Alexander String Quartet William Kanengiser

Home , Guitar solo

Friday, July 16, 2021 | 7:30pm Herbst Theatre

BRITISH INVASION

LENNON/ Three selections from McCARTNEY— “Beatlerianas” (1976) LÉO BROUWER Eleanor Rigby She’s Leaving Home Penny Lane

IAN KROUSE Music in Four Sharps (On Dowland’s “Frog Galliard,” 2004)

STING— Prisms—Six Songs by Sting (2013) DUŠAN NORTH AMERICAN PREMIERE BOGDANOVIĆ Every Breath You Take (Prelude) Message in a Bottle (Dance) Shape of My Heart (Ballad) Fields of Gold (Choral) Desert Rose (Dance) Roxanne (Passacaglia)

2 IAN KROUSE Labyrinth on a Theme of Led Zeppelin (1994, rev. 2019) WORLD PREMIERE (guitar and quartet version) I. Fast rock tempo II. Very fast III. Tempo 1 IV. Quasi Passacaglia V. Quasi Fuga VI. Finale

The Alexander String Quartet and William Kanengiser are represented by BesenArts LLC 7 Delaney Place, Tenafly, NJ 07670 BesenArts.com 3 ARTIST PROFILES

San Francisco Performances has presented William Kanengiser 13 times, beginning in 1986, as a member of the Los Angeles Guitar Quartet.

The Alexander String Quartet celebrates its 40th anniversary in 2021. The Quartet has been Ensemble-in-Residence since 1989 with San Francisco Performances, the result of a unique partner- ship between SF Performances and The Morrison Chamber Mu- sic Center at San Francisco State University. Starting in 1994, the Quartet joined with SF Performances’ Music Historian-in-Resi- dence, Robert Greenberg, to present the Saturday Morning Series exploring string quartet literature. The Quartet has appeared on SF Performances’ mainstage Chamber Series many times, collaborating with such artists as soprano Elly Ameling and mezzo-soprano Joyce DiDonato; clarinetists Richard Stoltzman, Joan Enric Lluna and Eli Eban; pianists James Tocco, Menahem Pressler, Jeremy Menuhin, and Joyce Yang; and composer Jake Heggie.

William Kanengiser has forged a career that expands the pos- sibilities of the classical guitar. A prize-winner in major compe- titions (1987 Concert Artists Guild International Competition, Toronto Guitar ’81) he has toured throughout North America, Asia, and Europe with his innovative programs and expressive musicianship. He recorded four CDs for the GSP label, playing music as diverse as Caribbean, Eastern European, and jazz. A member of the guitar faculty at the USC Thornton School of Music since 1983, he has given master classes around the world and produced two instructional videos. Most recently, he performed the U.S. premiere of Folk Concerto by Clarice Assad, with fellow Los Angeles Guitar Quartet member Scott Tennant, and the Albany Symphony conducted by David Allan Miller. An active proponent of new music, he recently received a grant from the Augustine Foundation for his Diaspora Project, commissioning seven new works focusing on issues of migra- tion and assimilation. It includes new pieces by Sergio Assad,

4 Dusan Bogdanovic, Golfam Khayam, and others. An advocate for musician’s wellness, he serves as Chair of the Thornton Mu- sician’s Wellness Committee, curating their Wellness Initiative with health screenings and a lecture series, as well as creating a Musician’s Wellness course. A prolific arranger, he has created dozens of transcriptions for solo guitar and guitar quartet, and composed a number of works for four guitars. In 2009 he created the stage production The Illustrious Gentleman Don Quixote for narrator and guitar quartet, writing the stage script and adapting music from the Spanish Renaissance. It was premiered with Monty Python member John Cleese, and extensively toured with Firesign The- ater founder Phil Proctor. As a founding member of the Los Angeles Guitar Quartet, William Kanengiser has given hundreds of recitals and concer- to appearances around the world and has recorded over a dozen releases. Their Telarc release LAGQ Latin was nominated for a Grammy, and it was their Telarc title LAGQ’S Guitar Heroes which won a Grammy in 2005 as the best classical crossover recording. Most recently, their recording of the title work on Pat Metheny’s Road to the Sun hit #1 on the Apple Music Classical chart. The Alexander String Quartet has performed in the major music capitals of five continents, securing its standing among the world’s premier ensembles, and a major artistic presence in its home base of San Francisco, serving since 1989 as Ensem- ble-in-Residence of San Francisco Performances and Directors of The Morrison Chamber Music Center Instructional Program at San Francisco State University. Widely admired for its interpretations of Beethoven, Mozart, and Shostakovich, the quartet’s recordings have won international critical acclaim. They have established themselves as important advocates of new music commissioning dozens of new works from composers including Jake Heggie, Cindy Cox, Augusta Read Thomas, Robert Greenberg, Cesar Cano, Tarik O’Regan, Paul Siskind, and Pulitzer Prize-winner Wayne Peterson. Samuel Carl Adams’ new Quintet with Pillars was premiered and has been widely performed across the U.S. by the Alexander with pianist Joyce Yang, and will be in- troduced to European audiences in the 2021–2022 season.

5 The Alexander String Quartet’s annual calendar includes engagements at major halls throughout North America and Europe. They have appeared at Lincoln Center, the 92nd Street Y, and the Metropolitan Museum; Jordan Hall; the Li- brary of Congress; and chamber music societies and univer- sities across the North American continent including Yale, Princeton, Stanford, Lewis and Clark, Pomona, UCLA, the Krannert Center, Purdue and many more. Recent overseas tours include the U.K., the Czech Republic, the Netherlands, Italy, Germany, Spain, Portugal, Switzerland, France, Greece, the Republic of Georgia, Argentina, Panamá, and the Phil- ippines. Their visit to Poland’s Beethoven Easter Festival is beautifully captured in the 2017 award-winning documenta- ry, Con Moto: The Alexander String Quartet. Distinguished musicians with whom the Alexander String Quartet has collaborated include pianists Joyce Yang, Rog- er Woodward, Menachem Pressler, Marc-André Hamelin, and Jeremy Menuhin; clarinetists Joan Enric Lluna, Richard Stoltzman, and Eli Eban; soprano Elly Ameling; mezzo-so- pranos Joyce DiDonato and Kindra Scharich; violinist Mi- dori; violist Toby Appel; cellists Lynn Harrell, Sadao Harada, and David Requiro; and jazz greats Branford Marsalis, David Sanchez, and Andrew Speight. The quartet has worked with many composers including Aaron Copland, George Crumb, and Elliott Carter, and enjoys a close relationship with composer-lecturer Robert Greenberg, performing numerous lecture-concerts with him annually. Recording for the FoghornClassics label, their 2020 release of the Mozart and Brahms clarinet quintets (with Eli Eban) has been praised by Fanfare as “clearly one of the Alexander Quar- tet’s finest releases.” Their release in 2019 of Dvořák’s “Ameri- can” quartet and piano quintet (with Joyce Yang) was selected by MusicWeb International as a featured recording of the year, praising it for interpretations performed “with the bright-eyed brilliance of first acquaintance.” Also released in 2019 was a recording of the Late Quartets of Mozart, receiving critical acclaim. (“Exceptionally beautiful performances of some ex- traordinarily beautiful music.” —Fanfare), as did their 2018

6 release of Mozart’s piano quartets with Joyce Yang. (“These are by far, hands down and feet up, the most amazing performances of Mozart’s two piano quartets that have ever graced these ears” —Fanfare.) Other major releases have included the combined string quartet cycles of Bartók and Kodály (“If ever an album had ‘Grammy nominee’ written on its front cover, this is it.” —Audiophile Audition); the string quintets and sextets of Brahms with Toby Appel and David Requiro (“a uniquely detailed, transparent warmth” —Strings Magazine); the Schumann and Brahms piano quintets with Joyce Yang (“passionate, soulful readings of two pinnacles of the chamber repertory” —The New York Times); and the Beethoven cycle (“A landmark journey through the greatest of all quartet cycles” —Strings Magazine). Their catalog also includes the Shosta- kovich cycle, Mozart’s Ten Famous Quartets, and the Mahler song cycles in new transcriptions by Zakarias Grafilo. The Alexander String Quartet formed in New York City in 1981, capturing international attention as the first Ameri- can quartet to win the London (now Wigmore) International String Quartet Competition in 1985. The quartet has received honorary degrees from Allegheny College and Saint Lawrence University, and Presidential medals from Baruch College (CUNY). The Alexander plays on a matched set of instruments made in San Francisco by Francis Kuttner, known as the Ellen M. Egger quartet.

PROGRAM NOTES

In tonight’s program, I join the Alexander String Quartet to pay tribute to a group of English musicians who conquered the musical world with their revolutionary explorations. From the Elizabethan lutenist John Dowland to the pop/ rock icons Sting, The Beatles, and Led Zeppelin, these artists made a lasting impact far from the shores of their small island. Their music served as inspiration for a set of compositions for guitar and string quartet by some of the most tal- ented composers writing today, and it is especially appropri- ate that the guitar sits squarely at the center of these works,

7 as the plucked string was the primary musical voice of these British innovators. Born in Havana in 1939, Léo Brouwer is now regarded as the preeminent contemporary composer for the guitar, although he has also written extensively for orchestra, choir, and chamber ensembles, and has composed over 50 film scores. Coming of age in post-Revolutionary Cuba, he was entranced not only by classical and avant-garde music, but also by the popular music of the day; The Beatles, in particular, were an important influence on his musical personality. When a Cuban Minister of Culture undertook a program of avoiding “Western” influence, Léo found his music, as well as his beloved Beatles, banned in his homeland. As a reaction, he arranged seven Beatles classics in 1976, grouping them as Beatlerianas, which have been scored for guitar duo, guitar with chamber orchestra, and the present version for guitar and string quartet. The Alexander String Quartet and I have chosen three of these settings, all of which contain enough new and extrapolated material to straddle the distinction between pure ar- rangement and new composition. The three pieces also share a commonality in theme: they all are pieces that The Beatles wrote in their mature period, capturing memories of their early years growing up in Liverpool. Eleanor Rigby is a heartbreaking character study of the loneliness of anonymity and old age, and Brouwer interjects brisk passagework and a quasi-fugal exposition of the tune before the more familiar setting emerges. She’s Leaving Home captures the poignant moment of a daughter leaving the nest, from both her and her mother’s perspective; Brouwer begins it with a fluid introduction and a swinging coda in his delicate treatment. And Penny Lane gives a vivid portrait of a day in the life on the bustling streets of Liverpool; Brouwer captures the energy of the scene with a vibrant syncopated introduction and crisp rhythmic countermelodies to the jaunty tune. John Dowland was the undisputed master of the Elizabethan lute, and through his vast catalogue of compositions and frequent travels abroad, could be said to be one of the first “rock stars” of the plucked string. One of his most popular pieces is

8 his Frog Galliard, which may have been written in reference to one of Elizabeth I’s French suitors, the Duc d’Alençon. Dowland also set the piece to text in his lute song Now, O Now, I Needs Must Part. (The triple meter and cyclical harmony of the piece have suggested to some that Herr Pachelbel might have lifted it for his famous Canon in D theme.) The contemporary composer Ian Krouse used this theme as a springboard for a major work, first written for two guitars under the title Portrait of a Young Woman, and then re-cast for solo guitar and string quartet (it was later re-arranged for four guitars, and I recorded it with the Los Angeles Guitar Quartet on our New Renaissance album). Ian Krouse, a Distinguished Professor of Composition at UCLA, is prolific and lauded composer of symphonies, chamber works and song cycles. (He is most recognized for his magnum opus, Armenian Requiem.) But as a guitarist himself, he is particularly associated with that instrument, and especially through his long and fruitful collaboration with LAGQ. In setting the Frog Galliard, Krouse created a two-part work that deconstructs, reconstructs, and reimagines the theme both melodically and harmonically. Krouse also used the conceit of limiting himself to the seven notes of the key of E major, to see how much contrast and formal develop- ment could be achieved within that constraint: hence the title Music in Four Sharps. The first half of the piece owes a debt to Benjamin Britten’s masterwork for solo guitar, Nocturnal after John Dowland, Opus 70, which also happens to be a setting of a Dowland theme (Come, Heavy Sleep); like the Nocturnal, Mu- sic in Four Sharps presents a set of variations that reveals the theme at the end, rather than at the outset. While the statement of the theme was the endpoint for Britten’s setting, for Krouse it marks the middle point. From then on, the piece becomes a quasi-minimalistic fracturing and rhythmic over- lay of snippets of the tune that gradually builds to a searing climax. As the dust settles, the theme returns as a faint echo, fading out a niente. Sting (born Gordon Sumner) has re-defined what a pop artist can be over his multifaceted career; he is a rock star, a jazz

9 musician, a world-music advocate, an early music aficionado, an actor, and now, a Broadway playwright and headliner in his musical The Last Ship. Along the way, he created a catalogue of songs that have become anthems for a whole gen- eration. In 2013, the contemporary Serbian composer Dušan Bogdanović undertook the project of setting six of Sting’s tunes into Prism: Six Songs by Sting for solo guitar and string quartet. The genesis of the collaboration was through Sting’s exploration into Elizabethan lute and the music of John Dow- land in his project Songs from the Labyrinth. There he worked with the Croatian lutenist Edin Karamazov, who is a frequent performer of Dušan’s music. Edin commissioned Dušan to set the songs, and with Sting’s blessing, the pieces have been performed and recorded. Tonight’s performance will mark the North American premiere of the set. Bogdanović chose six songs that highlight the stylistic and emotional range of Sting’s songwriting, in adaptations that are even more extrapolated and re-composed than the afore- mentioned Beatles settings by Brouwer. Dušan’s iconic style comes through clearly with a penchant for odd-meters, rich harmonies, polymeter, and jazz textures, making it a perfect foil to Sting’s pop-infused multistylistic approach. The sim- plest of the settings is Every Breath You Take, with the time sig- nature set to a more Balkan 7/8, and a cello ostinato reminis- cent of the Prelude of Bach’s Cello Suite No. 1. Next is Message in a Bottle, churning with an African-inspired polyrhythm, which climaxes in a highly syncopated 12/8 groove. Shape of My Heart is a duet for cello and guitar, with a mournful, bluesy setting of this lovely ballad. Fields of Gold is a dialogue between guitar and the string quartet, with luscious harmonies over the hymn-like melody. Desert Rose begins with a short guitar solo in a North African style, which unfolds into the ostinato of the tune, again re-imagined in 7/8. The final move- ment is the rock anthem Roxanne, here set as a passacaglia that becomes increasingly complex, polytonal, and polyrhyth- mic, culminating in a frenetic post-modern be-bop coda. Led Zeppelin still stands as one of the most emblematic and innovative rock groups in history, and the guitar stylings of

10 Jimmy Page puts him firmly in the pantheon of “Guitar Gods” alongside Jimi Hendrix and Eric Clapton. But while they are most known for their commercial hits Stairway to Heaven and Whole Lotta Love, they experimented quite a bit with world-music elements, complex rhythms, and innovative structure, re- defining what rock music could be. A “deep track” from their Led Zeppelin 3 release was Friends, an Indian-inspired blues filled with odd meters, bent pitches, and exotic scales. This tune served as the starting point for one of Ian Krouse’s most ambitious works, Labyrinth on a Theme of Led Zeppelin. Origi- nally composed for LAGQ in 1994, it was rearranged for solo guitar and string quartet in 2019 expressly for this concert and receives its world premiere in tonight’s performance. The piece begins with a note-for-note transcription of the original Friends track, complete with strummed open-tuned chords on the steel-string guitar and microtonal bends evok- ing Robert Plant’s bluesy vocal line. After a rousing cadence, the texture becomes ominous, with rapid string passagework punctuated by a bottle-neck slide statement of the theme. This gives way to a furious exposition of the octatonic scale, in a “call-and-response” blues form, culminating in a chorale-like recapitulation of the theme. Part 3 begins by introducing an up-tempo rock-style blues, which become increasingly raucous and is punctuated by an improvised slide guitar solo. Without warning, a sudden stop ushers in Part 4, a slow and haunting passacaglia over the blues progression. The cello then begins Part 5 with an austere statement of the theme, as the subject of what will become a full-blown fugal exposition. Previous elements interrupt the imitative texture with increasing inten- sity, until the opening theme returns, this time informed by the transfigurations of the previous material. A final swelling crescendo erupts in the finale, as the Labyrinth returns to the open C major chord where it began.

Notes by William Kanengiser

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