ENSEMBLE 360 Thursday 22 October 2020 JOSEPH HAYDN 1.00pm & 7.00pm String Quartet No.66, Op.77 No.1 Upper Chapel, Sheffield LUDWIG VAN BEETHOVEN BENJAMIN NABARRO violin String Quartet No.14, Op.131 NATALIE KLOUDA violin RUTH GIBSON viola GEMMA ROSEFIELD cello Joseph Haydn (1732–1809) Ludwig van Beethoven (1770-1827) String Quartet in G, Op.77 No.1 String Quartet in C sharp minor, Op.131 Allegro moderato Adagio ma non troppo e molto espressivo – Allegro molto Adagio vivace – Allegro moderato – Andante ma non troppo e molto Menuetto: Presto cantabile – Presto – Adagio quasi un poco andante – Allegro Finale: Presto Beethoven himself considered this C sharp minor Quartet to Haydn’s two quartets Op.77 were composed in 1799, with a be his finest work: an immense single span comprising seven dedication to Prince Lobkowitz, the highly musical artistocrat movements that are performed without a break. When who had also commissioned Beethoven’s Op.18 quartets, Richard Wagner heard the work performed by the Maurin- which were composed around the same time. Haydn’s final Chevillard Quartet in Paris, he was overcome with set of quartets and Beethoven’s first set are therefore exact admiration. It's always fascinating to read one great contemporaries. composer writing about another, and despite the purple prose, Wagner's remarks are a wonderful tribute. He likens The brilliant G major quartet Op.77 No.1 opens with a brisk the Quartet to a "Beethoven day", and describes the music tune reminiscent of a march. A more lyrical second theme as follows: emerges as a natural extension of the first. The development "I should designate the long introductory Adagio – than which, is typically adventurous, and the march returns on the cello, probably, nothing more melancholy has ever been expressed in now with witty answering phrases added on the first violin. sound – as the awakening on the morning of a day ... It is, at the Throughout the movement, the two ideas are often same time, a penitential prayer, a conference with God. The accompanied by a figure in triplets that maintains a high level introspective eye views (Allegro, 6/8) there, too, the comforting of energy. The Adagio is in E flat major, opening with a phenomenon in which Desire becomes a sweet, sorrowful play dramatic statement of the first phrase, played in bold with itself: the innermost dream-image awakens in a most octaves. This generates everything that follows: an inspired, charming reminiscence. And now (in the short transitional free-flowing movement exploring extremes of loud and soft, Allegro moderato) it is as though the Master, recollecting his with wonderfully rich harmonies, and the dramatic range of a art, addressed himself to his magic work. He employs (Andante, great operatic aria. The G major Minuet is marked Presto and 2/4) the revived power of spells peculiarly his own, to charm a is much closer to the wild spirit of Beethoven’s scherzos than graceful shape ... in order that he may enrapture himself by ever to the courtly dance that inspired the form. There's no new and unprecedented transformations ... We now fancy lessening of energy in the Trio (in E flat major, like the slow (Presto 2/2) that we see him who is so completely happy, cast a movement). The finale is based on a small musical cell heard glance of indescribable serenity upon the outer world. ... at the start. With boundless energy and unceasing ingenuity, Everything is rendered luminous by his inner happiness. ... He Haydn brings the work to a life-affirming conclusion. now reflects on how he must begin (Adagio, 3/4), a short but troubled meditation ... He awakens, and now strikes the strings for a dance, in such a way as the world has never yet heard (Allegro Finale). It is the dance of the world itself: wild delight, the lamentation of anguish, ecstasy of love, highest rapture ... and sorrow: suddenly, lightning quivers, the angry tempest growls; and above all this, the mighty player ... smiles at himself, for the incantation was to him, after all, only a play. Night beckons to him. His day is finished." Programme notes © Nigel Simeone ENSEMBLE 360 Ensemble 360 has gained an enviable reputation across the UK not only for the quality and integrity of its playing, but also for its ability to communicate the music to a range of different audiences. Formed in 2005, eleven musicians of international standing came together to take up residency in Sheffield with Music in the Round, establishing a versatile group of five string players, five wind players and a pianist. The musicians believe ithat concerts should be informal, friendly and relaxed occasions, and perform ‘in the round’ wherever possible. Critical acclaim has greeted all the group’s CDs to date: Mozart and Spohr (ASV Gold), Beethoven and Poulenc (Nimbus Alliance). Ensemble 360 has performed at many of the leading festivals and venues in England, including Wigmore Hall, National Centre for Early Music, Bath and Buxton International Music Festivals and Leamington Music These programmes are produced by Music in the Round. Festival Weekend. It appears regularly on BBC Radio 3 Your donations towards the cost of the commissioning high and at a number of small-scale venues nationally with quality programme notes are very gratefully received, Music in the Round. 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For over 35 years we have been bringing Composer-in-Residence Paul Rissmann and narrator Polly people and music closer together through our friendly and Ives, has established a unique brand of children’s informative style of ‘in the round’ performances, touring to storybook concerts that play to sell-out audiences across numerous venues around the country as well as presenting the country. two concert series and the Sheffield Chamber Music Festival each year at our home venue, the Crucible Studio. 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