UNIVERSITY MUSICAL SOCIETY

Eugene Drucker, Violinist Lawrence Dutton, Violist Philip Setzer, Violinist David Finckel, Cellist

Saturday Evening, November 2, 1991, at 8:00 Rackham Auditorium, Ann Arbor, Michigan PROGRAM

Quartet in E-flat major, Op. 44, No. 3 (1838) Mendelssohn Allegro vivace Scherzo: assai leggiero vivace Adagio non troppo Moito allegro con fuoco

String Quartet No. 4 (1990) ...... Richard Wernick (Commissioned by the Philadelphia Chamber Music Society with the support of the Pew Charitable Trusts) I. Introduction and Allegro II. Scherzo I (homage to A.D.) Arioso II Arioso I Scherzo I Scherzo II Epilogue

INTERMIS SIGN

String Quartet in A minor, Op. 132 (1824-5) . . Beethoven Assai sostenuto; allegro Allegro ma non tanto Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen tonart: molto adagio; Neue Kraft fuhlend: andante Alia marcia, assai vivace Allegro appassionato

Note: Eugene Drucker is first violinist in the Mendelssohn and Wernick Quartets; Philip Setzer is first violinist in the Beethoven Quartet. Immediately following this evening's concert is a record signing and reception hosted by SKR Classical, 539 E. Liberty Street, Ann Arbor. All are invited to come and greet the members of the Emerson Quartet. The Emerson Quartet is represented by IMG Artists, . The University Musical Society is a member of Chamber Music America.

Tenth Concert of the 113th Season Twenty-ninth Annual Chamber Arts Series Program Notes String Quartet in E-flat, Op. 44, No. 3 My dear boy, from this day you are no longer an (1809-1847) apprentice, but a full member of the brotherhood A wonderful genius ... so pleasing and amiable. of musicians. I hereby proclaim you independent — Queen Victoria in the name of Mozart, Ha^dn, and old father n the Queen's slightly patronizing opin­ Bach. ion, we may glimpse some of the con­ — Karl Friedrich Zelter to the 14-year-old tradictions and conflicts of Felix Mendelssohn Mendelssohn, the so-called "gentle genius": a genius, prodigiously gifted elter, self-taught son of a stone­ fromI his earliest years, who aimed to please; mason, Mendelssohn's most forma­ who frantically busied himself at all levels of tive teacher, friend of Goethe and the music world, as conductor, composer, and pupil of Kirnberger (who had been promoter, and who knew everybody — Bach's pupil), instilled in his pre­ Goethe, Chopin, Berlioz, Hoffmann, Schu­ cociousZ student a profound sense of historical mann, Liszt, Hegel, Tennyson, Dickens; who continuity. This can be both a legacy and a participated in most of the major musical burden, and generally speaking, the Baroque trends of the time and wrote music that influence energetic, yet relatively un­ expressed the modern Romantic ethos, changing rhythmic motion and active contra­ obeyed the time-honored principles of beauty puntal texture grounded by a strong, and perfection while pleasing the audience; harmonically oriented bass line was more and who died, burned out, at the age of 37, successfully integrated by the early Romantic seemingly from cumulative inner and outer composers than was the formal dynamism of pressures. Mozart, Haydn, and Beethoven. (That any continuity at all with "old-fashioned" music To think that ... a }ew should give back to the was integral to modern composition was a people the greatest Christian music in the world. relatively new idea at the time.) — Mendelssohn, on his revival, the first The Baroque influence is noticeable in "modern" one, of Bach's St. Matthew Mendelssohn's fabulous scherzi, among them Passion, to his friend Eduard Devrient, the second movement of this quartet. It is a 1829 "woodland"-set piece in bouncy, equestrian endelssohn came from an 6/8 meter, a genre much beloved by German immensely cultured and sup­ composers. The movement has an impulsive portive family his grand­ rhythm, evocative of the Baroque, and its father was the great middle section begins with a fugal passage, philosopher, writer, and after which the music assumes a thoroughly businessmanM Moses Mendelssohn, and his contrapuntal aspect: the main theme acquires father, a banker who further increased the various countersubjects, and imitation family's fortune. Although his father had the abounds. family baptized in 1822 (not without some A more Classical influence, especially misgivings on the part of his children), Men­ that of Haydn, is apparent in the third delssohn was still of Jewish descent and com­ movement not so much formally, but in pelled, therefore, to overcompensate in order the way the lines of the four instruments seem to succeed in a Christian society. This may to grow out of each other. Themes become partly illumine some of that driven quality accompaniments and vice-versa, with the one can sense in his activities and in much aching chromatic motive of the main theme of his music, especially chamber music such permeating the music at all levels. Gradually, as the present quartet. It was written in 1838, an undulating, Bachian sixteenth-note mo­ in the midst of his wildly busy six-year stint tion is established, which provides the ground in Leipzig (1835-41), during which he built for the middle section and for the amazingly up the Gewandhaus Orchestra from a medi­ deft and simple transition back to the open­ ocre, local band into one of Europe's finest ing. In this masterly movement, Classical and and most adventurous ensembles. Baroque influences seem most in balance. [Chopin and Hiller] rather toil in the Parisian String Quartet No. 4 spasmodic and impassioned style, too often losing RICHARD WERNICK (/>. 1934) sight of time and sobriety and of fine music; I, native of Boston, Massachu­ again, do so perhaps too little, but we all mutually setts, Richard Wernick re­ learn something and improve each other, while I ceived his Bachelor of Arts feel rather like a schoolmaster, and they a little degree from Brandeis Univer­ like "mirliflors" or "incroyables." sity and his Master of Arts — Mendelssohn, in a letter to his mother, degreeA from Mills College, studying under 1834 teachers including , Harold endelssohn's insistence on Shapero, , , Leon decorum and self-control is Kirchner, Boris Blacher, and . evident not only in his per­ He has taught at the State University of New sonal dealings essentially York at Buffalo, the , sympathetic to colleagues and is presently the Irving Fine Professor of BerliozM and Schumann, for instance, he was Music at the University of Pennsylvania. disturbed by their lack of these qualities (they In addition to winning the 1977 Pulit- in turn thought him slightly cold and with­ zer Prize for Music, Mr. Wernick has been drawn) it is also apparent musically, espe­ honored by awards from the Ford Foundation, cially in Classically derived forms such as the Guggenheim Foundation, National Institute first and last movements in a string quartet. of Arts and Letters, and the National Endow­ In the first movement of this quartet, as ment for the Arts. He has received commis­ indeed in most nineteenth-century sonatas, sions from the Fromm Music Foundation, "sonata form" is treated as a pre-established, Canadian Broadcasting Corporation, the almost divinely given form, like the Mass. Aspen Festival Conference on Contemporary The movement is a stately succession of Music, and the Philadelphia Chamber Music themes and their contrapuntal elaboration. It Society that commissioned the quartet heard has a certain repressed moodiness. on tonight's program. The composer's numer­ The last movement, however, tradi­ ous other works include solo, chamber, and tionally looser in structure than the first, is orchestral compositions, vocal, choral, and exuberant and expansive and, to a great band compositions, as well as a large body of extent, synthesizes the three preceding move­ music for theater, films, ballet, and televi­ ments. It has a driving, climbing sixteenth- sion. Last year, two of his symphonic works note theme derived from the slow movement, were performed at during its a contrapuntal richness reminiscent of the Centenary Season: the Symphony No. 1, by scherzo, and a wide range of themes, a The and Riccardo secondary one with a sharp, stabbing shape Muti; and his new Piano Concerto, by the and harmony, and a wonderfully serene clos­ National Symphony Orchestra conducted by ing theme, each of which grows out of the and as preceding music with drama and grace. soloist. Currently, Mr. Wernick serves as Note by Paul Epstein Consultant for Contemporary Music to and The Philadelphia Orches­ tra. Richard Wernick's Quartet No. 4 was commissioned by the Philadelphia Chamber Music Society in 1990 and was premiered by the Emerson Quartet in Philadelphia in April 1991. The composer offers the following note:

he completion of a piece of music, for most composers, is a time of mixed emotions: total delight at seeing that final dou­ Tble bar on the page, and a certain is in an inexplicable state of paralysis and is expected to recover only after the perfor­ mance. Perhaps this is still a conditioned reflex brought on by attending too many new music concerts in New York during the Six­ ties, when much musical nonsense was com­ pounded by even more verbal nonsense. But all that having been said, and having used up most of my allotted space without even mentioning the Fourth Quartet, I would like to make one or two general comments about the piece. First of all, and most importantly, is my gratitude to the Philadelphia Chamber Music Society for pro­ viding me with the opportunity to compose this piece for the Emerson Quartet, one of the premier string quartets of our time. In regard to the piece itself, it is in two move­ ments that relate to each other both themat- ically and harmonically. The first movement consists of two themes that are developed harmonically and contrapuntally throughout. The second of these themes recurs as a parody of itself in the Scherzo II section of the second movement (one is permitted to laugh). Al­ though the movement is not "tonal" in the Richard Wernick traditional sense and is not in any real "key," it does modulate constantly to other "keys" madness that this particular part of your life, that are not real "keys" either. The main body into which you have poured so much emo­ of the first movement is surrounded by a more tional and physical energy, is over. It's a bit or less "majestical" introduction and coda. like watching the kids grow up and leave the The second movement consists of al­ nest. There is also the knowledge that much ternating Scherzos and Ariosos, in a kind of still remains to be done the piece must be lopsided rondo form, ending with an Epilogue copied, and parts for the individual players derived from the "melody" of Scherzo I. The must be extracted. Even if the composer is dedication "homage to A.D." refers to a fortunate enough to have someone else do phenomenon we have all experienced: the this for him, the process must be closely inability of getting a certain piece out of our supervised. And then comes the first of the heads, sometimes for days on end. It can be "terrors": proofreading. This requires the maddening. In my case, it was the opening composer to scrutinize, note by note, the of the second movement of the Dvorak accuracy of every pitch, rhythm, dynamic, F-minor Trio, with its juxtaposition of duple and articulation. The total number of possible and triple rhythms. I finally came to the errors approaches infinity; good luck and a conclusion that the only way to rid myself of good copyist will result in only a few hundred, this mini-obsession was to use it. So each of but every speck on the page must be checked the Scherzo I sections is derived from the and double checked while trying not to fall F-minor Trio opening, and developed asleep. To neglect this task and put the music motivically and harmonically in a way that in front of players unproofread, is the equiv­ might well make poor Dvorak weep. The alent of jumping out of a tenth-floor window audience, however, is once again permitted and hoping you won't hit the ground. to laugh, or at least titter discreetly. Next comes the second of the "terrors." Note by Richard Wernick One day, when least expected, the phone rings, and a lovely voice on the other end asks for a program note! My first reaction is to tell the innocent caller that my right hand String Quartet in A minor, Op. 132 violin sustaining a bagpipe-like drone under LUDWIG VAN BEETHOVEN (1770-1827) its high-pitched melody. The movement ends hile working on his Opus with a literal repeat of the opening section. 132 quartet during the Over the third movement Beethoven winter of 1824-1825, Bee­ inscribed the words, Heiliger Dankgesang eines thoven fell gravely ill with Genesenen an die Gottheit, in der lydischen liver disease, bowel in­ Tonart ("Holy Song of Thanksgiving to the flammation,W and other painful and debilitat­ Divinity by a Convalescent, in the Lydian ing abdominal maladies. The condition left mode"). The sublime hymn expresses his him seriously weakened, but he was still able gratitude for the return of good health; use of to finish the work by July 1825. Although it the Lydian mode, an ancient ecclesiastical has the highest opus number of the three scale (corresponding to the modern F scale, quartets (Opp. 127, 130, and 132) that he but without a B-flat), gives the music a composed at the behest of Russian nobleman spiritual tone. The music consists of five lines and amateur cellist Prince Galitzin, it was of a slow, solemn chordal hymn, with each actually second in order of composition. line preceded by a faster moving contrapuntal Study of his sketchbooks shows that he orig­ prelude. The vital and vigorous contrasting inally planned the quartet in the traditional second section, Neue Kraft fiihlend ("Feeling four movements, but on recovering from his of new strength"), evokes a sense of strength sickness decided to replace the two middle through alternating loud and soft measures sections with three movements, including the that surge with a powerful, propulsive force. central Heiliger Dankgesang. After varied returns of both sections, the The quartet starts with a short, slow movement ends with a free restatement of the introductory motif that bears a similarity to Heiliger Dankgesang, marked on the score by the ones heard at the opening of the quartet Beethoven to be played Mil innigster Opus 131 and the Grosse Fuge, Opus 133. Empfindung ("with the most intimate Some think Beethoven used this motif a emotions"). slow, rising half-step followed by a large leap The raucous Alia marcia provides the as a way of unifying these three works; sudden change in mood, from heavenly to others believe that the motifs resemble each earthy, which Beethoven seems to need fol­ other because they were all composed around lowing moments of deeply emotional expres­ the same time, and the inadvertent repetition sion. After a brief aggressive march, the music of certain favorite melodic turns is almost completely changes character and takes on inevitable. Emerging from the introductory the style of a recitative, a rhythmically free measures is a brilliant violin flourish that section, in which the first violin plays an leads to the main theme, played high in its improvisatory speechlike melodic line over a register by the . Following some expan­ minimal accompaniment in the other parts. sion, a new idea, starting with three repeated The finale follows the recitative with­ notes, is heard and quickly passed through out pause. Structurally, it combines rondo the quartet, leading to still another distinc­ and sonata form. The basic songful and lyrical tive idea a flowing melody in the second character is modified by an underlying turbu­ violin over a nervous, agitated triplet accom­ lent rocking motion that throws an uneasy paniment. Although one can conceive these cast over the proceedings. themes as the subjects of traditional sonata The first private performance of the form, such analysis violates the free spirit in A-minor Quartet was before an audience of which Beethoven created this amazing move­ fourteen persons at the Tavern Zum Wilden ment. Mann in Vienna by the Schuppanzigh Quar­ Wistful and nostalgic in tone, the sec­ tet on September 9, 1825. The same players ond movement has two motifs that run gave the public premiere two months later, throughout the entire opening section. The on November 6, 1825. first is a pair of rising three-note figures; the Note by Melvin Berger from other, and more important, is a long note Guide to Chamber Music, that drops down with a little flurry of faster published by Anchor/Doubleday notes. After many repetitions of the two melodic cells, Beethoven moves on to the middle section, a sort of musette, with the first About the Artists

ecognized worldwide for its mu­ and Ludwig Spohr. They will tour Italy, sicianship and dynamic perfor­ Austria, Germany, Holland, Switzerland, mance style, the Emerson String and France and will perform at London's Quartet is firmly ensconced as Royal Festival Hall in commemoration of the one of the premier chamber en­ 200th anniversary ot Mozart's death. semblesR of our time. The Quartet boasts an In 1987, the Emerson signed an exclu­ impressive list of achievements: an exclusive sive contract with Deutsche Grammophon, Deutsche Grammophon recording contract, which brought the release of their Grammy two Grammy Awards, for Best Classical Award-winning recording of Bartok's com­ Album and Best Chamber Music Perfor­ plete string quartets. The Emerson received mance, regular appearances with virtually the Grammy for Best Classical Album and every important series and festival worldwide, Gramophone magazine's Record of the Year a schedule that includes over 100 concerts award. This was the first time in the history each season, and an international reputation of each award that a chamber music ensemble as a quartet that approaches both the classics has ever received the top prize. Forthcoming and contemporary music with equal enthusi­ releases for DG include Prokofiev string quar­ asm. tets and the Prokofiev duo for violins, the six Their extensive 1991-92 season in­ string quartets of Mozart dedicated to Haydn, cludes a series of concerts at New York City's and the Schubert Cello Quintet with Mstislav Metropolitan Museum of Art and perfor­ Rostropovich. mances as resident quartet of the Smithsonian Dedicated to the performance of the Institution and the Hartt School of Music. classical repertoire, the Emerson Quartet also North American engagements include con­ has a strong commitment to the commission­ certs in Houston, Detroit, Cleveland, Seat­ ing and performance of twentieth-century tle, Baltimore, San Francisco, Montreal, New music. Important commissions and premieres Orleans, and Los Angeles. The Quartet will include compositions by Richard Wernick also be featured with the Omaha Symphony (1991), Gunther Schuller (1986), and John in multiple performances of the concertos for Harbison (1987). A disc featuring these quar­ string quartet and orchestra by Walter Piston tets will be released in 1992. he Emerson String Quartet took its name from the great Ameri­ can philosopher in the Bicentennial year. Violinists Eugene Drucker Tand Philip Setzer were original quartet mem­ UMSCard bers and continue to alternate in the first The Musical Society wishes to thank chair position. Lawrence Dutton joined the these Ann Arbor restaurants and stores for ensemble in 1977, and David Finckel became offering special savings to subscribers whose cellist of the quartet in 1979. All four mem­ UMS ticket purchases total $200 or more. bers support world peace through nuclear UMSCard participants for the 1991-92 sea­ disarmament and have presented concerts to son are: benefit the Juvenile Diabetes Foundation and Amadeus Restaurant, 122 E. Washington the fight against world hunger. The quartet Kerrytown Bistro, 415 N. Fifth Ave. has been the topic of two award-winning films Washington Street Station, and is featured on a laser disc released by 116 E. Washington Teldec. Gandy Dancer, 401 Depot Street The Emerson Quartet now returns for (one-time discount only) its second Ann Arbor appearance after its debut here in March 1989. L & S Music, 715 N. University SKR Classical, 539 E. Liberty

The Emerson Quartet Accepts 1990 Grammy Award Standing, left to right, David Finckel, cellist, Philip Setzer, violinist, Lawrence Dutton, violist; Seated, Eugene Druc­ ker, violinist. The University Musical Society is proud to accept The 1991 Governors' Arts Organization Award This award honors the UMS for excellence and longevity in programming and presentation of outstanding national and international artists and events.

The Awaid — designed by Matthew C, Hoffmam The Concemd Citizens for the Arts in Michigan is dedicated to the belief that the arts must be a part of our everyday lives, both at work and at leisure. The Musical Society applauds this very worthy effort and mission. This CCAM Governors' Arts Award serves to promote and support the arts in Michigan as one of the state's most precious resources. The University Musical Society is delightd to receive this award and appreciates the recognition of the UMS commitment to presenting the finest international artists of our time. It is with the support of you, our patrons and contributors, that we have continued this tradition for 113 seasons. We salute you!

Seventh Annual Governors' Arts Awards Ceremony and Dinner Clubland at the State Theatre Detroit, Michigan Monday, November 4,1991