DOCSLIB.ORG

Danish String Quartet Frederik Øland, Violin Rune Tonsgaard Sørensen, Violin Asbjørn Nørgaard, Viola Fredrik Schøyen Sjölin, Cello

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Danish String Quartet Frederik Øland, Violin Rune Tonsgaard Sørensen, Violin Asbjørn Nørgaard, Viola Fredrik Schøyen Sjölin, Cello Sunday, November 10, 2019, 3pm Hertz Hall Danish String Quartet Frederik Øland, violin Rune Tonsgaard Sørensen, violin Asbjørn Nørgaard, viola Fredrik Schøyen Sjölin, cello PROGRAM Johann Sebastian BACH (1685 –1750) Fugue No. 24 in B minor, BWV 869, (arr. Emanuel Aloys Förster) from e Well-Tempered Clavier, Book I Alfred SCHNITTKE (1934 –1998) String Quartet No. 3 Andante Agitato Pesante INTERMISSION Ludwig van BEETHOVEN (1770 –1827) String Quartet No. 13 in B-flat major, Op. 130, with Grosse Fuge , Op. 133 Adagio ma non troppo – Allegro Presto Andante con moto ma non troppo Alla danza tedesca. Allegro assai Cavatina. Adagio molto espressivo Finale. Allegro e Danish String Quartet is currently exclusive with ECM Records and has previously recorded for DaCapo and Cavi-Music/BR Klassik. This performance is made possible, in part, by Patron Sponsors Kathleen Henschel and John Dewes, and Lance and Dalia Nagel. Major support provided by The Bernard Osher Foundation. Cal Performances’ 2019 –20 season is sponsored by Wells Fargo. PROGRAM NOTES deally, each work on a concert program Emanuel Aloys Förster (1748 –1823), Prus - will provide a context for the others. e sian-born, settled in Vienna around 1780. ere Imembers of the Danish String Quartet he composed and taught music, became friends have conceived a five-concert series of such with Mozart and Haydn, and earned the admir - pro grams, each including a Bach fugue, one of ation of Beethoven. To make string tran scrip - Beethoven’s last string quartets, and music by a tions of Bach fugues was not an idea original later composer ( Mendelssohn, Webern , Bartók, with Förster. Mozart had already done so and Shostakovich, and Schnittke ). In every pro - had even supplied new preludes of his own. In gram, Beethoven provides what the DSQ calls Förster’s elegant transcription of Bach’s B minor a prism through which to experience the other Fugue, the lines fall naturally into the four works. Prism is what the DSQ musicians call channels of the string quartet, and Bach’s tex - their project. is aernoon’s performance is tures emerge in relief. e pace is steady, the part of it. themes simple and pristine, a reasoned music Bach’s fugues fascinated Beethoven and surely whose pensive opening is soon countered with formed his own concept of fugue, however far the entry of a new major-mode voice that in - he may have strayed from Bach—and his Grosse jects just a touch of optimism before all parties Fuge strays. In the later 20th century, Alfred continue, advancing their intelligent contribu - Schnittke brought the Grosse Fuge into his tions in supremely civil conversation. String Quartet No. 3. ese three works look ahead to and back on each other, yet each is Alfred Schnittke strongly profiled and individual, created by a String Quartet No. 3 supersized artistic personality. If this quartet from 1983 is your first encounter with Alfred Schnittke, you may believe its Johann Sebastian Bach opening prepares you for a soothing medita - Fugue No. 24 in B minor, BWV 869, from tion. A few more seconds will shatter your e Well-Tempered Clavier, Book I (arranged expectations and tell you a few things about for string quartet by Emanuel Aloys Förster) this man: that he was a polystylist, and that he Johann Sebastian Bach’s Well-Tempered Clavier wrote the kind of music you’d guess the Soviet includes two “books,” or two sets each of 24 authorities would have hated. (For the most preludes and fugues, in all major and minor part, they did.) keys. He completed the first set in 1722. Schnittke was born to a German father and a Bach intended these preludes and fugues as Volga-Deutsch mother in Engels, an industrial pedagogical devices, and with them he pro - city about 450 miles southeast of Moscow. At vided examples of a tuning system that would 12, he began to study music in Vienna, where work well in any key. While most scholars be - his journalist father had been transferred. lieve Bach meant to exhibit the benefits of Schnittke completed his studies at the Moscow equal temperament, a system proposed only 30 Conservatory and taught there until 1972, years before he published Book I of e Well- when he began supporting himself by com - Tempered Clavier, researchers now leave some posing for film. He scored 60-odd movies, and wiggle room since Bach tuned his own key - that work, demanding quick responses to the board instruments to his preferences, and not ever-changing emotional twists of plot, con - much is known about those. But no abstruse ditioned the style of his concert music. His discussion of tuning systems need interfere enormous output included nine symphonies, with enjoyment of music so filled with passion three operas, four string quartets, and many, and reflection. Beethoven was just one of the many concertos. many who revered these preludes and fugues, With the international honors his music was not only for the technique they exhibited, but receiving, and in a Soviet Union beginning to as examples of how technique supports expres - relax its strictures on artists, Schnittke was siveness. spared the indignities and bullying heaped on PLAYBILL PROGRAM NOTES earlier Soviet composers. But no bureaucrat You don’t need to know where Schnittke could have been happy with something as found his themes, although awareness of his deeply strange as the composer’s Symphony sources will undoubtedly help read extra-musical No. 1, a love-it-or-loathe-it hour of dissonance meaning into the work, if you’re so inclined. that sounds like the work of a Russian Charles (Some listeners have interpreted the conglom - Ives and that demands so much patience and eration and wrenching apart of snippets old and serious listening, it practically begged the Com - new to suggest integration, or breakdown, or posers Union to ban it (the Composers Union both.) Schnittke maintained his goal was to obliged). Schnittke so displeased the authori ties unite serious and light music, by which he had that in 1980 he was prohibited from travel ing to have meant something beyond what many outside the country. In 1990, a year aer the other composers have done, composers such as Berlin Wall fell, he settled in Hamburg, where in Beethoven, Brahms, Dvořák, Stravinsky, Cop - 1998 he died at 63. land, Adams. “It’s not surprising,” writes Solo - e String Quartet No. 3 is the kind of mon Volkov, “that Schnittke’s music irritates emotion-laden work you might expect from a many who feel that the composer has set out composer so closely attuned to film. Very to confuse them by combining obviously dis - simplistically, you can take polystylism to mean jointed and incongruous elements.” All that the incorporation and refashioning of found aside, music works better as music than as objects into your own work. e quartet begins philosophical statement. As music, this quartet with a quotation from the Stabat mater by stands on its own. the 16th-century Flemish composer Orlando di Lasso, establishing a serenity immediately Ludwig van Beethoven dispatched by a drone that grows louder and String Quartet in B-flat major, Op. 130, tighter under the second violin’s plucked with Grosse Fuge, Op. 133 strings. In a film, this ominous figure might By the mid-1820s, when Beethoven wrote his accompany careful steps into a dark room; last string quartets, he had long since made in musical terms, it recalls the opening of deafness work in his favor. Without the reality Beethoven’s Grosse Fuge . e melodic gesture of sound to confine his imagination, a new from Beethoven is not so far from Shosta - world of musical possibilities opened. Uncon - kovich’s signature DSCH motif, and that too ven tional his late works may be, but the chal - is submerged in the texture (the names German lenges they present to a listener are their own assigns to musical tones enabled Shostako - reward. And while Beethoven’s contemporaries vich to notate his initials; translated into English, may have found his late works odd, the 200 they are D/E-flat/C/B). A disintegration morphs years between then and now have been filled into languid siren-like lines. While apparently with so many wonders and horrors that rhyth - quoting Lasso, Beethoven, and Shostakovich, mic displacements and unexpected harmonies, Schnittke transforms their themes—you might far from being alien to the world we know, seem say he views them through a prism—and builds to mirror it. a tight structure all his own. Beethoven ridiculed the quartet’s first audi - e second movement begins as a kind of ence, those cattle and asses (his words) unable waltz, but again Lasso intrudes. Roughly half - to get their ears around the great serious fugue way through, the mood reverts to the mysteri - with which he capped the first five movements, ous atmosphere of the quartet’s opening. e all of them immediately appealing in their own tempo shis into overdrive and, as in Beetho - way. But in fact he was not sure his finale was ven’s fugue, verges toward chaos. e final right, and when his publisher asked for an al - movement, following with no break, opens with ternate ending, he very uncharacteristically a grand Grosse Fuge- like gesture. Lasso returns, consented. (e fugue was published separately and Beethoven, in an extended meditative pas - as his Opus 133.) ese days, string players tend sage, subdued and tense to the end. to favor the fugue over Beethoven’s alternate PROGRAM NOTES ending. To call the Grosse Fuge a tour de force is of them. Set to words and sung on Broadway, to give it short shri.
Load more

Recommended publications
  • 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]
  • Juilliard String Quartet
    JUILLIARD STRING QUARTET ARETA ZHULLA - VIOLIN RONALD COPES - VIOLIN ROGER TAPPING - VIOLA ASTRID SCHWEEN - VIOLONCELLO „Decisive and uncompromising...Juilliard’s confidently thoughtful approach, rhythmic acuity and ensemble precision were on full display." – The Washington Post With unparalleled artistry and enduring vigor, the Juilliard String Quartet continues to inspire audiences around the world. Founded in 1946 and hailed by the Boston Globe as “the most important American quartet in history,” the Juilliard draws on a deep and vital engagement to the classics, while embracing the mission of championing new works, a vibrant combination of the familiar and the daring. Each performance of the Juilliard Quartet is a unique experience, bringing together the four members’ profound understanding, total commitment, and unceasing curiosity in sharing the wonders of the string quartet literature. Ms. Areta Zhulla joins the Juilliard Quartet as first violinist beginning this 2018-19 season which includes concerts in Hong Kong, Singapore, Shanghai, London, Oslo, Athens, Vancouver, Toronto and New York, with many return engagements all over the USA. The season will also introduce a newly commissioned String Quartet by the wonderful young composer, Lembit Beecher, and some piano quintet collaborations with the celebrated Marc-André Hamelin. In performance, recordings and incomparable work educating the major artists and quartets of our time, the Juilliard String Quartet has carried the banner of the United States and the Juilliard School throughout the world. Having recently celebrated its 70th anniversary, the Juilliard String Quartet marked the 2017-18 season with return appearances in Seattle, Santa Barbara, Pasadena, Memphis, Raleigh, Houston, Amsterdam, and Copenhagen. It continued its acclaimed annual performances in Detroit and Philadelphia, along with numerous concerts at home in New York City, including appearances at Lincoln Center and Town Hall.
    [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]
  • Marshall University Music Department Presents
    Marshall University Marshall Digital Scholar All Performances Performance Collection Fall 11-7-2008 Marshall University Music Department Presents, Music Alive Series, Graffe trS ing Quartet, Štĕpán Graffe, violin, Lukáš Bednařik, violin, Lukáš Cybulski, viola, Michal Hreno, violoncello, with, Michiko Otaki, piano Michiko Otaki Štĕpán Graffe Lukáš Bednařik Lukáš Cybulski Follow this and additional works at: http://mds.marshall.edu/music_perf Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Otaki, Michiko; Graffe, Štĕpán; Bednařik, Lukáš; and Cybulski, Lukáš, "Marshall University Music Department Presents, Music Alive Series, Graffe trS ing Quartet, Štĕpán Graffe, violin, Lukáš Bednařik, violin, Lukáš Cybulski, viola, Michal Hreno, violoncello, with, Michiko Otaki, piano" (2008). All Performances. 752. http://mds.marshall.edu/music_perf/752 This Recital is brought to you for free and open access by the Performance Collection at Marshall Digital Scholar. It has been accepted for inclusion in All Performances by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. DEPARTMENT of MUSIC Program String Quartet in g min.or, Franz Joseph Haydn op. 74, no. 3 ("Rider") (1732-1809) Allegro moderate MUSIC Largo assai Menuetto: Allegretto Finale: Allegro con brio presents the Quintet for Piano and Strings Robert Schumann Music Alive Series in E-flat major, op. 44 (1810-1856) Allegro brillante In modo d'una marcia GRAFFE STRING QUARTET Scherzo: Molto vivace Stepan Graffe, violin Allegro ma non troppo Lukas Bednarik, violin Lukas Cybulski, viola Michiko Otaki, piano Michal Hreno, violoncello with Michiko Otaki, piano Friday, November 7, 2008 Exclusive Management for the First Presbyterian Church GRAFFE QUARTET and MICHIKO OTAKI: 12:00 p.m.
    [Show full text]
  • Juilliard String Quartet Areta Zhulla and Ronald Copes, Violins Roger Tapping, Viola Astrid Schween, Cello
    Thursday Evening, December 12, 2019, at 7:30 The Juilliard School presents Juilliard String Quartet Areta Zhulla and Ronald Copes, Violins Roger Tapping, Viola Astrid Schween, Cello LUDWIG VAN BEETHOVEN (1770–1827) String Quartet No. 1 in F major, Op. 18, No. 1 Allegro con brio Adagio affettuoso ed appassionato Scherzo: Allegro molto Allegro GYÖRGY KURTÁG (b. 1926) 6 Moments musicaux, Op. 44 Invocatio (Un fragment) Footfalls (… as if someone were coming) Capriccio In memoriam Sebok˝ György Rappel des oiseaux ... (Étude pour les harmoniques) Les adieux (in Janáceks˘ Manier) Intermission BEETHOVEN Quartet No. 14 in C-sharp minor, Op. 131 Adagio ma non troppo e molto espressivo Allegro molto vivace Allegro moderato—Adagio Andante, ma non troppo e molto cantabile Presto Adagio quasi un poco andante Allegro Performance time: approximately 1 hour and 45 minutes, including an intermission The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Notes on the Program published, in 1801. The D-major quartet (Op. 18, No. 3) was the first to be written; the By James M. Keller F-major (No. 1) and G-major (No. 2) followed, probably in that order; and the A major String Quartet No. 1 in F major, Op. 18, (No. 5), C minor (No.
    [Show full text]
  • String Quartet 2 Notes.Odt
    i Notes on the Scordatura Tuning This string quartet is written in an 11-limit just intonation system based on a Bb fundamental. To facilitate this a scordatura system has been designed wherein the strings of each instrument are tuned to harmonics of the Bb overtone series. The base ratios for each pitch are listed in the table below with their corresponding cent values relative to the fundamental. They are ordered by their distance from the fundamental. Pitch Bb Db D E1/4b F Ab Ratio and 1/1 = 0 c 7/6 = 266.8 c 5/4 = 386.3 c 11/8 = 551.3 c 3/2 = 702 c 7/4 = 968.8 c Cents (c) To further facilitate the scordatura tuning the following chart shows the desired frequency values in Hertz (Hz) for each string on each instrument. Instrument String IV String III String II String I Cello Bb 1 = 58.27 Hz F 2 = 87.405 Hz D 3 = 145.675 Hz Ab 3 = 203.945 Hz Viola Bb 2 = 116.54 Hz F 3 = 174.81 Hz Db 4 = 271.927 Hz Ab 4 = 407.89 Hz Violin II F 3 = 174.81 Hz Db 4 = 271.927 Hz Ab 4 = 407.89 Hz E1/4b = 640.97 Hz Violin I F 3 = 174.81 Hz D 4 = 291.35 Hz Ab 4 = 407.89 Hz E1/4b = 640.97 Hz The Cellist should tune their C string down to the desired Bb fundamental. Then they should tune the other strings to the 3rd (F), 5th (D), 7th (Ab) and 11th (E1/4b) harmonics of the "Bb string." Once all of the players have tuned their strings which correspond to harmonics of the Bb overtone series the second Violin and the Viola may tune the D string down to the 7/6 Db minor third by tuning it as a perfect 5th below the Ab string (7/4).
    [Show full text]
  • Danish String Quartet Frederik Øland, Violin | Rune Tonsgaard Sørensen, Violin Asbjørn Nørgaard, Viola | Fredrik Schøyen Sjölin, Cello
    PRESENTS Danish String Quartet Frederik Øland, violin | Rune Tonsgaard Sørensen, violin Asbjørn Nørgaard, viola | Fredrik Schøyen Sjölin, cello ChamberMusicConcerts.org · 541-552-6154 DANISH STRING QUARTET FRIDAY, APRIL 16, 2021 – 7:30PM Recorded in Denmark for Chamber Music Concerts Ludwig van Beethoven (1770-1827) String Quartet in D Major, Op. 18 no. 3 Allegro Andante con moto Allegro Presto Scandinavian Folk Music (Traditional, arranged by the Danish Quartet) “Ye honest bridal couple”/ Sønderho bridal trilogy part 1/ Sønderho bridal trilogy part 2 Six tour from vendsyssel / “the peat dance” “Easter Sunday”/ Polsk after Rasmus Storm “Stædelil” “Halling after halteguten” “Regin smidur” “Five sheep, four goats” “Shine you no more” PLATINUM SPONSOR: Anne C. Diller gold sponsors: Chris Donchin, Gary & Coralie Farnham, Jeanette Larson, Louis Roemer & Karen Gernant silver sponsors: John & Kay Johnson, Fred & Laura Perloff, Sandra Sobol & Jon Holtzman, Thomas & Cynthia Stauffer online producer/director: OurConcerts.Live Exclusive Representation: Kirshbaum Associates Inc. 711 West End Avenue, Suite 5KN, New York, NY 10025 www.kirshbaumassociates.com The Danish String Quartet is currently exclusive with ECM Records and has previously recorded for DaCapo and Cavi-Music/BR Klassik Danish String Quartet Frederik Øland, violin | Rune Tonsgaard Sørensen, violin Asbjørn Nørgaard, viola | Fredrik Schøyen Sjölin, cello mong today’s many exceptional chamber music groups, the GRAMMY® nom- A inated Danish String Quartet continuously asserts its preeminence. The Quar- tet’s playing reflects impeccable musicianship, sophisticated artistry, exquisite clarity of ensemble, and, above all, an expressivity inextricably bound to the music, from Haydn to Shostakovich to contemporary scores. Performances bring a rare musical spontaneity, giving audiences the sense of hearing even treasured canon repertoire as if for the first time, and exuding a palpable joy in musicmaking that have made them enormously in-demand on concert stages throughout the world.
    [Show full text]
  • Danish String Quartet Denver February 13, 2017
    FREDERIK ØLAND, VIOLIN RUNE TONSGAARD SØRENSEN, VIOLIN ASBJØRN NØRGAARD, VIOLA FREDRIK SCHØYEN SJÖLIN, CELLO DANISH STRING QUARTET DENVER FEBRUARY 13, 2017 LUDWIG VAN Quartet No. 2 in G major, Op. 18, no. 2 BEETHOVEN Allegro (1770-1827) Adagio cantabile Scherzo: Allegro Allegro molto, quasi presto ALFRED Quartet No. 3 SCHNITTKE Andante (1934-1998) Agitato Pesante INTERMISSION BEETHOVEN Quartet in B-flat major, Op. 130, no. 13 Adagio ma non troppo Presto Andante con moto ma non troppo Alla danza tedesca: Allegro assai Cavatina: Adagio molto espressivo Finale: Grosse Fuge, Op. 133 FREDERIK ØLAND DANISH STRING QUARTET violin RUNE TONSGAARD Embodying the quintessential elements of a fine chamber SØRENSEN music ensemble, the Danish String Quartet has established violin a reputation for their integrated sound, impeccable ASBJØRN NØRGAARD intonation, and judicious balance. Since making their debut viola in 2002 at the Copenhagen Festival, the musical friends have demonstrated a passion for Scandinavian composers, FREDRIK SCHØYEN who they frequently incorporate into adventurous SJÖLIN contemporary programs, while also giving skilled and cello profound interpretations of the classical masters. The New York Times selected the quartet’s concerts as highlights of the season during their Chamber Music Society of Lincoln Center Two Residency, and in February 2016 they received the Borletti Buitoni Trust provided to support outstanding young artists in their international endeavors, joining an illustrious roster of past recipients. The Danish String Quartet’s 2016-2017 season includes debuts at the Edinburgh Festival and Zankel Hall at Carnegie Hall. In addition to over thirty North American engagements, the quartet’s robust international schedule takes them to their home country, Denmark, as well as throughout Germany, Austria, the United Kingdom, Poland, Israel, as well as Argentina, Peru, and Colombia.
    [Show full text]
  • Symposium Records Cd 1109 Adolf Busch
    SYMPOSIUM RECORDS CD 1109 The Great Violinists – Volume 4 ADOLF BUSCH (1891-1952) This compact disc documents the early instrumental records of the greatest German-born musician of this century. Adolf Busch was a legendary violinist as well as a composer, organiser of chamber orchestras, founder of festivals, talented amateur painter and moving spirit of three ensembles: the Busch Quartet, the Busch Trio and the Busch/Serkin Duo. He was also a great man, who almost alone among German gentile musicians stood out against Hitler. His concerts between the wars inspired a generation of music-lovers and musicians; and his influence continued after his death through the Marlboro Festival in Vermont, which he founded in 1950. His associate and son-in-law, Rudolf Serkin (1903-1991) maintained it until his own death, and it is still going strong. Busch's importance as a fiddler was all the greater, because he was the last glory of the short-lived German school; Georg Kulenkampff predeceased him and Hitler's decade smashed the edifice built up by men like Joseph Joachim and Carl Flesch. Adolf Busch's career was interrupted by two wars; and his decision to boycott his native country in 1933, when he could have stayed and prospered as others did, further fractured the continuity of his life. That one action made him an exile, cost him the precious cultural nourishment of his native land and deprived him of his most devoted audience. Five years later, he renounced all his concerts in Italy in protest at Mussolini's anti-semitic laws.
    [Show full text]
  • ODU Russell Stanger String Quartet and ODU Cello Choir
    Program String Quartet No. 2 in D Major Alexander Borodin 1. Allegro Moderato (1833-1887) 3. Notturno - Andante The ODU Russell Stanger String Quartet Jordan Goodmurphy, Violin Emily Pollard, Violin F. Ludwig Diehn School of Music Joshua Clarke, Viola Michael Russo, Cello Trio in C Major, Op. 87 for Three Cellos L.V. Beethoven 3. Minuetto-Allegro molto scherzo. Trio. (1770-1827) trans. A.C. Prell ODU Russell Stanger String Quartet ODU Cello Choir Requiem, Op. 66 for Three Cellos and Piano David Popper Andante Sostenuto (1843-1913) Leslie J. Frittelli, director Carter Campbell, piano Sonata No. 1 in A Major for Three Cellos Arcangelo Corelli 1. Grave (1653-1713) 2. Allegro arr. Erinn Renyer 3. Adagio 4. Allegro ODU Cello Choir Carter Campbell Diehn Center for the Performing Arts Trinity Green Chandler Recital Hall Joshua Kahn Lexi McGinn Avery Suhay Aleta Tomas Lacey Wilson Friday, November 22, 2019 7:30 pm Program String Quartet No. 2 in D Major Alexander Borodin 1. Allegro Moderato (1833-1887) 3. Notturno - Andante The ODU Russell Stanger String Quartet Jordan Goodmurphy, Violin Emily Pollard, Violin F. Ludwig Diehn School of Music Joshua Clarke, Viola Michael Russo, Cello Trio in C Major, Op. 87 for Three Cellos L.V. Beethoven 3. Minuetto-Allegro molto scherzo. Trio. (1770-1827) trans. A.C. Prell ODU Russell Stanger String Quartet ODU Cello Choir Requiem, Op. 66 for Three Cellos and Piano David Popper Andante Sostenuto (1843-1913) Leslie J. Frittelli, director Carter Campbell, piano Sonata No. 1 in A Major for Three Cellos Arcangelo Corelli 1. Grave (1653-1713) 2.
    [Show full text]
  • The Golden Ratio As a Thematic Idea in Beethoven's B-Flat Major String
    Durational Thematicism and the Temporal Process: The Golden Ratio as a Thematic Idea in Beethoven's B-flat Major String Quartet, No. 13, Op. 130, and the Grosse Fuge, Op. 133 David Suggate A thesis submitted in fulfilment of the degree, Master of Arts, Music Supervised by Dr. Graeme Downes University of Otago, New Zealand April 2017 Abstract This thesis explores the use of Fibonacci sequences, and other rhythmic proportions corresponding to the golden ratio in Beethoven's string quartet No. 13, Op. 130, and its original finale, the Grosse Fuge, Op. 133. This provides a new angle for considering the problem of the \time-experience" in late Beethoven. The golden ratio not only forms a common thread in all of the late period quartets, but I argue that it is an essential \thematic idea" within the discourse of the whole work, one bearing implications for the unfolding of the temporal process. Firstly I outline preliminary examples of how the composer \exposes" the golden ratio at the beginnings of the Opp. 127, 130, 133 and 135 quartets. They are expressed through such means as five beats on the tonic, three on the dominant, or five beats at forte, and three at piano, or through a particular rhythmic pattern lasting five beats, and another lasting eight, and so on, each amounting to a 5:3 or 5:8 ratio, corresponding to the Fibonacci sequence, and thus to the golden ratio. In order to build a framework for durational thematicism I review literature on problems surrounding the golden ratio in Western music, the nature of rhythm, metre and pulse in tonal music, and on the \time-experience" in late Beethoven.
    [Show full text]