I .J TWENTY-EIGHTH SEASON I FIRST CONCERT

Jlt»uston Friends of f 1 r .sic, Inc. and lhepherd lchool of SJiusic

1_,.. PRESENT THE I I

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with Joseph Tamosaitis - double bass Jerry Kirkbride- clarinet Jane Taylor- bassoon Paul RiggiQ - horn I "' I

TUESDAY, SEPTEMBER 15, 1987 Hainman Hall 8:00P.M. Rice University PROGRAM

TUESDAY, SEPTEMBER 15, 1987

String Quartet in B-flat, Op. 76, No. 4 ..•...... •...... • Haydn "Sunrise" (Hob. 111:78) Allegro con spirito (1732-1809) Adagio Menuet: Allegro Finale: Allegro monon troppo

String Quartet No. 2 (1986) •••••••••••••••••••••...•••••• Dennis Kam in three movements (b. 1942)

Composers String Quartet (

INTERMISSION

Octet in F Major for Strings and Winds •..•..•...... Schubert Op. 166, D. 803 Adagio _ Allegro (1797-1828) Adagio un poco mosso Allegro vivace - Trio Thema: Andante- Variazioni Menuetto: Allegretto - Trio Andante molto - Allegro

Matthew Raimondi, Anahid Ajemian - violins Maureen Gallagher- viola Mark Shuman - cello Joseph Tamosaitis- double bass Je"y Kirkbride- clarinet Jane Taylor- bassoon Paul Riggio - horn

The Composers String Quartet is represented by: Kazuko Hillyer International, Inc. 250 West 57th Street, , NY 10107, (212) 581-3644 Photographing and sound recording are prohibited. We further request that audible paging devices not be used during performances. Paging arrangements may be made with ushers. If it is anticipated that tickets will not be used, subscribers are encouraged to turn them in for resale. This is a tax-deductible donation. Call 527-4933.

2 HOUSTON FRIENDS OF MUSIC is a non-profit organization dedicated to the presentation of chamber ensembles with national and international reputations and to the development of new audiences.

BENEFACTORS Dr. Edith F. Bondi Dennis & Susan Carlyle Cultural Arts Council of Houston Dr. & Mrs. Grady L. Hallman The Menil Foundation National Endowment for Barbara M. Osborne Dr. Meyer L. Proler the Arts Seymour & Shirley Wexler PATRONS

Vlasta & Ervin Adam Benno J. Bauer, Jr. Lutz & Mariel Birnbaum~r Mr. & Mrs. Emory T. Carl Kent & Jan Coleman Denton A. Cooley Foundation Alex & Ann Goldstein Gary L. Hollingsworth Howard & Vicki Huddleston Barbara Kauffman Marcella & Tomas Klima Dr. J.P. Lauzon W. H. Mannheimer Jack & Julia Mazow Dr. & Mrs. A. A. Mintz David Parsons H. Irving Schweppe, Jr., M.D. Mr. & Mrs. A. 0. Susholtz Don Thiel Margaret Waisman Robert & Edith Zinn SPONSORS James & Carolyn Alexander Francisco Aviles-Roig, M.D. Barbara & Jim Butler Drs. Chester & Jamie Cochran John Flynn Lila-Gene. George Harvey & Sandra Gordon Harlan Hall Dr. Fred Haufrect H. Blandin Jones Frances E. Leland M. A,.. Modelski Daniel & Karol Musher Mario & Ruth Paglia Walter Pye, Jr. Richard & Eva Rosencranz Malcolm & Horty Sher Robert & Natalse Thrall Steven J. Tillinger C. J. Velzeboer Macheledt & Arlo Weltge Drs. A. J. Werch CONTRIBUTORS •I Ralph A. Anderson J.H.U. Brown Mr. & Mrs. Albert Caselli Lawrence & Alice Cowles Doris M. Curtis Joel Cyprus Edward Doughtie, John W. Eagleton Dr. G. Eknoyan Lloyd E. Elliott, Jr. Milton & Dixie Feiner Stephen M. Fierros J. S. Fulton Arthur Ginzbarg Beverly I. Hawkins Robert D. Hawthorn Robert W. Hill John Kellett Chris & Dan Krohn Louise Levien Mr. & Mrs. D. W. Meyerson Stephanie Norman Joseph Paderewski Mr. & Mrs. Nathan M. Pryzant Florante & Nora Quiocho Ann & Hermann Rath Elizabeth G. Reynolds MaryS. Schoettle George Suman Doug & Marsha Tsuchida Irving & Ida Wadler Dr. & Mrs. Stanley Weitzner BOARD OF DIRECTORS Ervin Adam Arthur S. Ginzbarg Jack B.. Mazow James Alexander Harvey L. Gordon Daniel Musher Francisco Aviles Michael Hammond David G. Parsons Ira J. Black Constance Holford Mary Schoettle Kent Coleman Barbara Kauffman Steven J. Tillinger Carter Crawford Tomas Klima Marsha Tsuchida Elmer Eisner Daniel Krohn Irving Wadler Ann Fairbanks Thomas Littman Margaret Waisman Walter Mannheimer Seymour Wexler FRIENDS OF MUSIC OFFICERS President...... · ...... Jack B. Mazow Vice Presidents ...... Ann Fairbanks, Marsha Tsuchida, Elmer Eisner, Daniel Krohn Secretary ...... Francisco Aviles Treasurer ...... ; ...... Steven J. Tillinger 3 The Composers String Quartet

Celebrating its twentieth anniversary in the 1986-87 · season, the Composers String Quartet was featured in the September, 1986 issue of Musical America as ''Musicians of the Month." Other major highlights of the season included premiere performances of 's String Quartet No. 4, written for the Composers Quartet. Since its formation in 1966, the Quartet has won en­ thusiastic international acclaim, and is now recognized as one of the world's foremost chamber ensembles. Violinists Matthew Raimondi and Anahid Ajemian were founders of the Quartet; cellist Mark Shuman joined it in 1977; and violist Maureen Gallagher, the newest member, -joined in 1987. As Quartet-in-residence at since 1975, the . ensemble has been featured in a variety of concerts there, in­ cluding three complete cycles of the Beethoven string quartets. In January 1983 the Quartet launched the ''Concerts for Peace'' at the Cathedral of St. John the Divine in New York. The artists returned on Holy Baturday in 1984 to perform Haydn's "Seven Last Words of Christ," narrated by the Very Reverend James Parks Morton, Dean of the Cathedral. The New York Times called it, ''a stark, thoughtful performance of unremitting intensity,'' with ''passionate yet impeccably restrained playing.'' The ensemble has returned to :the Cathedral every Holy Saturday since to perform this work.

Matthew Raimondi, born and raised in , is a graduate of the High School of Music and Art and the , and holds a masters degree in musicology from Columbia University: Throughout his career, he has worked Closely with prominent figures in contemporary music including , Elliott Carter, Luigi Dallapiccola and Igor Stravinsky. Anahid Ajemian, also a native New Yorker, is a graduate of the Juilliard School and a winner of both the Walter W. Naumburg Foundation and American Composers Alliance Laurel Leaf Awards. Ms. Ajemian has appeared as soloist under the batons of Dmitri Mitropoulos, and Izler Solomon.

4 Born in Grants Pass~ Oregon, Maureen Gallagher began viola studies at age 10, went on to earn her BM and perfor­ mance certificate at Indiana University, and studied with Martha Katz and the Cleveland Quartet at SUNY Buffalo. She is on the faculty of the University of Massachusetts at Amherst. Mark Shuman, born in New York City, holds both Bachelors and Masters Degrees from the J uilliard School, and has studied with Leonard Rose, Channing Robbins and Harvey Shapiro. He has appeared around the U. S. as a soloist and with chamber groups, most recently with the Aulos Ensemble and at the White Mountain Festival.

Joseph Tamosaitis holds bachelors and masters degrees from the Juilliard School, where he studied bass with Homer Menesh and composition with Roger Sessions. A former member of the New York Philharmonic, he toured and record­ ed with that orchestra; in addition, he has performed with a number of ensembles in the New York area. Jerry Kirkbride, clarinet, studied at the University of Southern California with Mitchell Lurie. Awarded a Fulbright grant to study in Rome, he worked with Nadia Boulanger, Efrem Kurtz, and Franco Ferrara. Mr. Kirkbride was the · principal clarinetist with the Metropolitan Opera National Company. Jane Taylor, bassoon, founding member of the Dorian Wind Quintet, graduated Phi Beta Kappa from Queens Col­ lege, New York. She has performed with scores of organiza­ tions such as Symphony of the Air, Little Orchestra Society, New York City Ballet, American Opera and the Marlboro Music Festival. Paul Riggio, horn, a native of Charleston, WV, is quite active in the New York metropolitan area as a performer, com­ poser, arranger and conductor. He is the principal hornist with the New Jersey State Opera. He records extensively and was nominated for· a 1985 Emmy Award.

PROGRAM NOTES When HAYDN returned to Vienna in 1795 after his su.c­ cessful and happy visit to England, he was at the height of his

5 powers, prestige, and confidence. His style, influenced by the excellent musicians he had met in London, became more technically demanding, and his penchant for innovation and surprise increased. The year 1797, when the six string quartets of Op. 76 were composed, was an interesting period for Haydn and the history of the string quartet. Mozart was already dead and Beethoven's star had not yet risen very fat. Haydn, the most famous musician in the world at that time, was compos­ ing pieces like The Creation, and these late quartets which at the same time looked back on the.classical era that was passing and forward to the romantic period about to begin. The String Quartet in Bb, Op. 76, no! 4 contains many hints and whispers of Beethoven -- the stringing together of short passages held tightly by a magical musical logic, themes ambiguously introduced by fragments of the same themes, and building of an entire development section?on an apparently in­ significant few notes. The quartet opens with a bright and refreshing melody which, as far as -is known, accounts for the eponym, "Sunrise." The opening joy of the main theme with its gently rising figure gives way to more morose descending notes of the second, which is almost a mirror image of the first. The mood is more that of sunset (or at least partly cloudy) than of sunrise. Following witty syncopations which alternate be­ tween the first and second violins, the sun comes out again and the movement ends in the happy mood with which it started. The Adagio is very slow and pensive. It is a reverie built on the recurring first theme. The sextuplets which provide rhythmic contrast only increase the tension and lead to the two high note climaxes. The return of the first theme brings the end to the movement in a mood of sadness and contemplation. The Menuetto with its somewhat · rormal peasant dance cadences provides contrast with the concentration of the first movement and the tension of the second .. Sustained notes, heaVy accents, and unison runs emphasize the foot slapping, heavy rhythms of the movement. The spirited Finale looks back to the classical period with its elegant ornaments and main melody reminiscent of Mozart's last (K. 590) quartet. It also looks forward to Beethoven in its crosscurrents . and ambiguous features. Although the movement is fast throughout, ·.the coda begins with the marking, Piu Allegro (faster), then changes to Piu Presto (still faster), a ploy which increases both danger to the players on the stage and excitement to the audience. Program Notes by Jack B. Mazow 6 . In 1824 SCHUBERT was sick, debt-ridden and lonely. ~rofessionally he was experiencing widespread rejection. It was, therefore, a stroke of tremendous fortune that Count Ferdinand Von Troyer, a ranking official in the household of Archduke Rudolph, Beethoven's patron and friend, commis­ sioned Schubert to create a companion work to the great Septet of Beethoven. Von Troyer was an excellent amateur clarinetist, and therefore, wanted the work to contain similar instrumenta~ tion to that of the Beethoven Septet and, in particular, to include a clarinet part for him. Schubert undertook the com­ mission, producing the large-scale Octet in F Major, Op. 166, containing six movements and being scored for string quartet, string bass, clarinet, horn and bassoon. In contrast to Schubert's personal misfortunes at the time of composing this work, the composition itself is full of optimism and lyricism. Members of the renowned Rasoumovsky Quartet joined Von Troyer in the first performance of the work. The first movement of the Octet is marked Adagio; Allegro. The Adagio is a measured introduction that contains the major rhythic motif of the movement. The sharp contrast between forte and piano that runs throughout the introduction continues in the Allegro and forms an important component of the texture of the movement. The second subject of the move­ ment is introduced by the clarinet. It is a gentler figure than the vigorous first theme, and consists of a jumping figure in sixths. The clarinet opens the Andante un poco mosso. The solo develops into a song-like duet between the violin and the clarinet. The third·movement is a festive and vigorous scherzo. The movement is characterized by unison and octave passages .in the strings coupled with whimsical exchanges in the wind in­ struments. The Andante movement is a set of theme and varia­ tions reminiscent of those found in the familiar Trout Quintet .. The clarinet has a strong role in many of the variations. The last variation is a virtuoso piece for violin and clarinet. The menuetto is unusually serene in spirit. The same forte-piano at­ tacks that were seen in the first movement continue in the nienuetto, as do the alternating exchanges between the strings and the winds. The last movement, Andante Molto, opens with the strings in a dramatic and mysterious tremolo. This section of the piece is perhaps the only indication of Schubert's per­ sonal misfortune and downcast mood at the time he was writing this compositon. The intr9duction to this movement

7 quickly gives way to a vigorous march-like theme of tremen­ dous joyousness. The rhythmic momentum of the movement builds throughout, and except for a brief retreatment of the introductory material, leads relentlessly to a rousing fast­ paced coda. Program Notes by Kent Coleman

DENNIS KAM is Chairman of the Composition/Theory Department of the University of Miami School of Music and Co-Chairman of Region IV of the American Society of Univer­ sity Composers. He was Composer-in-Residence for Honolulu and the State of Hawaii under a grant from the Contemporary Music Project (Ford Foundation) and has been the recipient of two Broadcast Music, Inc., Awards. For the first performance of this work, by the Composers String Quartet in Miami on September 19, 1986, Dennis Kam supplied the following comments. uwritten for the Composers Quartet at the request of Jose Serebrier, my Second Quartet belongs to the category of what I have called my uneo-focus, works in which focus, perceptibili­ ty, continuity, calculated redundancy, and recurrence are primary aspects of musical concern and compositional organization. In my recent works, these aspects have become not only increasingly expressive, but syntactical (umean­ ingful,j in nature for me. Pitch material and relationships used in this work are largely further extensions or evolutions of those favored in my recent works - especially in the Trio for violin, cello and piano composed in 1985. Musical statements and situations continue to be simple because of my concern for establishing clear focus despite involved schemes of recurrence (rather than development) based on additive/subtractive procedures and Fibonacci proportions.,, HOUSTON FRIENDS OF MUSIC 1987-1988 SEASON Tuesday, September 15, 1987 ..•••.. Composers Quartet with members of the Dorian Quintet Tuesday, October, 6, 1987 .•....•.....•.•...... •..•.•..•.....•....•.. - . Takacs Quartet Wednesday, October 21, 1987 ...... St. Louis Brass Wednesday, December 2, 1987 ••.....••.•.•• Fine Arts Quartet with Kim Kashkashian, Viola Wednesday, January 6, 1988 ...... Franciscan Quartet Wednesday, January 27, 1988 •...... •.•• Hilliard Ensemble- "English Baroque Singers" Tuesday, March 1, 1988 ....••...... •••.....• Mirecourt Trio- "Piano Trio Evenfng" Thursday, April 7, 1988 ...... ••....•••...... •..•....••. Emerson Quartet Thursday, May 5, 1988 ...... •.....••••••...... •••...... •... Tokyo Quartet

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