ......................................... 4 1.1b ‘Divertimenti’, K. 136 – 138 ....................................................................... 5 1.1c ‘Milanese’, K. 155 – 160 .............................................................................. 6 1.1d ‘Viennese’, K. 168 – 173 ............................................................................... 7 1.2 Historical Context of K. 421 ....................................................................................... 7 1.3 Genesis and Critical Reception of K. 421 ................................................................... 8 1.4 Construction and Form of K. 421 ............................................................................. 10 1.4a I. Allegro moderato .................................................................................... 10 1.4b II. Andante ................................................................................................... 11 1.4c III. Menuetto – Trio ..................................................................................... 12 1.4d IV. Allegretto ma non troppo ....................................................................... 12 The Significance of D minor in Mozart’s Compositions 1.5 Key Characteristics in the Eighteenth Century ......................................................... 15 iv 1.6 Personal Significance of D minor .............................................................................. 15 1.7 Works in D minor ..................................................................................................... 16 1.7a La Betulia Liberata, K. 118 [74c] ............................................................... 16 1.7b String Quartet in D minor, K. 173 .............................................................. 17 1.7c Thamos, König in Ägypten, K. 345 [336a] .................................................. 18 1.7d Idomeneo, rè di Creta, K. 366 ..................................................................... 19 1.7e Fantasia No. 3, K. 397 [385g] .................................................................... 19 1.7f Piano Concerto No. 20 in D minor, K. 466 ................................................. 20 1.7g Kyrie in D minor, K. 341 ............................................................................ 21 1.7h Don Giovanni, K. 527 ................................................................................. 21 1.7i Die Zauberflöte, K. 620 ............................................................................... 23 1.7j Requiem, K. 626 ........................................................................................... 23 Introitus .................................................................................................... 24 Part III: Dies Irae, Rex Tremendae, and Lacrimosa ................................. 25 Agnus Dei ................................................................................................ 26 Haydn’s Influence 1.8 Haydn’s String Quartets in D minor ......................................................................... 26 1.8a Op. 9, No. 4 (1769) ...................................................................................... 27 1.8b Op. 42 (1786) .............................................................................................. 28 1.8c Op. 51, ‘Die sieben letzten Worte unseres Erlösers am Kreuze’ (1785) ..... 29 1.8d Op. 76, No. 2 “Quinten” (1796) ................................................................. 30 1.8e Op. 103 (1803) ............................................................................................. 32 1.9 Haydn and Mozart’s Relationship .............................................................................. 33 v 1.10 Haydn’s Influence on Mozart’s Quartet Writing .................................................... 34 1.10a Op. 9, No. 4 and K. 173 ............................................................................. 34 1.10b Op. 20, No. 4, Op. 33, No. 2 and K. 421 ................................................... 36 1.10c Op. 33 ‘Scherzi’ and K. 421 ...................................................................... 41 1.11 Haydn’s Allusion to K. 421 ..................................................................................... 43 CHAPTER 2: THE EVOLUTION OF K. 421 IN PRINT Historical Information 2.1 Overview of Editorial Discrepancies ........................................................................ 45 2.2 Mozart’s Manuscript and Personal Revisions to K. 421 ........................................... 46 2.3 First Edition and Early Printings ............................................................................... 48 2.4 Historical European Editions of K. 421 .................................................................... 49 2.5 Twentieth Century Editions of K. 421 ...................................................................... 51 2.6 Future Editions of K. 421 .......................................................................................... 53 K. 421 and the Editorial Process 2.7 Editorial Considerations ............................................................................................ 54 2.7a Source material ........................................................................................... 54 2.7b Errata in copying and Mozart’s inconsistencies ......................................... 55 2.7c Historical academic texts ............................................................................ 58 2.7d The editorial process ..................................................................................
Load more

Recommended publications
  • Betulia Liberata
    Wolfgang Amadeus Mozart Pietro Metastasio BETULIA LIBERATA 1771 Éditionsǀ ǀ Copyright © 2018 Nicolas Sceaux, Les Talens Lyriques – Christophe Rousset. Nicolasǀ ǀ Sheet music from http://nicolas.sceaux.free.fr typeset using LilyPond on 2018-11-16. Sceauxǀ ǀ Creative Commons Attribution-ShareAlike 4.0 License — free to download, distribute, modify and perform. 2 TABLE DES MATIÈRES Libretto .......................................... 3 1-0 Overtura ......................................... 12 Parte Prima 1-1 Recitativo. Ozia: Popoli di Betulia, ah qual v’ingombra . 23 1-10 Aria. Giuditta: Del pari infeconda ................... 79 1-2 Aria. Ozia: D’ogni colpa la colpa maggiore ............ 24 1-11 Recitativo. Ozia, Cabri, Giuditta: Oh saggia, oh santa, 1-3 Recitativo. Cabri, Amital: E in che sperar? ............ 47 oh eccelsa donna! ................................. 91 1-4 Aria. Cabri: Ma qual virtù non cede .................. 48 1-12 Aria con Coro. Ozia, Coro: Pietà, se irato sei ........... 93 1-5 Recitativo. Ozia, Cabri, Amital: Già le memorie antiche . 54 1-13 Recitativo. Oh saggia, oh santa, oh eccelsa donna! ..... 100 1-6 Aria. Amital: Non hai cor, se in mezzo a questi ......... 56 1-14 Aria. Achior: Terribile d’aspetto ..................... 102 1-7 Recitativo. Ozia, Amital, Coro: E qual pace sperate ..... 65 1-15 Recitativo. Ti consola, Achior ....................... 112 1-8 Aria con Coro. Ozia, Coro: Pietà, se irato sei ........... 67 1-16 Aria. Giuditta: Parto inerme, e non pavento ........... 114 1-9 Recitativo. Cabri, Amital, Ozia, Giuditta: Chi è costei, 1-17 Coro: Oh prodigio! Oh stupor! ....................... 133 che qual sorgente aurora ........................... 74 Parte Seconda 2-1 Recitativo. Achior, Ozia: Troppo mal corrisponde ...... 144 2-9 Recitativo.
    [Show full text]
  • 5 Music Cruises 2019 E.Pub
    “The music is not in the notes, but in the silence between.” Wolfgang Amadeus Mozart RHINE 2019 DUDOK QUARTET Aer compleng their studies with disncon at the Dutch String Quartet Academy in 20 3, the Quartet started to have success at internaonal compeons and to be recognized as one of the most promising young European string quartets of the year. In 20 4, they were awarded the Kersjes ,rize for their e-ceponal talent in the Dutch chamber music scene. .he Quartet was also laureate and winner of two special prizes during the 7th Internaonal String Quartet 0ompeon 20 3 1 2ordeau- and won st place at both the st Internaonal String Quartet 0ompeon 20 in 3adom 4,oland5 and the 27th 0harles 6ennen Internaonal 0hamber Music 0ompe7 on 20 2. In 20 2, they received 2nd place at the 8th 9oseph 9oachim Internaonal 0hamber Music 0ompeon in Weimar 4:ermany5. .he members of the quartet ;rst met in the Dutch street sym7 phony orchestra “3iccio=”. From 2009 unl 20 , they stu7 died with the Alban 2erg Quartet at the School of Music in 0ologne, then to study with Marc Danel at the Dutch String Quartet Academy. During the same period, the quartet was coached intensively by Eberhard Feltz, ,eter 0ropper 4Aindsay Quartet5, Auc7Marie Aguera 4Quatuor BsaCe5 and Stefan Metz. Many well7Dnown contemporary classical composers such as Kaija Saariaho, MarD7Anthony .urnage, 0alliope .sou7 paDi and Ma- Knigge also worDed with the quartet. In 20 4, the Quartet signed on for several recordings with 3esonus 0lassics, the worldEs ;rst solely digital classical music label.
    [Show full text]
  • A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
    A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview
    [Show full text]
  • 20Th-Century Repertory
    Mikrokosmos List 665. - 2 - January 2021 ....20TH-CENTURY REPERTORY 1 Adam, Claus: Vcl Con/ Barber: Die Natali - Kates vcl, cond.Mester 1975 S LOUISVILLE LS 745 A 12 2 Adams, John: Shaker Loops, Phrygian Gates - McCray pno, Ridge SQ, etc 1979 S 1750 ARCH S 1784 A 10 3 Baaren, Kees van: Musica per orchestra; Musica per organo/Brons, Carel: Prisms DONEMUS 72732 A 8 (organ) - Wolff organ, cond.Haitink , (score enclosed) S 4 Badings: Con for Orch/H.Andriessen: Kuhnau Var/Brahms: Sym 4 - Regionaal 2 x REGIONAAL JBTG A 15 Jeugd Orkest, cond.Sevenhuijsen live, 1982, 1984 S 7118401 5 Bax: Sym 3, The Happy Forest - London SO, cond.Downes (UK) (p.1969) S RCA SB 6806 A 8 6 Bernstein, Elmer: Summer and Smoke (sound track) - cond.comp S ENTRACTE ERS 6519 A 8 7 Bernstein, Elmer: The Magnificent Seven - cond.comp S LIBERTY EG 260581 A 8 8 Bernstein, Elmer: To Kill a Mockingbird (film music) - Royal PO, cond.E.Bernstein FILMMUSIC FMC 7 A 25 1976 S 9 Bernstein, Elmer: Walk on the Wild Side (soundtrack) - cond.comp S CHOREO AS 4 A 8 10 Bernstein, Ermler: Paris Swings (soundtrack) S CAPITOL ST 1288 A 8 11 Bolling: The Awakening (soundtrack) S ENTRACTE ERS 6520 A 8 12 Bretan, Nicolae: Ady Lieder - comp.pno & vocal (one song only), L.Konya bar, MHS 3779 A 8 F.Weiss, M.Berkofsky pno S 13 Castelnuovo-Tedesco: The Well-Tempered Guitars - Batendo Guitar Duo (gatefold) 2 x ETCETERA ETC 2009 A 15 (p.1986) S 14 Casterede, Jacques: Suite a danser - Hewitt Orch (light music) 10" DISCOPHILE SD 5 B+ 10 15 Dandara, Liviu: Timpul Suspendat, Affectus, Quadriforium III
    [Show full text]
  • Quartetto Dàidalos
    QUARTETTO DÀIDALOS Anna Molinari – violino Tina Vercellino – Violino Lorenzo Lombardo – Viola Lucia Molinari – Violoncello Il Quartetto d'archi Dàidalos nasce a Novara nell'ottobre 2014 dal desiderio di quattro amici di fare musica da camera. Pur formato da giovani strumentisti, il Quartetto Dàidalos ha già al proprio attivo un cospicuo numero di concerti in molte città italiane, tra cui Milano (Casa Verdi, Villa Crespi e Villa Necchi per la Società del Quartetto), Messina (Filarmonica Laudamo), Genova (Associazione Amici di Paganini, Palazzo Rosso), Cremona (Teatro Ponchielli e Auditorium Arvedi), Como (Teatro Sociale) e Novara (Teatro Faraggiana, Auditorium F.lli Olivieri). Nell’estate 2017 è stato quartetto in residence alla 27a edizione del Piedicavallo Festival, suonando in più di una decina di concerti sia come quartetto che in quintetto e sestetto, collaborando con altri musicisti invitati al Festival. Nel 2016 l’ensemble ha ricevuto una borsa di studio dell'Associazione Piero Farulli (“La Pépinière del Quartetto d'Archi”) e nel 2017 una assegnata dalla Gioventù Musicale d’Italia, che ha determinato numerosi concerti premio in città italiane. Nella stagione 2017-2018, il Quartetto Dàidalos si è esibito per prestigiose società ed associazioni concertistiche, tra cui il Paganini Genova Festival, l’Associazione Musica con le Ali, la Società del Quartetto di Milano (Musica nel Tennis), la Società del Quartetto di Bergamo. Ha inoltre avuto il privilegio di suonare in quintetto con Simone Gramaglia (Quartetto di Cremona) ad Helsinki e a giugno 2018 ha tenuto una serie di concerti a San Francisco per le celebrazioni della Festa della Repubblica, in collaborazione con l’Istituto Italiano di Cultura della città statunitense.
    [Show full text]
  • A Chronology of All Artists' Appearances with the Chamber
    75 Years of Chamber Music Excellence: A Chronology of all artists’ appearances with the Chamber Music Society of Louisville st 1 ​ Season, 1938 – 1939 ​ Kathleen Parlow, violin and Gunnar Johansen, piano The Gordon String Quartet The Coolidge Quartet The Heermann Trio nd 2 ​ Season, 1939 – 1940 ​ The Budapest String Quartet The Stradivarius Quartet Marcel Hubert, cello and Harold Dart, piano rd 3 ​ Season, 1940 – 1941 ​ Ralph Kirkpatrick, harpsichord and Lois Wann, oboe Belgian Piano­String Quartet The Coolidge Quartet th 4 ​ Season, 1941 – 1942 ​ The Trio of New York The Musical Art Quartet The Pro Arte Quartet th 5 ​ Season, 1942 – 1943 ​ The Budapest String Quartet The Coolidge Quartet The Stradivarius Quartet th 6 ​ Season, 1943 – 1944 ​ The Budapest String Quartet Gunnar Johansen, piano and Antonio Brosa, violin The Musical Art Quartet th 7 ​ Season, 1944 – 1945 ​ The Budapest String Quartet The Pro Arte Quartet Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord th 8 ​ Season, 1945 – 1946 ​ The Musical Art Quartet Nikolai Graudan, cello and Joanna Graudan, piano Philip Manuel, harpsichord and Gavin Williamson, harpsichord The Budpest String Quartet th 9 ​ Season, 1946 – 1947 ​ The Louisville Philharmonic String Quartet with Doris Davis, piano The Albeneri Trio The Budapest String Quartet th 10 ​ Season, 1947 – 1948 ​ Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord The Budapest String Quartet The London String Quartet The Walden String Quartet The Albeneri Trio th 11 ​ Season, 1948 – 1949 ​ The Alma Trio
    [Show full text]
  • American Viola Society Newsletter No. 17, November 1979
    AMERICAN VIOLA SOCIETY (formerly Viola Research Society) American Chapter of the INTERNATIONALE VIOLA FORSCI.IUNGSGESELLSCIIAFT ------------ __-,l-_lll_--II_ ..s-- November NEWSLETTER 17 1979 ----- - -- ----I- "YOU'VE COME A LONG WAY, BABY! " A REPCRT ON TH3 SEVZKTE INTERXATIC'NAL VIOLA CONGRESS PROTJO, UTAH The Seventh International Viola Congress, which took place July 12, 13, and 14 on the canipus of Eriehan; Young University, was a very epecial event on several counts. Sponsored by the American Viola Society and Brieham Youne University, the congress was held in t.he Frenklln S, Harris Fine Arts Center--& superb ccmplex that offered first-class concert halls, lecture roous, and exhibition galleries. Two celebrations, important to violists, took place durine the congress. The first was an anticipatory musics1 and biographical celebration of the 100th birthday of Ernest Bloch (born 1880), manifested by performances of all his worke for viola and a talk on his life and music by Suzanne Bloch, his dsuehter. The second was the 75th birthday of William Primrose. The viclists heard during the three days represented a stunning and consi~tentlyhigh level of performance--so~ethM that has become more and more the norm for viola playing today and synonymous with American strine playing in eeneral. Dr. David Dalton, the hoet chairperson of the congress and a mezber of BYU's ffiusic faculty, did an outstanding Job of oreanizinfr and oversaeing the congress, aided by the university 'a Music Department faculty and staff. No large meetine can be without flaws, but this caneress was one of the smocthest and least-blemished ever witnessed by this writer.
    [Show full text]
  • Franz Anton Hoffmeister’S Concerto for Violoncello and Orchestra in D Major a Scholarly Performance Edition
    FRANZ ANTON HOFFMEISTER’S CONCERTO FOR VIOLONCELLO AND ORCHESTRA IN D MAJOR A SCHOLARLY PERFORMANCE EDITION by Sonja Kraus Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2019 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Emilio Colón, Research Director and Chair ______________________________________ Kristina Muxfeldt ______________________________________ Peter Stumpf ______________________________________ Mimi Zweig September 3, 2019 ii Copyright © 2019 Sonja Kraus iii Acknowledgements Completing this work would not have been possible without the continuous and dedicated support of many people. First and foremost, I would like to extend my deepest gratitude to my teacher and mentor Prof. Emilio Colón for his relentless support and his knowledgeable advice throughout my doctoral degree and the creation of this edition of the Hoffmeister Cello Concerto. The way he lives his life as a compassionate human being and dedicated musician inspired me to search for a topic that I am truly passionate about and led me to a life filled with purpose. I thank my other committee members Prof. Mimi Zweig and Prof. Peter Stumpf for their time and commitment throughout my studies. I could not have wished for a more positive and encouraging committee. I also thank Dr. Kristina Muxfeldt for being my music history advisor with an open ear for my questions and helpful comments throughout my time at Indiana University. I would also like to thank Dr.
    [Show full text]
  • Quatuor Ébène Pierre Colombet Violin • Gabriel Le Magadure Violin Marie Chilemme Viola • Raphaël Merlin Cello
    Wednesday 12 December 2018 7.30pm Quatuor Ébène Pierre Colombet violin • Gabriel Le Magadure violin Marie Chilemme viola • Raphaël Merlin cello Ludwig van Beethoven String Quartet in F Op. 18 No. 1 Johannes Brahms String Quartet in C minor Op. 51 No. 1 I n t e r v a l (20 minutes) Ludwig van Beethoven String Quartet in F Op. 135 This evening’s concert will be streamed live, and will be available to watch afterwards on the Wigmore Hall website. PROGRAMME: £3 CAVATINA Chamber Music Trust has donated free tickets for 8-25 year-olds for the concert on 12 December 2018. For details of future concerts please call the Box Office on 020 7935 2141. 2018 cover-autumn test print.indd 1 29/08/2018 10:28 Ludwig van Beethoven Beethoven arrived in Vienna in 1792, a year after Mozart’s tragic death. The young, (1770–1827) Bonn-born composer was effectively travelling to the Habsburg capital to take up where the late, lamented composer had String Quartet in F Op. 18 No. 1 left off. He even carried a letter to that end, (1798–1800) written by his friend Count von Waldstein: Allegro con brio ‘You are going to Vienna in fulfilment Adagio affettuoso ed appassionato of your long-frustrated wishes. The Scherzo. Allegro molto Genius of Mozart is still mourning and Allegro weeping the death of her pupil. She found a refuge but no occupation with the inexhaustible Haydn; through him Johannes Brahms she wishes once more to form a union (1833–1897) with another.
    [Show full text]
  • Everything Essential
    Everythi ng Essen tial HOW A SMALL CONSERVATORY BECAME AN INCUBATOR FOR GREAT AMERICAN QUARTET PLAYERS BY MATTHEW BARKER 10 OVer tONeS Fall 2014 “There’s something about the quartet form. albert einstein once Felix Galimir “had the best said, ‘everything should be as simple as possible, but not simpler.’ that’s the essence of the string quartet,” says arnold Steinhardt, longtime first violinist of the Guarneri Quartet. ears I’ve been around and “It has everything that is essential for great music.” the best way to get students From Haydn, Mozart, Beethoven, and Schubert through the romantics, the Second Viennese School, Debussy, ravel, Bartók, the avant-garde, and up to the present, the leading so immersed in the act of composers of each generation reserved their most intimate expression and genius for that basic ensemble of two violins, a viola, and a cello. music making,” says Steven Over the past century america’s great music schools have placed an increasing emphasis tenenbom. “He was old on the highly specialized and rigorous discipline of quartet playing. among them, Curtis holds a special place despite its small size. In the last several decades alone, among the world and new world.” majority of important touring quartets in america at least one chair—and in some cases four—has been filled by a Curtis-trained musician. (Mr. Steinhardt, also a longtime member of the Curtis faculty, is one.) looking back, the current golden age of string quartets can be traced to a mission statement issued almost 90 years ago by early Curtis director Josef Hofmann: “to hand down through contemporary masters the great traditions of the past; to teach students to build on this heritage for the future.” Mary louise Curtis Bok created a haven for both teachers and students to immerse themselves in music at the highest levels without financial burden.
    [Show full text]
  • Takács Quartet Beethoven String Quartet Cycle
    Takács Quartet Beethoven String Quartet Cycle Concerts V and VI March 25–26, 2017 Rackham Auditorium Ann Arbor CONTENT Concert V Saturday, March 25, 8:00 pm 3 Beethoven’s Impact: Steven Mackey 7 Beethoven’s Impact: Adam Sliwinski 13 Concert VI Sunday, March 26, 4:00 pm 15 Beethoven’s Impact: Lowell Liebermann 18 Beethoven’s Impact: Augusta Read Thomas 21 Artists 25 Takács Quartet Concert V Edward Dusinberre / Violin Károly Schranz / Violin Geraldine Walther / Viola András Fejér / Cello Saturday Evening, March 25, 2017 at 8:00 Rackham Auditorium Ann Arbor 51st Performance of the 138th Annual Season 54th Annual Chamber Arts Series This evening’s presenting sponsor is the William R. Kinney Endowment. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. Special thanks to Steven Whiting for his participation in events surrounding this weekend’s performances. The Takács Quartet records for Hyperion and Decca/London Records. The Takács Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate Artists at Wigmore Hall, London. The Takács Quartet appears by arrangement with Seldy Cramer Artists. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM Beethoven String Quartets Concert V String Quartet in B-flat Major, Op. 18, No. 6 Allegro con brio Adagio ma non troppo Scherzo: Allegro La malinconia: Adagio — Allegretto quasi Allegro String Quartet in F Major, Op. 135 Allegretto Vivace Lento assai e cantante tranquillo Grave — Allegro — Grave, ma non troppo tratto — Allegro Intermission String Quartet in C Major, Op.
    [Show full text]
  • Giovedì 5 E Venerdì 6 Dicembre, Ore 21 Palazzo Chigi
    MICAT IN VERTICE PROSSIMI CONCERTI 13 DICEMBRE VENERDÌ PALAZZO CHIGI SARACINI ORE 21 La Micat in Vertice (dal motto della famiglia Shahram Nazeri, Hossein Alizadeh, Pejman Hadadi. Chigi, che significa “Splende sulla cima”) è The Masters of Persian Music SHAHRAM NAZERI voce / HOSSEIN ALIZADEH tar e setar uno tra i più longevi cartelloni del panorama PEJMAN HADADI tombak nazionale. Con questo motto il Conte Guido 14 DICEMBRE SABATO TEATRO DEI ROZZI ORE 21 Chigi Saracini il giorno di Santa Cecilia del Integrale dei concerti per pianoforte 1923 aprì le porte del suo Palazzo di via e orchestra di Beethoven (I) ORCHESTRA GIOVANILE ITALIANA di Città inaugurando la prima delle sue LEONORA ARMELLINI pianoforte “creature musicali”, destinata a qualificare FRANCESCO MARIA NAVELLI pianoforte ROMAN LOPATINSKY pianoforte le stagioni concertistiche invernali. DANIELE RUSTIONI direttore 15 DICEMBRE DOMENICA TEATRO DEI ROZZI ORE 21 Integrale dei concerti per pianoforte The Micat in Vertice (from Latin motto of the e orchestra di Beethoven (II) Chigi’s Family’s coat of arms, which means ORCHESTRA GIOVANILE ITALIANA TAKESHI SHIMOZATO pianoforte NOI ADERIAMO alla nuova carta universitaria “The Star shines on the top”) is among the WATARU MASHIMO pianoforte / DANIELE RUSTIONI direttore Studente della oldest and most prestigious Italian concert Toscana 20 DICEMBRE VENERDÌ CATTEDRALE ORE 21 SERVIZI e AGEVOLAZIONI per gli studenti universitari festivals. It was inaugurated on 23 november INGRESSO GRATUITO della nostra regione Lux fulgebit, le sfumature della luce www.regione.toscana.it/cartastudenteuniversitario 1923 by Count Guido Chigi Saracini in his own CORO DELLA CATTEDRALE DI SIENA “GUIDO CHIGI SARACINI” Palace in the City of Siena, so as to found a LORENZO DONATI direttore La sede storica dell’Accademia Musicale new winter concert season.
    [Show full text]