1 Chamber New Zealand Touring NZ 15 – 25 June

northernmigrations.co.nz Tēnā koutou It was 1972 in Middlesbrough in the north of England when four school kids aged between 10 and 12 decided they wanted to form a . Within two years they were winning national competitions, performing ’s music to a packed-out Royal Albert Hall in London. More than 40 years on, now with a stellar international reputation, the Brodsky Quartet are now touring down-under, having recently performed throughout Australia, and now Chamber Music New Zealand are delighted to welcome them back to New Zealand. I was lucky enough to hear the Brodsky Quartet during their last tour of New Zealand four years ago. What struck me is how innovative and forward- looking this Quartet is. It is very easy for us to assume that a quartet with such a long history might have very set ideas underpinning their performance ethos; that with longevity comes a sort of adherence to tradition. But if we were to imagine any philosophy underpinning the Brodsky Quartet, it would be one of innovation and creativity, of ensuring that the quartet is comprised of contemporary, living artists - artists who evolve the medium and the music. And this year is particularly exciting as Brodsky continue to evolve, this time with their new violinist Gina McCormack. We welcome her on her first tour here to New Zealand. Through performing in new ways, expanding traditional repertoire, performing with artists such as Björk, Paul McCartney and Elivis Costello, and breathing new life in the rich heritage of the classical repertoire, Brodsky are a quartet for our modern era. Have a wonderful evening,

Catherine Gibson Chief Executive Chamber Music New Zealand Fugues Auckland, Napier, Palmerston North & Invercargill

BACH 9 Fugues 1 and 6 from The Art of Fugue, BWV 1080

MOZART 10 Adagio and Fugue in C Minor, K. 546

MENDELSSOHN 10 Fugue in E-flat Major from Four Pieces op. 81

BEETHOVEN 12 Fugue in B-flat Major (“Grosse Fugue”), op. 133

Interval

BARTÓK 13 String Quartet No. 1

DURATION: 100 minutes including an interval The Artists reserve the right to make changes to the programme.

The Wellington concert is being recorded for live broadcast by RNZ Concert. The Auckland concert is being recorded for later broadcast by RNZ Concert. Rhythm and Texture Wellington, Christchurch & Dunedin

JAVIER ALVAREZ 14 Metro Chabacano

GERSHWIN 14 Lullaby (1919)

MARIO LAVISTA 14 Reflejos de la Noche (1984)

OSVALDO GOLIJOV 14 Tenebrae (2003)

Interval

RAVEL String Quartet in F Major 14

DURATION: 100 minutes including an interval The Artists reserve the right to make changes to the programme.

Please respect the music, the musicians, and your fellow audience members, by switching off all cellphones, pagers and watches. Taking photographs, or sound or video recordings during the concert is strictly prohibited unless with the prior approval of Chamber Music New Zealand. 6 Chamber Music New Zealand Brodsky Quartet Gina McCormack Ian Belton violin Paul Cassidy Jacqueline Thomas

Since forming in 1972, the Brodsky Quartet have 40th anniversary; a Debussy compilation; In the performed over 3,000 concerts on the major South, featuring works by Verdi, Paganini, Wolf stages of the world and have released more and Puccini; New World Quartets, comprising than 60 recordings. A natural curiosity and an works by Dvorak, Copland, Gershwin insatiable desire to explore has propelled the and Brubeck; the quartets of Zemlinsky, group in a number of artistic directions and including the world premiere recording of his continues to ensure them not only a prominent unpublished early quartet; two Brahms discs, presence on the international chamber music featuring the iconic Piano and Clarinet Quintets; scene, but also a rich and varied musical the Shostakovich Complete Quartets. existence. Their energy and craftsmanship have attracted numerous awards and accolades As well as partnering many top classical artists worldwide, while their ongoing educational for their performances and recordings, the work provides a vehicle to pass on experience quartet have made musical history with ground- and stay in touch with the next generation. breaking collaborations with some of the world’s leading artists across many genres and Throughout their career of over 45 years, have commissioned and championed many of the Brodsky Quartet have enjoyed a busy the world’s most respected composers. international performing schedule, and have extensively toured the major festivals and Awards for recordings include the Diapason venues throughout Australasia, North and South D’Or and the CHOC du Monde de la Musique. America, Asia, South Africa and Europe, as well The Brodsky Quartet have received a as in the UK, where they are based. The quartet Royal Philharmonic Society Award for their are also regularly recorded for television and outstanding contribution to innovation radio, with their performances broadcast in programming. worldwide. The quartet have taught at many international Over the years, the Brodsky Quartet have chamber music courses and have held undertaken numerous performances of the residencies in several music institutes including, complete cycles of quartets by Schubert, at the start of their career, the first such post Beethoven, Tchaikovsky, Britten, Schoenberg, at the University of Cambridge and latterly at Zemlinsky, Webern and Bartok. It is, however, the Royal Conservatoire of Scotland, where the complete Shostakovich cycle that has they are visiting International Fellows in now become synonymous with their name: Chamber Music. They were awarded Honorary their 2012 London performance of the cycle Doctorates by the University of Kent and resulted in their taking the prestigious title an Honorary Fellowship at the University of ‘Artistic Associate’ at London’s Kings Place Teesside, where they were founded. and, in October 2016, releasing their second The quartet took their name from the great recording of the cycle, this time live from the Russian violinist Adolf Brodsky, the dedicatee of Muziekgebouw, Amsterdam. Tchaikovsky’s violin concerto and a passionate The Brodsky Quartet have always had a busy chamber musician. Gina McCormack plays a recording career and currently enjoy an 1749 Alessandro Gagliano violin; Ian Belton’s exclusive and fruitful relationship with Chandos violin is by Giovanni Paolo Maggini, c.1615. Records. Releases on the label include Petits Paul Cassidy plays on La Delfina viola, c.1720, Fours, a celebratory album of ‘Encore’ pieces courtesy of Sra. Delfina Entrecanales and arranged exclusively by the quartet for their Jacqueline Thomas’s cello is by Thomas Perry of Dublin, 1785. “…the players gave unstintingly of their passion and energies, playing with a spirit so transformational you felt they were actually improving the world.” – The Strad 8 Chamber Music New Zealand

Fugues Auckland, Napier, Palmerston North & Invercargill

‘We call that a Fuge, when one part beginneth The first is the Austrian composer Johann Joseph and the other singeth the same, for some number Fux (c.1660-1741) who in 1725 published Gradus of notes (which the first did sing).’ So wrote ad Parnassum (‘Ascent to [Mount] Parnassus’ – Thomas Morley in his Plaine and Easy Introduction the home of the muses). This treatise provides a to Musick (1597). If only it were that plain and systematic approach to writing counterpoint of easy. Morley is right in describing the essence of the kind perfected by Palestrina. Every serious fugal writing as having one line chase another musician in the 18th century studied counterpoint (the Italian fuga means ‘flight’) using the same from Gradus. (Bach’s copy survives. On Mozart thematic idea (normally referred to as a ‘subject’). and Beethoven, see below.) Mastering Fux’s But this is open to layers of increasing complexity principles was seen as fundamental to a well- depending on how many lines (or voices) are educated composer’s craft. involved (a fugue in three, four, five parts) and how many subjects are used (normally one, The other authority was none other than Johann but there are double fugues, triple fugues and Sebastian Bach. Not only was he the greatest beyond). Even in a simple fugue, we are not really master of contrapuntal writing but his works were dealing with just one theme (the subject) since viewed as having an important pedagogical when the second voice answers the first, the first function. Bach seems himself to have seen the voice continues with what is known as a ‘counter- fugue as having a didactic importance. When the subject’. Fugues are a particular manifestation Jews lay down the law to Pilate in The St John of counterpoint (point-contra-point, or, really Passion (‘Wir haben ein Gesetz’) it is in a fugue, a line-contra-line). Its fully-developed 18th-century dogmatic expression of jurisprudential authority. version organizes these ideas within a clearly- The composer and theorist Friedrich Wilhelm defined structure with a beginning (exposition), Marpurg (1718-1795) wrote a preface to Bach’s Art middle (development) and end (final entries). of Fugue when it was published in 1752. In it, he This is unashamedly learned music, with two emphasizes the way in which Bach’s fugal writing presiding authorities. transcends the didactic: ‘no one has surpassed him . . . in the deep and thoughtful execution of unusual, ingenious ideas, far removed from the ordinary run, and yet spontaneous and natural; I say natural meaning those ideas which must, by their profundity, their connection, and their organization, meet with the acclaim of any taste, no matter of what country.’ Brodsky Quartet 9

J. S. Bach (1685-1750) Fugues 1 & 6 from The Art of Fugue BWV 1080

How many of us grew up practising Preludes The final piece was planned as a fugue with and Fugues from The Well-Tempered Clavier? four subjects, one of which begins B-flat, A, C, We were in good company. Beethoven was B-natural or, as the Germans would spell it, B-A- given these by his first real teacher, Christian C-H. On the last page of the manuscript, there is Gottlob Neefe. (All Beethoven’s other teachers a note in Emmanuel Bach’s hand, “While working – including Haydn – had him working exercises on this fugue, in which the name BACH appears from Fux.) Felix Mendelssohn and his sister in the countersubject, the author died.” This is Fanny also both studied these works as children. a moving document – to see the pen stop (Fanny pleased her father by memorizing mid-sentence. twenty-four of the Preludes.) Bach wrote other major works involving a systematic exploration Fugue 1 is a relatively straightforward four- of the possibilities of counterpoint – such as voice composition. Fugue 6 is labelled ‘in the The Musical Offering, that remarkable collection French style’, a reference to the dotted groups of pieces based on a theme given to him by characteristic of a French overture. It uses the Frederick the Great. principal theme the right way up and upside down and has both versions played straight and Bach’s last such project was The Art of Fugue – in diminution (that is, at twice the speed). 14 fugues (each called a ‘Contrapunctus’ in the manuscript) and four canons all based on the same four-bar theme. 10 Chamber Music New Zealand

Wolfgang Amadeus Mozart Felix Mendelssohn (-Bartholdy) (1756-1791) (1809-1847) Adagio and Fugue in C Minor, K. 546 Fugue in E-flat Major from Four Pieces op. 81

During his Italian tour of 1770, Mozart (now When Mendelssohn was fourteen, his fourteen years old) sought composition grandmother gave him Bach’s autograph lessons from the composer and pedagogue manuscript of the St Matthew Passion as a Giambattista Martini (Padre Martini) in Bologna. Christmas present (imagine that!). He went on His exercises, with Martini’s corrections, survive. to direct a performance of the work at the Berlin When, in turn, Mozart took on the Englishman Singakademie six years later, on 11 March 1829, a Thomas Atwood as a pupil he set him to work date that is now seen as marking the beginning on Fux. Atwood’s efforts also survive with of the Bach’s rehabilitation as one of the giants Mozart’s corrections including a final comment, of Western music. Mendelssohn’s own output ‘You are an ass.’ (The two became good friends.) is testimony to his reverence for Bach. His piano music, for example includes numerous preludes In Vienna, Mozart was part of a circle of and fugues (balancing the exquisitely romantic musicians drawn into the enthusiasms of the songs without words). Imperial Court Librarian. In 1782 he wrote to his father, ‘Every Sunday at twelve I go to Baron The E-flat Major Fugue comes from the last year van Swieten’s – and nothing is played there of Mendelssohn’s life. The subject pays homage except Handel and Bach. I’m currently making to the ‘Jupiter’ Symphony. The first four notes myself a collection of Bach fugues.’ It was van have exactly the same melodic and rhythmic Swieten who was instrumental in getting Haydn profile as fugue subject in Mozart’s finale. to set The Creation on the model of a Handelian Across its four-bar span, Mendelssohn’s subject oratorio. It was for van Swieten that Mozart also seems reminiscent of the fugue in the first arranged Messiah and transcribed five four- movement of Beethoven’s Quartet in C# Minor, part fugues from Book II of The Well-Tempered Op. 131. This is a beautiful piece that begins in Clavier for string quartet. quiet contemplation and culminates in joyous, optimistic repose. The C minor Fugue, K. 546, first appears as a work for two pianos (K. 426) composed in 1783. The version for strings comes six years later with a magnificent introductory adagio. This, with its regal dotted-rhythms, gives the ‘Adagio and Fugue’ the character of a grand French overture of the kind cultivated by Bach and Handel. Brodsky Quartet 11

“…The famous four are justly acclaimed for their polish, sophistication and a mature refinement to which almost every group, in a music world stuffed with new string quartets, should aspire…” – Classic FM 12 Chamber Music New Zealand

Ludwig van Beethoven (1770-1827) Fugue in B-flat Major (‘Grosse Fugue’), op. 133

The premiere of Beethoven’s String Quartet in like 6/8 metre. Then a conciliatory fragment B-flat Op. 130 – with the ‘Grosse Fuge’ [sic.] as marked ‘meno mosso e moderato’ (slower, its finale – took place in March 1826. Beethoven moderate tempo) before an extraordinarily was too nervous to attend. He waited at a hesitant re-statement of the fugue subject, now nearby hostelry for his friend Ignaz Holz to bring beginning on B-flat and marked sempre pp. him back news of how things had gone. Holz reported that the audience had demanded 650 bars (and 15 minutes) later, Beethoven again encores of the second and fourth movements. reviews his material but all of this stalls on an Beethoven was not pleased. What about the almost spooky unresolved dominant which Fugue? he asked. He was absolutely incensed to is followed by 17 bars of groping towards a learn that it had not received a positive hearing. cadence onto the tonic. From there to the end of “Cattle!”, “Asses!” he is said to have roared. No the piece we hear repeated affirmation through further performances of the fugue were given cadential figures of B-flat major as the home base. for another twenty-eight years and Beethoven So often in counterpoint, we enjoy the piquancy was persuaded to write an alternative finale for of a passing dissonance that results from the quartet. perfectly ‘correct’ writing. What happens in the Beethoven’s late quartets are famously arcane. ‘Grosse Fugue’, and particularly in the double His journey into a profound inner world reached fugue section, goes way beyond that. It is like its apogee with the ‘Grosse Fugue’. As a stand- a determined working out of contrapuntal alone work, it is magnificent. The first thirty bars possibilities with little regard for what military are labelled ‘Overtura’ by Beethoven, before a analysts would call collateral damage. second heading ‘Fuga’ appears. This ‘overture’ Stravinsky famously described the ‘Grosse Fuge’ sets out the material for the entire work: first as ‘this absolutely contemporary piece of music a fortissimo statement of the fugue subject that will be contemporary forever’. beginning, followed by a few bars in a dance- Brodsky Quartet 13

Bela Bartók (1881-1945) String Quartet No. 1, op. 2 i Lento ii Poco a poco accelerando al Allegretto iii Introduzione: Allegro

Tucked away in Book 3 of Bela Bartók’s Mikrocosmos is a little piece called ‘Hommage à J. S. B.’. In 1908, while composing String Quartet “The Brodskys’ No. 1, Bartók was also editing an educational edition of Bach’s Well-tempered Clavier. Throughout the quartet, Bartók’s fluency as ability to a contrapuntal writer is everywhere evident, from the anguished opening built on a theme associated with the composer’s unrequited love communicate for the violinist Steffi Geyer, to the capricious fugato writing in the final movement. on so many This growth from sombre reflection to exuberance (a ‘return to life’ as Bartók’s compatriot Zoltán Kodály described it) is levels - humanity carefully staged through the quartet, which is played without a break between movements. The middle movement is marked ‘gradually and virtuosity reaching a moderately fast tempo’. The opening of the final movement is a parody of a popular Hungarian song, ‘Just a Fair Girl’ by Elemér all part of Szentirmai. It brings us back to the Bartók who did so much to raise awareness in the rest of the world of the rhythmic appeal and melodic the essential inventiveness of Hungarian folksong. integrity of their approach…” – The Guardian

Programme notes by Peter Walls 14 Chamber Music New Zealand

Rhythm & Texture Wellington, Christchurch & Dunedin

These five composers seem to share one ideal throughout their prolific output, they convey – that musical barriers are to be deplored and many flavours through a variety of compositional ignored in favour of freedom of expression, styles, experimenting with improvisation and whatever the style. electro-acoustic techniques in addition to traditional notation. In the words of composer Widely regarded as the master of orchestration John Adams, “The music of Javier Alvarez reveals Maurice Ravel was fascinated by music of all influences of popular cultures that go beyond the nationalities and idioms, and so greatly supported borders of our own time and place,” an accolade George Gershwin when he travelled to Europe which can be applied to all the composers to seek acceptance as a ‘serious’ composer. celebrated here. Gershwin avidly immersed himself in all genres, saying ‘Good music should be valued regardless Ravel was a master of instrumental colour with of style or category’. He was a great admirer a mature compositional style even in his early of the European composers, seeking (but not twenties when he came to write the String receiving) tuition from Ravel, Schönberg and Quartet in F. The work is dedicated ‘to my dear others. The financial success of his popular output teacher Gabriel Fauré’ but is often said to be enabled him to support the work of his mentors, inspired by Debussy’s quartet written a few years for example funding the early recordings of earlier. The two shared a friendly rivalry, not felt by Schönberg’s string quartets. Ravel rewarded the them but perceived by others – indeed the elder young American with tributes to his style, openly is known to have urged his young colleague modelling his Violin Sonata and G major Piano ‘in the name of God… to change not a note’ Concerto on the jazz idiom he admired. That the after the work was criticised for, amongst other two friends died in the same year is a poignant things, containing parallel 5ths (one of its greatest coincidence, especially sad given Gershwin’s hallmarks) and failed to win the Prix de Rome and young age. the Paris Conservatoire award. Even its dedicatee, Fauré, criticised it and the whole episode led to Osvaldo Golijov grew up in an Eastern European Ravel leaving the Conservatoire in a despondent Jewish household in Argentina and was raised state, though shortly afterwards to be re-elevated on classical chamber music, Jewish liturgical and on a wave of public support. klezmer, and the new tango of Astor Piazzolla. His studies took him from his native Argentina to Israel Despite the diversity of the composer’s and the USA, where he became absorbed by influences and inspiration, the work is firmly the colliding musical traditions of both countries, based in the classical form and opens with a leading to a unique compositional voice which pastoral impressionist painting of fine colour and has taken the musical world by storm. breathless beauty. Extensive and dramatic use of pizzicato is the main feature of the second Teacher and pupil Mario Lavista and Javier movement, like that of the Debussy quartet. Both Alvarez both studied in Europe and the USA were inspired by the sounds of gamelan, but as well as their native Mexico and have held in Ravel’s case, also by his maternal homeland professorial and Composer-in-Residence posts of Basque Spain, with his use of cross-rhythms at major musical institutions worldwide. Though between 3/4 and 6/8. The central ‘trio’ section both are loyal to their Latin-American roots and the subsequent third movement both contain Brodsky Quartet 15

elements of the jazz idiom which so interested Alvarez wrote his ‘Metro Chabacano’ for the the composer, but this slow movement has opening of a kinetic installation by sculptor become a classic of the quartet repertoire with Marcos Limenez in one of Mexico City’s busiest its sublime themes and hazy textures reminiscent subway stations of the same name. was played of a sizzling Midi summer. The quartet ends with on a loop for commuters’ enjoyment for the a vibrant and frenzied finale in 5/8, again playing following three months. It is a one-movement with cross-rhythms, Hispanic and jazz elements moto perpetuo with melodic fragments and finishing with a flamboyant flourish. emerging from a continuous and intricately playful rhythmic background. Gershwin’s ‘Lullaby’ is one of the few chamber works he wrote and is an early example of his Osvaldo Golijov has said of his piece: ‘I wrote aspiration to ‘serious’ composition, an exercise in ‘Tenebrae’ as a consequence of witnessing scoring for a standard classical ensemble. Such an two contrasting realities in a short period of academic premise nevertheless belies a playful time in September 2000. I was in Israel at the almost programmatic approach – one can clearly start of the new wave of violence that is still sense the different stages of the complicated continuing today, and a week later I took my procedure involved in putting an infant to bed! son to the new planetarium in New York, where Musical-box tinkling and story-telling, the child we could see the Earth as a beautiful blue dot pleading for ‘just one more story’, exasperation in space. I wanted to write a piece that could from the parent (the final rendition of the lullaby be listened to from different perspectives. That theme comes in a strident fortissimo), and finally is, if one chooses to listen to it ‘from afar’, the long yawns, blissful silence and tip-toeing out of music would probably offer a ‘beautiful’ surface the room. Muted throughout, the work’s delicate but, from a metaphorically closer distance, melody over a subtle syncopation reveals the one could hear that, beneath that surface, the dichotomy of styles at play in the composer’s music is full of pain. I lifted some of the haunting tragically short life. He was not confident enough melismas from Couperin’s Troisieme Leçon de to have it published and it received its first Tenebrae , using them as sources for loops, and performance many years after his death. wrote new interludes between them, always within a pulsating, vibrating, aerial texture. The One can imagine the exhausted lullaby-singing compositional challenge was to write music parent finally escaping to the porch and relaxing that would sound as an orbiting spaceship with a drink in the heat of the night as the next that never touches ground. After finishing the work begins… In ‘Reflejos de la Noche’ (String composition, I realised that Tenebrae could be Quartet No.2) Lavista uses a unique method to heard as the slow, quiet reading of an illuminated evoke the atmosphere of a South American night medieval manuscript in which the appearances – all four players are given only natural harmonics of the voice singing the letters of the Hebrew to play throughout the work’s one movement. alphabet (from Yod to Nun, as in Couperin) signal The wonderful canvas of sounds and textures, the beginning of new chapters, leading to the invoking images of insects and sounds of the ending section, built around a single, repeated night, is all the more extraordinary given this self- word: Jerusalem.’ imposed limitation.

Programme notes by Jacqueline Thomas

JENNIFER

STUMM& Te Kōkī Trio

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