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Home , Fyodor Druzhinin, Jerusalem Quartet, Maurice Ravel, String Quartet (Ravel)

SAVANNAH MUSIC FESTIVAL 30TH FESTIVAL SEASON MARCH 28–APRIL 13, 2019

PROGRAM NOTES BY KEN MELTZER

JERUSALEM QUARTET Thursday, April 11 at 6 pm No. 5 in A Major, Opus 18, (albeit not exclusively) on the closing episode. A Trinity United Methodist Church No. 5 (1800) recapitulation of the principal themes culminates was baptized in Bonn, in a pair of forte chords. LUDWIG VAN BEETHOVEN (1770–1827) Germany, on December 17, 1770, and died in String Quartet No. 5 in A Major, Vienna, Austria, on March 26, 1827. II. Menuetto—The second movement is a Minuet, Opus 18, No. 5 (1800) Approximate performance time is 30 minutes. a dance in triple meter. For the better part, the I. Allegro SMF performance history: SMF premiere music radiates the kind of elegance and ease II. Menuetto typically associated with this court dance. But III. Andante cantabile Ludwig van Beethoven composed his first six a forceful sequence, culminating in a measure IV. Allegro String Quartets between 1798 and 1800. The six of silence, injects a moment of turbulence. The (1875–1937) Quartets, published collectively as Beethoven’s central Trio evokes an organ grinder or bagpipes. String Quartet in (1903) Opus 18, were dedicated to Prince Joseph The movement concludes with a reprise of the I. Allegro moderato—Très doux Lobkowitz. The publication of the Opus 18 Minuet. II. Assez vif—Très rythmé Quartets in a set of six is significant. Beethoven’s III. Très lent teacher, Franz (1732–1809) III. Andante cantabile—The first violin leads IV. Vif et agité habitually published his String Quartets in the introduction of an elegant falling and rising groups of six. In 1785, theme that serves as the basis for five variations. INTERMISSION (1756–1791) dedicated a series of Quartets to Beethoven explores a wide range of moods Haydn. They, too, were published as a collection and instrument colors, with the most striking (1906–1975) of six. And with regard to Beethoven’s Opus 18, juxtaposition occurring between the hushed String Quartet No. 3 in F Major, Opus 73 (1946) No. 5, in A Major, it’s worth noting this recollection introspection of Variation IV, and the bold, joyful I. Allegretto by and composer Carl Czerny: statement of Variation V. A coda builds to an II. Moderato con moto emphatic statement, followed by the final Poco III. Once, in my house, Beethoven saw the Adagio episode that brings the movement to a IV. Adagio scores of the six Mozart Quartets. He pianissimo resolution. V. Moderato—Adagio opened the 5th in A (K. 464) and said “That is a work! In it Mozart said to the world: ‘See IV. Allegro—The introduces a four-note what I could create if the time had come for motif, the basis for a lively exchange between the Alexander Pavlovsky, violin you!’” members of the quartet. The second principal Sergei Bresler, violin theme, too, grows out of four notes, but here Ori Kam, viola In addition to being set in the same key as in the form of a broad and noble chorale. Both Kyril Zlotnikov, cello Mozart’s K. 464, Beethoven’s Opus 18, No. 5, themes appear in the vibrant development replicates the earlier Quartet’s structure of two episode. The coda offers a beehive of activity quick- movements (in ) framing before finally resolving (as in the Mozart Quartet, a minuet, and theme and variations. And the K. 464) to a hushed conclusion. character of much of the music in Beethoven’s A Major mirrors the character and traditions of String Quartet in F Major (1903) his great Vienna Classical-era predecessors. Maurice Ravel was born in , Basses- Nevertheless, such “Early Period” works as the Pyrénées, , on March 7, 1875, and died in Opus 18 Quartets, the Symphony No. 1 (1800), , France, on December 28, 1937. and the “Pathétique” (1798), and “Moonlight” Approximate performance time is 28 minutes. (1801) Sonatas offer tantalizing glimpses SMF performance history: 3/30/15, 3/31/11 of the stunning, dramatic contrasts, and brilliant thematic manipulation that are hallmarks of Maurice Ravel began his String Quartet in the revolutionary voice that would soon forever late 1902, completing the work in 1903. At change the course of music. the time, Ravel was still a student at the Paris Conservatory. Ravel dedicated the work to his I. Allegro—A forte chord launches the playful teacher at the Conservatoire, French composer initial theme, set in a tripping 6/8 meter. The Gabriel Fauré. Ravel commented: “My String contrasting second theme, opening in the minor, Quartet represents a conception of musical has a darker hue. The exposition’s closing episode construction, imperfectly realized, no doubt, but returns to the cheerful mood of the opening set out much more precisely than in my earlier theme. The brief development section focuses compositions.”

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According to Ravel’s friend and biographer, of the Quartet’s scherzo movement feature a What are my dreams today, as I think about Roland-Manuel: remarkable synthesis of quicksilver energy and the future of the arts in the ? an extraordinary range of instrumental colors. A Contrary to his practice, he submitted high-flying melody (bien chanté) soon introduced I have a dream—common, I should think to his work to the judgment of his friends, by the first violin, incorporates the triplet motif every Soviet artist—of creating a large- and the criticism of the master to whom from the opening movement’s second principal scale work which will express the powerful it was dedicated. Fauré did not mince theme. The hushed central slow-tempo episode feelings we have today. I think that the matters. He found the fourth movement (Lent) features muted strings, a kaleidoscope of epigraph to all our work in the next few stunted, badly balanced, in fact, a failure. colors, and a melody that also features the triplet years will be the simple but glorious word, In the end, (Claude) Debussy was asked motif. A brief reprise of the opening scherzo “Victory.” for his opinion, and he reassured and races to a terse finish. congratulated the younger man, writing Many anticipated that Shostakovich’s “dream” him a solemn injunction: “In the name of the III. Très lent—The slow-tempo movement would manifest itself in his next Symphony, the gods of music, and in mine, do not touch a opens with a mysterious introduction played by Ninth. Shostakovich confided to a friend: “I would single note of what you have written in your muted strings. The first violin soon introduces like to write it for chorus and solo singers as well Quartet.” a lovely melody (Très calme), related to the as an if I could find suitable material opening movement’s first principal theme. The for the book and if I were not afraid that I might The premiere of the Ravel String Quartet took second principal theme also plays an important be suspected of wanting to draw immodest place in Paris on March 5, 1904, played by the role in this movement. As in the preceding analogies.” Here, Shostakovich was referring to Quatour Heymann as part of a Société Nationale scherzo, Ravel employs an arresting variety another Ninth, Beethoven’s magnificent “Choral” concert. Many critics noted the influence of of instrumental colors, now at the service of Symphony (1824). Debussy’s path-breaking Quartet in G minor, poignant, affecting music that journeys to a Opus 10 (1893). , writing for Le Temps, sublime conclusion. In January of 1945, Shostakovich began work on commented: “In its , its sonority and his Ninth Symphony. The composer shared some form…in all the sensations which it evokes, it IV. Vif et agité—The finale opens with a violent of the score with his associates. They described offers an incredible similarity to the music of fortissimo outburst by the ensemble, resolving it as “powerful, victorious major music in a Monsieur Debussy.” Jean Marnold, critic for to a sequence of arresting energy and forward vigorous tempo,” and “majestic in scale, in pathos, de France, agreed: “Its new and delicious momentum. The first violin introduces two lyrical in its breathtaking motion.” evokes that of .” But, melodies, again related to their counterparts Marnold added: “You should remember the name in the opening movement. The remainder of But by the early spring of 1945, Shostakovich of Maurice Ravel. It is the name of one of the the finale juxtaposes these vibrant and lyrical put the work aside. Abandoning the music masters of the future.” elements, with the former emerging triumphant he had written up to that point, Shostakovich in the arresting concluding bars. recommenced the Ninth in July of that year. I. Allegro moderato—Très doux—The opening Shostakovich completed his Ninth Symphony movement begins with the first violin leading on August 30, and the work received its the introduction of the beautiful and serene String Quartet No. 3 in F Major, premiere in Leningrad on November 3, 1945, with initial principal theme (note Ravel’s addition Opus 73 (1946) Evgeny Mravinsky conducting the Leningrad of the direction, “very sweetly,” to the Allegro Dmitri Shostakovich was born in St. Petersburg, Philharmonic. moderato tempo marking). An extended and Russia, on September 25, 1906, and died in varied presentation of the melody by the , Russia, on August 9, 1975. Those who had expected the Shostakovich Ninth ensemble leads to the second, triplet-based Approximate performance time is 35 minutes. to emulate Beethoven’s “Choral” Symphony were principal melody (très expressif), introduced SMF performance history: SMF premiere stunned. Instead of an epic score with chorus and two octaves apart by the first violin and viola. vocal soloists, the Shostakovich Ninth features The melodies intertwine, leading to a mysterious Dmitri Shostakovich composed two Symphonies conventional orchestral forces, and runs about 25 development section that journeys inexorably to during World War II. The Seventh (“Leningrad”) minutes. Rather than displaying a grandiose form a fff climax. The mood calms, setting the stage (1941) and Eighth (1943) Symphonies are epic of expression, much of the music is lighthearted, for the pianissimo start of the recapitulation of works, each lasting over an hour. Both of the sometimes evoking the circus or silent film the central themes. Portions of the two principal Shostakovich wartime symphonies are gripping comedies. themes once again combine in the closing musical portraits of the suffering of the Russian measures. The tranquil dénouement features people during those horrific years. In the 1979 book Testimony: The Memoirs of delicate pizzicato chords accompanying the first Dmitri Shostakovich, Solomon Volkov quotes violin. But as the War progressed, the fortunes of the Soviets greatly improved. In November of 1944, II. Assez vif—Très rythmé—The outer portions Shostakovich wrote:

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the Russian composer as follows on the Ninth IV. “Homage for the Dead” music of irrepressible energy and ominous force. Symphony: V. “Why, and for what?” IV. Adagio—The penultimate movement is a Everyone praised Stalin, and now I was , a Baroque musical structure in which supposed to join in this unholy affair. There Shostakovich eventually deleted these titles, a repeated sequence serves as the foundation was an appropriate excuse. We had ended and they do not appear in the published score. for various episodes. In the Third Quartet’s the war victoriously; no matter the cost, As with many of Shostakovich’s compositions, Adagio, that sequence is immediately proclaimed, the important thing was that we won, the it remains for the listener to try to discern fortissimo, by the second violin, viola, and cello. empire had expanded. And they demanded Shostakovich’s message. Does the Third String The first violin’s mournful proclamation sets that Shostakovich use quadruple winds, Quartet depict the horrors of life during wartime, the stage for the heartbreaking introspection choir, and soloists to hail their leader. All or under Stalin (or perhaps, neither, or both)? that pervades throughout. The viola’s repeated the more because Stalin found the number Regardless, it is clear that Shostakovich was statement leads, without pause, to the final auspicious: the Ninth Symphony. deeply attached to this Quartet. After completing movement. the work, Shostakovich wrote to Sergei Shirinsky, Stalin always listened to experts and the ’s cellist: “It seems to V. Moderato—Adagio—The cello, to pizzicato specialists carefully. The experts told him I me that I have never been so pleased with one viola accompaniment, plays a winding theme in knew my work and therefore Stalin assumed of my works as with this quartet. Probably 6/8 time. The first violin soon incorporates the that the symphony in his honor would be a I am mistaken, but for the time being this is theme, and later, introduces a soaring, dance quality piece of music. He would be able to exactly how I feel.” Fyodor Druzhinin, who joined melody. A shift of key to A Major, and a time say, There it is, our national Ninth. the Beethoven Quartet as its violist in 1964, signature of 2/4, heralds a more rustic episode. recounted a rehearsal of the Third Quartet, A varied reprise of the finale’s opening section I confess that I gave hope to the leader and with Shostakovich in attendance. Shostakovich builds to a harrowing climax, punctuated by the the teacher’s dreams. I announced that I was promised to stop the rehearsal if he had any return of the fourth movement’s passacaglia writing an . I was trying to get comments to offer. But as each movement sequence. The mood calms, as echoes of them off my back but it turned against me. concluded, Shostakovich waved his hands and previous moments in the finale resolve to the When my Ninth was performed, Stalin was exhorted: “Keep playing!” At the conclusion of closing bars (Adagio). The first violin’s soaring incensed. He was deeply offended, because the entire Quartet, Shostakovich “sat quite still plea concludes with three hushed pizzicato there was no chorus, no soloists. And no in silence like a wounded bird, tears streaming chords. apotheosis. There wasn’t even a paltry down his face. This was the only time that I saw dedication. It was just music, which Stalin Shostakovich so open and defenseless.” didn’t understand very well and which was of dubious content… I. Allegretto—The first violin, over repeated accompaniment by the remainder of the I couldn’t write an apotheosis to Stalin, I quartet, sings the carefree first principal theme. simply couldn’t. I knew what I was in for The second theme, by contrast, is broader when I wrote the Ninth. and more subdued. The exposition’s closing episode combines elements of both themes. It was in the wake of these events that The development section features brilliant Shostakovich began work on his Third String contrapuntal treatment of the thematic material. Quartet, composing the piece between January The traditional recapitulation of the principal 26 and August 2, 1946. The premiere took place themes leads to the scurrying final measures, in Moscow on December 16, 1946, performed by capped by a pair of playful chords. the Beethoven String Quartet. II. Moderato con moto—The lighthearted mood The Third Quartet is in five movements. When of the opening movement now gives way to Shostakovich originally created the work, he sardonic humor. The first violin, over a lumbering assigned descriptive titles to each: viola figure, plays a tripping melody. Cast in triple meter, the second movement is in the spirit of a I. “Calm unawareness of the future cataclysm” danse macabre, exploring a wide range of moods and instrumental colors. The viola’s mournful II. “Rumblings of unrest and anticipation” refrain leads to the hushed closing measures.

III. “The forces of war are unleashed” III. Allegro non troppo—The third movement, alternating 2/4 and 3/4 time signatures, features

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