ABOUT THE PROGRAM 2018/19 CLASSICAL ARTIST-IN-RESIDENCE (1797-1828) The String Quartet in G Major is chamber A much lighter and shorter Scherzo breaks String Quartet No. 15 in G major, music on a massive scale. The first the spell with a tensile agility that suggests movement alone lasts between fifteen and Mendelssohn who, during the same year D. 887 twenty minutes depending on the tempo of 1826 would have been a teenager hard and whether repeats are taken. Within the at work on his remarkable Overture to Richard Yongjae first few measures, Schubert establishes A Midsummer Night’s Dream. The nimble Franz Schubert wrote all his short but prodigious life, composing his familiar dichotomy between light and scherzo gives way to a supple trio, a sweet, the first of twenty string quartets when dark as a G major chord transforms simply, swaying ländler (A German folk dance) that O’Neill with he was only fifteen years old. Given his suddenly and significantly into G minor. may well be the only untroubled section in life of only thirty-one years, it may seem This mercurial and fundamental battle the entire quartet. A sublime duet between incredible to speak of a “late” period, between light and dark rages on until the cello and dances like a poignant dream but Schubert’s music went through a very end of the quartet some fifty minutes lost so quickly in the ensuing tumult. Ehnes Quartet later. Schubert’s arresting introduction soon dramatic transformation around the time he turned twenty-four. In 1820, Schubert softens into floating light with a telltale Schubert concludes his final string quartet composed his famous Quartettsatz in signature: a quiet, fluttering tremolo of quick with the perpetual motion of a sonata SAT / SEP 8 / 7:30 PM C minor, a complete first movement for triplets punctuated by a germinal motif rondo in a typical 6/8 meter at a brisk clip, an otherwise unfinished string quartet. fragment in a dotted rhythm. With a steep for the most part a high-spirited dance. Henceforth known as his String Quartet No. rise in dynamics and the fully marshaled Characteristically, the first several measures 12, the magnificent Quartettsatz (“quartet force of the ensemble, the introduction feature an unstable tonality flickering by Ehnes Quartet movement”) inaugurates a period of new morphs into the primary thematic material the beat between major and minor and maturity featuring several cardinal aspects that will course throughout the movement just as quickly, restless modulations to new of Schubert’s style that would dominate in continuous alteration with a second keys. Many commentators have likened the James Ehnes the remaining quartets in ever expanding lyrical theme to come. In a unique approach finale to an opera buffa where Schubert’s VIOLIN power and scope. Chief among these traits to sonata form, Schubert seems to temperamental drama assumes a comedic is a dichotomous pairing of restless angst co-evolve both thematic areas in successive cast in a kind of frantic parody of itself. The Amy Schwartz-Moretti waves as each interrupts the other while combination of reprise along with prominent VIOLIN and lyrical sublimity. It is as if Schubert and his music became positively transfixed internally growing more elaborate. Far more developmental aspects crafts a hybrid of Richard Yongjae O’Neill by the stark polarity between dark and “development” happens in the traditional rondo and sonata forms first established light, an unresolved juxtaposition of agony areas of exposition and recapitulation than by Haydn. The comparatively effervescent and ecstasy. This is the essence of the the literal development section itself, which character of Schubert’s conclusion is merely Edward Arron Quartettsatz and the remaining three is relatively brief by comparison. Instead, a pause in the seemingly endless flow of CELLO quartets that may be properly regarded as there is contrast, expansion and variation his mightier passions. From this last string his “late” works. The ultimate work in this in an endless matrix of sudden contrasts quartet, Schubert moved on to his final series of string chamber works and the final in modality, texture, dynamics, rhythm and work, the singular cello quintet. work of Schubert’s life was the towering mood. It is not until the last few bars that String Quintet in C Major, the most supreme the battle finally yields to a briefly stable © Kai Christiansen and earsense, the Homage incarnation of this very same trajectory. victory for G major. chamber music exploratorium Just before it comes the String Quartet Franz Schubert (1797-1828) No. 15 in G Major, the epic quartet on the The second movement Andante is the slow program tonight. movement of similarly vast proportions String Quartet No. 15 in G major, D. 887 and emotional intensity. A delicate elegiac I. Allegro molto moderato Schubert wrote his last string quartet during theme features the cello with a somber, II. Andante un poco moto a period of ten days in 1826 around the same moderate cast that rises only briefly in III. Scherzo (Allegro vivace) time that Beethoven finished his own late its second reprise to a tenuous smile of IV. Allegro assai essays in the genre. Schubert, a long-time temporary relief. Suddenly, a huge surge of admirer of Beethoven, would be a bereft dark passion interrupts the suave lament torch bearer at Beethoven’s funeral in 1827, as if the first movement were rushing back INTERMISSION just one and a half years before Schubert’s complete with dotted rhythms, nervous own death in 1828. Despite this proximity in tremolos and abrupt, stabbing gestures. (1770-1827) time and place, as well as a shared heritage Again, Schubert is positively transfixed of Viennese classicism in which both men with two contrasting ideas that seem to String Quartet No. 14 in C-sharp Minor, Op. 131 were eventually regarded as supreme recur more often and more directly than I. Adagio ma non troppo e molto espressivo masters, the late quartets of Schubert and classical forms seem to encourage. But II. Allegro molto vivace Beethoven are remarkably dissimilar if not, as in the first movement and throughout III. Allegro moderato in some ways, opposites. Like Beethoven, much of his oeuvre, Schubert never says Schubert was in the midst of blazing his own the same thing twice: Each recurrence IV. Andante ma non troppo e molto cantabile trail in a fresh and significant evolution of brings a change of instrumentation, texture, V. Presto quartet style. Unlike Beethoven, Schubert rhythm, key or modality, sometimes only as VI. Adagio quasi un poco andante was cut short, hence the tragically accurate a subtle nuance. The casual listener finds VII. Allegro inscription on Schubert’s tomb, “The art of repetition on the surface while the deeper music here entombed a rich possession, but listener discovers endless diversity exploiting even far fairer hopes.” gorgeous, resilient musical ideas in a constant state of transformation.

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Ludwig van Beethoven (1770-1827) This quartet seems somehow to be a Some of the material also sounds distantly (FROM L TO R) Richard Yongjae O’Neill, Edward Arron, String Quartet No. 14 in C-sharp leap forward into the expressive world derived from this quartet’s own opening of the early 20th century. Although fugue. Here, as elsewhere in the work, Amy Schwartz-Moretti, James Ehnes Minor, Op. 131 only four instruments play it, it creates there are tempo changes within phrases much of the same kind of grandeur and that are labeled “rubato” (meaning with String Quartet No. 14 belongs with the group profundity that some larger works of expressive and rhythmic freedom), but of Beethoven’s final chamber masterpieces. Strauss and Mahler were striving for in instead of leaving them to the performers’ While he was composing it, he considered their huge orchestral scores. In 1860, emotion of the moment, Beethoven has writing other types of works, specifically a German conductor even made a full actually written them into the music. large works with chorus, like an oratorio, orchestral version of this quartet with Great themes simply flash by. The music a requiem, or an opera, but when he had the good intention of expanding the races on until just before the end, when it completed a commission for three quartets, audience for this great music, but it slows, then speeds up again, closing with he went on instead to write two more works proved to be a clumsy travesty and thus a few slashing chords. for string quartet, this one and Op. 135, his the arrangement has disappeared. last work. © Susan Halpern, 2016 The quartet has seven distinct parts, Beethoven made his earliest sketch knit together into a continuous whole. for Op. 131 during the last few days of Some scholars have claimed to reveal a 1825; he quickly completed it during nearly traditional four-movement structure July, 1826. The writing of the quartet as its base, but it seems more reasonable required an intense effort at a time when to accept Beethoven’s demarcations and he was already totally deaf and deeply consider the seven separately. troubled by his failing health as well as EHNES QUARTET Hailed as “an AMY SCHWARTZ-MORETTI (VIOLIN) is nine solo albums that have sold over by the misadventures of his nephew, The first movement is a sad but majestic, important new force in the chamber recognized as a deeply expressive artist 200,000 copies. He is a member of for whom he was responsible, and who slow fugue, Adagio, ma non troppo e music arena” with a “dream-team with an affinity for chamber music, and the Chamber Music Society of Lincoln was then threatening to commit suicide. molto espressivo, which Wagner said, line-up” (Strings), the Ehnes Quartet is has a musical career of broad Center, Camerata Pacifica and the Beethoven’s concern for his nephew was “shows the most melancholy sentiment comprised of four internationally versatility. Former Concertmaster of Ehnes Quartet. Composers Lera ever expressed in music.” The second so great that he changed the dedication renowned string musicians: violinists the Florida Orchestra and Oregon Auerbach, Elliott Carter, John of the quartet, which he had intended movement, Allegro molto vivace, begins for a personal friend, inscribing the with a key-shift that was astonishing at James Ehnes and Amy Schwartz- Symphony, she has been Director of Harbison, Huang Ruo and Paul Chihara work instead to Lieutenant Field Marshal that time; its form still puzzles music Moretti, violist Richard Yongjae O’Neill the McDuffie Center for Strings at have written and dedicated works to Baron Joseph von Stutterheim, who took analysts today looking for the mold in and cellist Edward Arron. Formally Mercer University since its inception. him. His chamber music project DITTO this problematic nephew into one of his which it was cast. It has been variously established in 2010, the members of the A dedicated teacher, she holds the has introduced tens of thousands to regiments as an officer cadet. At the identified as a truncated sonata-form Ehnes Quartet have played chamber Caroline Paul King Chair in Strings. chamber music in South Korea and same time, the composer, for no reason or even a dance comparable to those in music together in various formations for In addition to her recordings and Japan. The first violist to receive the apparent to history, spent much time Baroque suites. All that remains important, more than 20 years. The quartet’s highly performances internationally, she Artist Diploma from The Juilliard however, is that it exists as a form of cajoling a case of expensive old wine out refined, sensitive and expressive curates the Fabian Concert Series in School, he was honored with a of his publisher. In late summer, when he Beethoven’s own devising, which contains gave the completed score of this quartet lyrical, wistful music of great appeal. performances have delighted audiences Macon, Georgia. Through the generous Proclamation from the New York City to his publisher, he said that it was “stolen and critics across North America, efforts of the Stradivari Society, she Council. He serves as Goodwill and assembled from various bits of this The third movement begins energetically, Europe and Asia. They have become one plays the 1744 G.B. Guadagnini known Ambassador for the Korean Red Cross, and that.” Allegro moderato, with two rapping chords, of the most sought after chamber as the “Canadian.” CARE and UNICEF, and runs marathons but it soon becomes an Adagio recitative groups performing today. Their debut for charity. The publisher, in alarm, wrote to him introducing the glorious theme-and- recordings of quartets by Barber and RICHARD YONGJAE O’NEILL (VIOLA) variation fourth movement. In the fourth demanding assurance that the work Shostakovich were released in 2014 by Emmy® Award winner, two-time EDWARD ARRON (CELLO) made his movement, the music starts with a new, was, in fact, new and original. He had Onyx Classics to critical acclaim. GRAMMY® nominee and Avery Fisher New York recital debut at the apparently not looked at the music, for if flowing theme, Andante, ma non troppo he had he would certainly have understood e molto cantabile, which goes through Career Grant recipient, has appeared Metropolitan Museum of Art in 2000, Beethoven’s ironic jest. There could not seven variations. Only some of them are JAMES EHNES (VIOLIN) is known for his as soloist with the London, Los Angeles and has since performed as a soloist have been anything as new as this quartet. elaborations; others concentrate and virtuosity and probing musicianship, and Seoul Philharmonics; BBC, KBS with orchestras, recitalists and It was totally without precedent. Huge reduce the theme to its very essence. and has performed in 37 countries on and Hiroshima Symphony Orchestras; chamber musicians throughout North in size and cast in entirely original shapes five continents, appearing regularly in and the Wurttemburg, Vienna and America, Europe and Asia. He is the invented in the course of the writing, it was The fifth, an expanded scherzo, Presto, the world’s great concert halls and Kremerata Baltica Chamber artistic director of the Performing the final example of how far Beethoven had has savage force; following the Presto, with the most celebrated orchestras Orchestras. Highlights of this season Artists in Residence series at the Clark a brief slow song, Adagio quasi un poco outgrown the forms he had inherited from and conductors. His recordings have include premiering John Harbison’s Art Institute in Williamstown, MA, of the Haydn and Mozart. To invent and assemble andante, runs into the finale, Allegro, this composition in six or seven months the quartet’s only more-or-less regular been honored with many international Viola Sonata written for him and Molly Musical Masterworks series in Old had been an astonishing creative feat. sonata-form movement. The finale, a wild, awards and prizes including a Morkowski, serving as Artist-In- Lyme, CT, and also directs concert Beethoven’s notes and sketches for the work dancing movement, has as its ancestor GRAMMY®, Gramophone and eleven Residence at The Broad Stage in Santa series in Columbia, Beaufort and occupy three times as much paper as the the finale of Beethoven’s Symphony No. 7. Juno Awards. He is a Fellow of the Monica and celebrating his 15-year Charleston, SC. He serves on the finished work. Royal Society of Canada, an Honorary anniversary of concerts in Korea with a faculty of University of Massachusetts Member of the Royal Academy of special appearance of the Ehnes Amherst, and performs on a cello made Music and a member of the Order of Quartet at Seoul Arts Center. by Giovanni Grancino in 1700. Canada. He plays the “Marsick” A recording artist with UNIVERSAL/ Stradivarius of 1715. Deutsche Grammophon, he has made

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