2002103 UW International Series presents

L6'f)\?A(~ r;"'\ , Emerson Li\ Cy:~o Wednesday, January 15, 2003 8pm Ii/J K 'qh T5 IV..:! Cor ;'e ':::> ." ,-)~ Philip Setzer, (1st in Smetana) $..u C ret t ~ S. L1.£ y1 (> Cc vd Eugene Drucker, violin (1 st in Janacek & Schumann) i-\S Lawrence Dutton, ,

Tonight's Program CD /'1, 31S­ o Bedrich Smetana String Quartet in E minor, "From My Life" (1876) (1824-1884) Allegro vivo appassionato Allegro moderato a la Polka Largo sostenuto Vivace rn Ct, M W\Q,,,,,Ts lZil Leos Janacek Quartet No.l,"KreutzerSonata" (1923) LJ.=I (1854-1928) Adagio Con Moto Con Moto Con Moto Adagio - Con Moto

- intermission ­ Cf)J'1,3/0 Robert Schumann in E·flat Major, Op. 44 (1842) (1810-1856) \1J Allegro brillante [J) In Modo d'una Marcia: Un poco lorgamente 'GD Scherzo: Molto vivace i£j Allegro ma non troppo

Craig Sheppard, piano

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The appears by arrangement with 1M G Artists and records exclusively for Deutsche Grammophon. • www.emersonquartet.com

.1 small, neiJ.,rldJllrlwod /wtd The Emerson String Quartet's periormance and educational residency have been supported, in part, through a generous in-kind contribution from the University Inn.

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11k­,,)0 , " It j/J ... t ' EMERSON STRING QUARTET Clifford Curzon, Eleanor Sokoloff, Sascha Gorodnitzki, and Ilona Acclaimed for its insightful performances, brilliant artistry and Kabos. technical mastery, the Emerson StringQuar\et is oneofthe world's foremost chamber ensembles. The Quartet has amassed an im­ Following his New York debut in 1972, he won the silver medal at pressive list of achievements: a brilliant series of recordings the Leeds International Pianoforte Competition in England and exclusively documented by Universal Classics/Deutsche moved there in 1973. He quickly established himself through Grammophon since 1987. six Grammy Awards including two un­ recording and frequent appearances on BBC radio and television precedented honors for Best Classical Album, and performances as one of the preeminent pianists of his generation. of complete cycles of the Bart6k, Beethoven and Shostakovich string quartets in the major concert halls ofthe world. Today, the Sheppard has performed with all the major orchestras in Great ensemble is lauded globally as a string quartet that approaches Britain, as well as those of Philadelphia, Boston, Chicago, San both classical and contemporary repertoire with equal mastery Francisco, Atlanta, Dallas, Seattle, and others. In 1999, he made and enthusiasm. his recital debut at the Berlin Philharmonic to great critical ac­ claim. More recently, he stepped in at three hours' notice to The 2002-2003 season illustrates the Quartet's penchant for perform Mozart's Concerto K.491 with the Seattle Symphony at innovative programming and commitment to teaching. The Quar­ Benaroya Hall. This January, Sheppard begins a seven-concert tet performs a pair ofconcerts at Carnegie Hall exploring relation­ cycle of the complete piano sonatas of Beethoven at Meany ships between instrumental music and narrative entitled Text/ Theater. Subtext, joined by baritone and soprano Bar· bara Bonney. Repertoire for these concerts features a world pre­ Sheppard frequently appears in summer festivals, such as the miere by Andre Previn. The Quartet also gives the premiere of a Seattle Chamber Music Festival and the Park City (Utah) Interna­ Joan Tower commission as part of Bard's Virtuosi International tional Festival. He also teaches at the Heifetz International Music String Quartet Festival in the spring of 2003. Its busy touring Institute in Wolfeboro, New Hampshire, a music camp devoted to schedule across much of North America includes Toronto, bringing out the best in each young performer. Vancouver, San Francisco, Boston, Philadelphia, Houston, Cleve­ land, Baltimore, Pittsburgh, and Seattle. In Europe, the group He has recorded on the EM I, Polygram (Philips), Sony, Chand os performs in such major cities as Vienna, Paris, Amsterdam, Seville and Cirrus labels, and his most recent CDs are available through and London. For the 24li1 consecutive season, the Emerson per­ Annette Tangermann in Berlin (e-mail: [email protected]). forms at the Smithsonian Institution in Washington, D.C., and this past summer audiences enjoyed its programs of Beethoven and TONIGHT'S PROGRAM Bart6kat Tanglewood, Ravinia, Aspen and Caramoor. The Quartet's BEDRICH SMETANA: STRING QUARTET IN E MINOR, relationship with Universal Classics/ Deutsche Grammophon con­ "FROM MY LIFE" (18~ tinues with a release this fall of The Emerson Encores- a compIla­ Notes by Melvin Berger from "Guide to Chamber Music" tion of the Quartet's favorite encore works. Published byAnchor/Doubleday

Teaching figures into the Emersons' schedule later in the season Smetana has a tendency to write programmatic music - music when they participate in residency activities at the Cleveland In­ that depicted a scene, told a story, represented a natural phe­ stitute of Music, University of Arizona, University ofWashington, nomenon, evoked images of a particular happening or had some University of Connecticut, Chamber Music Tulsa, and the Hunts­ other extra-musical association. Central to his nationalistic com­ ville Chamber Music Guild in Alabama. In the fall of 2002 the Quar­ positions was the portrayal in music of the different places and tet joins as Quartet-in-Residence coach­ heroes of his native Bohemia. Even though programmatic cham­ ing chamber music, giving master classes and providing instru­ ber music is very rare, it was perfectly natural for Smetana to use mental instruction. In addition to these duties they also perform this approach in writing a string quartet dealing with the major several concerts during the year at Stony Brook's Staller Center events in his life. for the Arts. Like all well-written pieces of program music, the String Quartet The Emerson has received six Grammy Awards; two for its in E minor can stand on its own as an "absolute" piece of music Shostakovich cycle, two for its Bart6k cycle, one for American with no outside connections, but familiarity with the program the Originals (works by Ives and Barber), and one for the complete composer had in mind can definitely enhance the experience. quartets of Beethoven. The Bart6k and Shostakovich cycles were Information about the meaning carried by this quartet comes from also recipients of Gramophone Magazine Awards in 1989 and a letter Smetana sent to his close friend and confidante, JosefSrb­ 2000 respectively. A two-disc set of Haydn quarters was released Debrnov, dated April 12, 1878: "As regards my Quartet I gladly in September 2001. leave others to judge its style, and I shalt not be in the least angry if this style does not find favor or is considered contrary to what Formed in 1976, the Emerson String Quartet took its name from was hitherto regarded as 'quartet style.' I did not set out to write the American poet and philosopher Ralph Waldo Emerson. Violin­ a quartet according to recipe or custom in the usual forms .... With ist Eugene Drucker and Philip Setzer alternate in the first chair me the form of every composition is dictated by the subject itself position and are joined by violist Lawrence Dutton and cellist and thus the Quartet, too, shaped its own form. My intention was • David Finckel. The Quartet is based in . to paint a tone picture of my life."

CRAIG SHEPPARD. PIANO "The first movement", Smetana continues, "depicts my youthful Craig Sheppard came to the UW School of Music in 1993. A leanings toward art, the Romantic atmosphere, the inexpressible graduate of both the Curtis Institute in Philadelphia and the yearning for something I could neither express nor define, and in New York City, he studied with RudolfSerkin, Sir also a kind of warning of my future misfortune [deafness]." De­ The UW World Series is supported, in part, through a generous grant from the Allen Foundation for the Arts

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« spite the programmatic message of the movement, Smetana still climax. And at the end a faint echo ofthe last movement theme is manages, as he does throughout the quartet, to organize it into a heard, fading away into stillness. traditional form, combiningthe extra-musical elements with modi­ fications of standard structural features. The first theme, an im­ Smetana began his E minor quartet in October 1876 and finished passioned outcry from the viola, represents the fateful "misfor­ it on 19 December. There was a private performance in in tune" that had already overtaken him. Twice the viola plays the 1878, with the young Dvorak playing viola. The official premiere, theme, which is characterized by an anguished downward leaps, also in Prague, was on March 28, 1879, played by an ensemble and the first violin plays it once. The music then grows quieter, and made up of Ferdinand Lachner, Jan Pelikan, Josef Krehan, and the second theme, relaxed, gentle, and filled with romantic yearn­ Alois Neruda. ing, is introduced. The development is based on the first theme only, while the recapitulation just brings back the second theme. LEOS JANACEK: QUARTET NO.1 "KREUTZER SONATA" (1923) The coda provides a final glimpse of the first theme before three Notes by Milan Skampa (Violinist ofthe ) cello pizzicato notes bring the movement to a morose and gloomy dose. "I had in mind a miserable woman, SUffering, beaten, wretched, like the great Russian author Tolstoy wrote about in his Kreutzer In Smetana's words, the second movement, "a quasi-polka, brings Sonata" (Leos Janacek in a letter to Kamilla Stosslova of October to my mind the joyful days ofyouth when I composed dance tunes 14,1924.) and was known everywhere as a passionate lover ofdancing." By composing the movement in the style ofa polka, a fast, gay dance In October 1923, sixty nine year old Leos Janacek, inspired and of Bohemian origin, in duple meter, with a particular rhythmic requested by the famous , decided to write the pattern, Smetana effectively conveys its spirit of reckless aban­ first of his two late program quartets. which immediately took don. The viola introduces a contrasting motif into the merry their place among leading quartet works ofall times. Between 30 dance; Smetana directs that it be played quasi Tromba ("like a October and 7 November 1925. in Brno, Janacek's "Quartet based trumpet"). The ingratiating middle section is little more than a on L.N. Tolstoy's Kreutzer Sonata", and dedicated to the Bohe­ delightful polka like rhythmic pattern in the viola and cello, over mian Quartet, was written. which the playa progression of chords. An abbreviated version ofthe first section, an even shorter reminder ofthe second In view ofthe intrinsic dramatic quality ofJanacek's music, in view part, and a forceful coda fill out the rest of the movement. of the known intensive literary nature of many of his works and Janacek's unusually strong inclination to Russian 19th century Smetana's written account of the quarter goes on: "The third psychologicizing literature, it is no surprise to discover that in his movement (the one which, in the opinion of the gentlemen who first chamber composition of his last and culminating period he play this Quartet, is unperformable) reminds me ofthe happiness returned once again to a literary theme which he had expressed in of my first love, the girl who later became my first wife." Even music in 1908/9 with two versions of a piano trio (whereabouts without these words, it is obvious that the Largo sostenuto is a unknown). Oanacek, 1924: "The quartet came into being based on love song. The first violin's lyrical opening theme conveys the several of its ideas.") affection and the passion of two people as deeply in love as Smetana and his first wife. A second theme enters, different in But why the "Kreutzer Sonata"? This story by Tolstoy, whose melodic contour but just as ardent. Smetana briefly reviews both mercilessly strong condemnation of the institution of marriage themes, and then allows thefervorto cool in a quiet, pensive coda, shook the minds and perhaps even the sensibilities of several perhaps a lamentation for his loved one. generations, was almost a provocation to Janacek to set to music. Centered in the tragic tale ofthe marriage ofthe despotic, jealous Smetana writes: "The fourth movement describes the discovery Pozdnyshev, were a number of basic themes with which Janacek that I could treat national elements in music, and my joy in came to grips over decades. Love and jealousy, the effect ofmusic following this path until it was checked by the catastrophe ofthe on the senses and acts of man, crime and punishment, the jealous onset ofmy deafness, the outlook into the sad future, the tiny rays man's all too late realization of what he had done and, primarily, of hope of recovery; but remembering all the promise of my early the cruel constraints ofhuman liberty, the false charges thatto the career, a feeling of painful regret." Angrily, then, Smetana turns murder ofthe woman-sufferer... away from the melancholy thoughts and toward the folk music of his beloved Bohemian people- his source ofstrength and joy. The Janacek approached Tolstoy's "Kreutzer Sonata" not to illustrate movement is a glorious dance, with its peasant like vigor alternat­ it in music as a story about a jealous murder, not to depict the ing with sections of elfin grace and smooth steps. In the midst of tragic confrontation between the emptiness ofmere sexuality and the gaiety, though, there is a sudden cut off - and silence. The the emotional wealth of music, not to meditate musically over music resumes with an ominous, low tremolo over which the first Tolstoy'S critical philosophy or to compose several musical im­ violin plays a piercing note at the very top of it range. "The long pressions from the story. No, Janacek protested! Without violating insistent note in the finale owes its origin to this [deafness]. It is the basic dramatic foundation of the tale, without avoiding the the fateful ringing in my ears of the high-pitched tones which, in catastrophic foundation of the story, without avoiding the cata­ 1874, announced the beginning of my deafness. I permitted my­ strophic culmination of the narrative itself, he conceived his .. selfthis little joke because it was so disastrous to me." Smetana "Quartet based on the Kreutzer Sonata" as a unified, intact, follows with a series of short quotes: the "misfortune" theme psychological drama. Unlike Tolstoy, Janacek comes forward in from the opening, the second theme from the first movement - a defense of women and their rights. Among the most remarkable ray of hope, and the start of the last movement solace in the features ofJanacek's musical idiom is that directly from the music music of the people. They express his feelings and also summa­ of his quartet we trace the main outlines of the story, follow the rize the entire quartet in a formal sense. Once more the first tale as it unfolds, and even discover the degree of Janacek's movement's subsidiary theme returns, building this time to a ideological deviation from Tolstoy's conception.

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t\\~'~ -;!I"" ., The first movement of the quartet is the exposition ofthe drama. ing the difficult piano part at sight. Janacek is painting portraits. His view, concentrated on "compas­ sion forthe miserable, postrate female being", chiefly follows the Mendelssohn's participation atthe premiere left a lasting impact central character and her transformations. on the work; he found the second trio in the Scherzo movement lacking, and it was at his suggestion that Schumann wrote a The second movement - a perpetela. Smartly bounding into the livelier replacement. action is the cosmopolitan violinist, the future "seducer". The spine-chilling furtive trembling of the music tells of the fateful Critics have faulted the quintet for what some consider an overly encounter, the first admissions of love are heard, the tension prominent piano part, with the string relegated to the back­ increases. The provocative interval ofthe fourth, the musical form ground. Accordingto one explanation, offered by Homer Ulrich in of a manifestation of love, forebodes the future, tragic end. his book on chamber music, Schumann conceived the piano as a counterbalance to the four strings and not as one part among five The third movement the crisis. The power of the music of equals; therefore it bears one-half ofthe musical burden, not one­ Beethoven's Kreutzer Sonata unleashes the passion: love in the fifth. All too often. though. the fault lies not with Schumann but woman; jealousy in the husband. In the introductory passage of with the pianist, who plays too loudly. If the pianist allows the the movement there is a rapid accumulation of merciless on­ string tone to predominate when the piano and a string instru­ slaughts of wild figuration, janacek's famed short rhythmic pas­ ment are playing the same note. as is so often the case, most ofthe sages, called "scasovka", then turning into the drastic music of balance problems seem to disappear. accusations and revenge accompanied by sobbing. The wretched woman, after pitiful sighs, flees to her vision of love, now ex­ The bold. assertive first theme. played in a forceful tutti opens the panded to the breadth of a hymn. quintet, followed immediately by its miraculous transformation into a wonderfully warm, cantilena melody. The cello and viola The fourth movement. The plaintive and moving monologue of the present the sensitive second theme as a conversational dialogue. tormented woman introduces the last act of the tragedy, which A heavily accented third theme, an obvious outgrowth of the first, reaches its climax for janacek not in the terrible deed but in the brings the exposition to its conclusion. Schumann ignores the purified awakening of the murderer over his dying victim: '" second theme in the development section, which includes long looked •••at her bruised disfigured face, and for the first time I stringofvirtuosic piano runs against sustained string chords. The forgot myself, my rights, my pride and for the first time saw a recapitulation brings back the exposition slightly modified, and human being in her.") And so insignificant did all that had of­ the movement ends with out a coda. fended me, all my jealousy, appear, and so important what' had done, that I wished to fall with my face to her hand, and say: The second movement, In Modo d'una Marcia ("In the Style of a 'Forgive me', but dared not do so." (Tolstoy) March"), clearly refers to a funeral march, not in any personal mournful sense butas an objective musical experience. Schumann Janacek's Maestoso rapturously expresses in music the catharsis, structures the movement as a cross between rondo and sonata equal to the magnificent conclusions of his operas, returning form. The first theme has the cadence of a solemn march. A human dignity not just to the victim but to the penitant. From here tenuous, sustained first violin line over a busy, anxious accompa­ r the path leads directly to the climatic expressions of janacek's j niment functions as the contrasting second theme and precedes I humanism, particularly to his last opera "From the House of the the return of the opening. The faster-moving next section works Dead." over both the first and second ideas before the movement con­ cludes with a final statement of the first theme. But janacek, the intrepid fighter for human freedom, goes even further in his quartet. Whereas Tolstoy in the "Kreutzer Sonata" The Scherzo is the glorification of the scale. Whether a single actually denies the very existence of love and basically condemns instrument or in combination, going up or down, loud or soft, in marriage as a dangerous illusion, for Janacek love is one of the even notes or trochees, the subject is always scales. The lyrical, greatest and highest values and the most precious gift of human legato first trio with the first violin and viola in canon offers a life, and a marriage which is the prison of emotions is an immoral welcome respite from the relentlessly scalic Scherzo. The second one. trio, a high-powered, heavily accented perpetual motion, follows the return of the Scherzo. Schumann ends the movement with a ROBERT SCHUMANN final review of the Scherzo and a summarizing coda. PIANO QUINTET IN E FLAT MAJOR. OP. 44 (1842) Notes by Melvin Berger from "Guide to Chamber Music" The crowning last movement contains all the virility and sturdi­ Published by Anchor/Doubleday ness of the first movement. The pianist flings out the muscular principal theme with an accent on very note, backed up by the Schumann's piano quintet is his mostfrequently performed cham­ strings playing a tempestuous repeated-note accompaniment. <\ ber composition; it is also the pioneering quintet for piano and contrasting quiet and songlike subsidiary melody acts as a foil to string quartet and the inspiration for a line of great works for the the first theme. The short, subdued development is mostly con­ combination, including those by Brahms, Franck. and Dvorak. cerned with the second theme, bunding up at the end to an exult­ • ant return ofthe first to start recapitulation, which proceeds regu­ Schumann wrote this seminal work in September1842, takingfive larly through both themes. In the very spacious and remarkable days to prepare the sketches and two weeks to complete the coda, Schumann introduces two major fugal sections, the first score. He dedicated it to his wife, Clara, and scheduled the pre­ based on the movement's principal theme, the second combin­ miere for December6 ofthe same year atthe leipzig home ofCarl ing that melody with the main theme form the first movement in and Henriette Voigt. Clara, who was to participate, fell ill on the an overwhelming three-voice double fugue. day ofthe performance, and stepped in. play­