ERICH HÖBARTH, VIOLIN ANDREA BISCHOF, VIOLIN ANITA MITTERER, VIOLA CHRISTOPHE COIN, CELLO WOLFGANG Quartet No. 17 in B-flat major, K.458, “e Hunt” AMADEUS Allegro vivace assai MOZART Menuetto and Trio. Moderato (1756-1791) Adagio Allegro assai MOZART Quartet No. 15 in D minor, K. 421 Allegro moderato Andante Menuetto and Trio. Allegretto Allegretto ma non troppo INTERMISSION FRANZ JOSEPH Quartet in C major, Op. 20, no. 2, Hob. III:32 HAYDN Moderato (1732-1809) Capriccio. Adagio Menuet. Allegretto Fuga a quattro soggetti. Allegro QUATUOR MOSAÏQUES OCTOBER 18, 2017 DENVER
Transcript
ERIC H HÖBARTH, VIOLIN
ANDREA BISC HOF, VIOLIN
ANITA MITTERER, VIOLA
C HRISTOPHE COIN , CELLO
WOLFGANG Quartet No. 17 in B-flat major, K.458, “The Hunt”AMADEUS Allegro vivace assaiMOZART Menuetto and Trio. Moderato(1756-1791) Adagio Allegro assai MOZART Quartet No. 15 in D minor, K. 421 Allegro moderato Andante Menuetto and Trio. Allegretto Allegretto ma non troppo
INTERMISSION
FRANZ JOSEPH Quartet in C major, Op. 20, no. 2, Hob. III:32 HAYDN Moderato(1732-1809) Capriccio. Adagio Menuet. Allegretto Fuga a quattro soggetti. Allegro
QUATUOR MOSAÏQUESOCTOBER 18 , 2017
D E N V E R
ERIC H HÖBARTH violin
ANDREA BISC HOF violin
ANITA MITTERER viola
C HRISTOPHE COIN cello
QUATUOR MOSAÏQUESQuatuor Mosaïques is the most prominent period-instrument quartet performing today. Formed in 1987, Quatuor Mosaïques’ four members met while performing with Nikolaus Harnoncourt’s Concentus Musicus Wien in the 1980s and decided to perform on original instruments.The ensemble has garnered praise for its decision to use gut-stringed instruments which, in combination with its celebrated musicianship, contributes to its unique sound. The quartet has toured extensively, won numerous prizes, and established a substantial discography.
For the first time in three years, and in celebration of their 30th anniversary season, Quatuor Mosaïques embarks on a North American tour in October 2017. The quartet performs at the Princeton University Concerts series, the Celebrity Series of Boston, Duke Performances in Durham, North Carolina, Da Camera in Houston, Friends of Chamber Music in Denver, the Montreal Museum of Fine Arts, Music Toronto, and the Union College Concert Series in Schenectady. European engagements this season include a two-concert Haydn series at Wigmore Hall, two recitals at Amsterdam’s lauded Concertgebouw, a series of three performances of late Schubert Quartets at the Kilkenny Arts Festival in Ireland, and three performances of Haydn, Mozart, and Donizetti Quartets at Scotland’s Lammermuir Festival.
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Quatuor Mosaïques is often featured at such prestigious European festivals as Edinburgh, Salzburg, Luzern, Bremen, Bath, Styriarte Graz, Schubertiade Schwarzenberg, and Oslo. The ensemble collaborates regularly with many international artists including pianist Sir András Schiff, clarinetist Sabine Meyer, and cellists Miklós Perényi and Raphael Pidoux. In 2006 Quatuor Mosaïques was invited to Spain to perform for King Juan Carlos I on the Monarch’s personal collection of Stradivari instruments.
Quatuor Mosaïques has enhanced their worldwide renown through their extensive discography which includes works of Haydn, Mozart, Arriaga, Boccherini, Jadin, Beethoven, Schubert, and Mendelssohn. Recordings of the Wiener Klassik repertoire (Haydn string quartets Op. 20, 33, and 77, and the quartets of Mozart dedicated to Haydn) have been awarded numerous prizes such as the Diapason d’or, the Choc du Monde de la Musique, and a Gramophone Award. A new recording of Beethoven’s late string quartets was released on the Naïve label in September 2017.
Quatuor Mosaïques’s recordings are available on the Paladino, Naïve, Laborie and L’Oiseau Lyre recording labels. North American Representation is Kirshbaum Associates Inc.
IN BRIEFB O R N : January 27, 1756, Getreidegasse, Salzburg, Austria
D I E D : December 5, 1791, Vienna, AustriaM O S T R E C E N T F R I E N D S O F C H A M B E R M U S I C
P E R F O R M A N C E : January 12, 2017, Harlem Quartet (special event performance)
E S T I M AT E D D U R AT I O N : 35 minutes
September 1, 1785
To my dear friend Haydn…
A father who had decided to send his children into the world at large thought it best to entrust them to the protection and guidance of that famous man who fortunately happened to be his best friend as well. Behold here, famous man and dearest friend,
MOZART: QUARTET NO. 17 IN B-FLAT MAJOR, K. 458, “THE HUNT”
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my six children. They are, to be sure, the fruit of long and arduous work, yet some friends have encouraged me to assume that I shall see this work rewarded to some extent at least, and this flatters me into believing that these children shall one day offer me some comfort. You yourself… have shown me your approval of them during your last sojourn [in Vienna]. Your praise, above all… makes me hope that they shall not be entirely unworthy of your good will…
– W.A. Mozart
So reads Mozart’s extraordinary dedication of his six new string quartets to the elder statesman of the Classical style, Franz Joseph Haydn. Dubbed the “Haydn Quartets,” Mozart’s “six children,” composed in Vienna between 1782 and 1785, were inspired by Haydn’s own revolutionary quartets of Op. 33 (1781). Haydn had declared that those quartets represented “an entirely new manner” in that all four instruments participated equally in the musical exchange. Mozart followed Haydn’s example by also giving each instrument interesting and important musical material. Thus the two composers set and solidified the notion of a quartet as a lively conversation among equals.
Mozart’s “The Hunt” Quartet, K. 458 (1783) is the fourth in the set of six “Haydn Quartets.” The nickname was not chosen by the composer, yet is apt. The rich, throaty, opening horn-calls kick off a rollicking gallop of a first movement. (Note that Mozart was at this same time also writing the Horn Concerto, K. 417.) Similarly ebullient are the second movement minuet and the unpretentious, charming finale, both in the gracious style of the Classical galant. Yet the third movement Adagio seems of another world entirely. Serene and stately, the first violin seems to take a surprisingly operatic solo turn. Impassioned dissonances and long-breathed melodies anticipate the new Romantic style to emerge in the 19th century. (Consider that Beethoven, the icon of early Romanticism, was 14 years old in 1785.) Haydn himself heard the six quartets dedicated to him in a concert in January 1785.
Program NotesContinued
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MOZART: QUARTET NO. 15 IN D MINOR, K. 421
IN BRIEFB O R N : January 27, 1756, Getreidegasse, Salzburg, Austria
D I E D : December 5, 1791, Vienna, Austria
M O S T R E C E N T F R I E N D S O F C H A M B E R M U S I C P E R F O R M A N C E : October 27, 1965, Netherlands Quartet
E S T I M AT E D D U R AT I O N : 34 minutes
Mozart composed his Quartet in D minor, K. 421, around the same time as K. 458, the “The Hunt.” Yet he did not finish the K. 421 until 1784, a year later. An analysis of the quartet penned in 1806 reveals the early Romantic tendency to find fanciful narratives in instrumental music. In the words of critic and scholar Jérome-Joseph Momigny, from Complete Course in Harmony and Composition:
I believed that the sentiments expressed by the composer were those of a lover on the point of being abandoned by the hero whom she loves; Dido, who suffered such a misfortune, came immediately to my mind. Her lofty station, the ardor of her love, the familiarity of her misfortune, all these persuaded me to make her the heroine of this subject.
We have no record of Mozart having such thoughts in mind, but the evocative key of D minor bears tragic associations. Long stretches of Mozart’s opera Don Giovanni are in D minor, for example, as is Mozart’s Requiem. Indeed K. 421 has justly been described as “dark and morose,” especially owing to the impassioned leaps in the first violin at the very opening. The bold gesture recurs throughout the movement, often above a descending bass line—a figure long associated with laments.
The second movement Andante is gentler and more melodious, if still tinged with hints of melancholy. In the third movement Minuet the descending bass line returns, now more prominently, but the happy trio takes on the character of a folk dance. The Finale, a theme and variations, returns to the minor mode with enlivening lilting rhythms. Mozart’s inspiration here was clearly one of Haydn’s more striking quartets from Op. 33, thus linking K. 421 to the “Haydn Quartets,” even though it is not counted among the six in that set.
HAYDN: QUARTET IN C MAJOR, OP. 20, NO. 2, HOB. III: 32
Program NotesContinued
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IN BRIEFB O R N : March 31, 1732, Rohrau, Austria
D I E D : May 31, 1809, Rohrau, AustriaM O S T R E C E N T F R I E N D S O F C H A M B E R M U S I C
P E R F O R M A N C E : March 30, 2016, Musicians from Marlboro
E S T I M AT E D D U R AT I O N : 26 minutes
Franz Joseph Haydn spent his career in the employ of the Esterházy, a leading aristocratic Hungarian family. In 1761 he donned the blue-and-gold uniform of the court and assumed responsibility for musical activities at the palace. Early on he wrote instrumental works almost exclusively to be performed for (and even by) the Esterházy family. Later, in the 1770s, his principal task was directing opera productions. In 1790 the prince died and the musical establishment dissolved, leaving Haydn free to pursue an international career. Impresario Johann Peter Salomon arranged a visit to London in 1791. Haydn had never before been outside the vicinity of Vienna. He spent two successful seasons abroad, and two years later was again in England for a second happy visit. Perhaps he contemplated resettling there, but in 1795 he returned to Vienna, where he remained until his death in 1809.
Haydn’s string quartets were not composed for the Prince Esterházy, and none was even commissioned until the 1790s after the composer had been all but released from service. Thus Haydn wrote string quartets not for his employer or other patrons but for himself—and for profit, earned not in concert but through publication. Unlike symphonies, concertos, and large-scale vocal works, string quartets were not performed at public concerts in Vienna during Haydn’s lifetime; the genre was intended for private performance.
The Op. 20 quartets were written with a refined audience of connoisseurs in mind, hence Haydn’s use of fugal forms—a “learned” style favored during the Baroque era. The Quartet Op. 20, no. 2 in C major features a fugal finale with a particular twist. The quartet, as a whole, moves from
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a contrapuntal style (learned, rarified, and associated with the past) to a more galant idiom (lighter, more accessible, considered new to the 18th century and associated with the logic and clarity of Enlightenment thought). Haydn’s accomplishment here is marrying the two styles in the galant fugal finale.
The second movement Adagio showcases two more remarkable features of Haydn’s Op. 20 quartets. In a departure from conventional string quartets which lets the first violin always take the lead, here the cello states the theme. And the unexpected, rather forthright outbursts exemplify the Sturm und Drang (“Storm and Stress”) style that disrupts the classical composure with some emotional drama, though not in reference to some personal tragedy. Rather, the style originated with an artistic movement of the day that encouraged composers to write strongly emotional music, often in dramatic minor keys.
On September 27, the American String Quartet, along with poet and war journalist Tom Sleigh and U.S. Marine and author Phil Klay, presented a program for veterans and staff at Denver's VA Medical Center. Their readings and musical selections were a powerful tribute to veterans, who responded by nodding in appreciation to Klay's vivid stories about the difficulty of reintegrating
to civilian life, or quietly reflecting on images evoked by Sleigh's poems from his tours in conflict zones. The quartet performed String Quartet No. 8, dedicated by Shostakovich to the victims of war and Facism, which conveyed a range of emotion from longing to deep agitation. Several veterans snapped their fingers in appreciative response. At the end of the performance, one veteran stood and saluted, thanking the musicians, poet, and writer for their service to the veterans that afternoon.
The program was presented in partnership with the Department of Veterans Affairs that advocates music as an integral part of therapy for veterans, reducing stress and anxiety while helping to inspire and heal those who have suffered trauma. Our thanks to the Western States Arts Federation (WESTAF), Colorado Creative Industries, and the National Endowment for the Arts for their support of this event.
BOARD OF DIRECTORS
Alix Corboy, PresidentMary Park, Vice PresidentWalter Torres, SecretarySue Damour, Treasurer
For a third year, the Clyfford Still Museum is partnering with Friends of Chamber Music and Swallow Hill Music to offer a new way to encounter the work of Clyfford Still. Music is free with admission to the galleries. FCM patrons can purchase $5 half price tickets (if purchased in advance) to enter the museum on performance days. Link (with discount code) is available on our website. Note: Seating is limited and available on a first-come, first-served basis.
All concerts will be held on Sundays at the Clyfford Still Museum, 1250 Bannock Street, Denver
NOVEMBER 12, 2017, 2:00 – 3:00 PMMatthew Zalkind, cello
Mr. Zalkind has performed throughout the United States and abroad as a recitalist, soloist, and chamber musician. Currently Assistant Professor at the University of Denver's Lamont School of Music, Mr. Zalkind will perform selections from Bach, Dutilleux, and Kodály.
JANUARY 14, 2018, 2:00 – 3:00 PMIvy Street Ensemble
Comprised of three Colorado Symphony musicians, Cathy Peterson, Erik Peterson, and Phillip Stevens, the ensemble presents a diverse array of classical chamber works from the Baroque era to 21st century compositions.
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IGOR LEVITWED, JAN 10, 2018 | 7:30 PM
Igor Levit has been hailed as “…one of the most probing, intelligent and accomplished artists of the new generation.” – THE NEW YORK T IMES
PROGRAM:
Program includes works by Alkan, Beethoven, Berg, Haydn, and Shostakovich.
GARRICK OHLSSONTUES, FEB 20, 2018 | 7:30 PM
Garrick Ohlsson ranks among the towering figures on the American keyboard scene. The first American to win the prestigious International Chopin Piano Competition in 1970, he has gone on to enjoy a brilliant international career.PROGRAM:
Program includes works by Beethoven, Schubert, and Scriabin.
MARC-ANDRÉ HAMELINWED, MAR 14, 2018 | 7:30 PM
Marc-André Hamelin is known for his unrivaled blend of musicianship and virtuosity, whether he is performing masterworks from the past or the present, including over-looked gems from the 19th and 20th centuries.PROGRAM:
Program includes works by Debussy, Feinberg, and Liszt.
TO ORDER P IANO SER I EST ICKETS :
PIANO SERIES2017 -18
ORDER THE ENTIRE SERIES FOR ONLY $90($65 for current Chamber Series subscribers)Call 303-388-9839 to order.
Single tickets $40 each ($50 for Igor Levit)$10 for patrons 30 years old and younger!
Visit www.friendsofchambermusic.com or Newman Center Box Office | 303-871-7720 | www.newmantix.com
THE FOLLOWING FRIENDS have made gifts in the last 12 months. Your generous support is invaluable in assuring our continued standard of excellence. Thank you!
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a grant from the National Endowment for the Arts
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Roberta & Mel KleinGabriele KorndorferDonna KornfeldEllen Krasnow & John BlegenElizabeth KreiderDoug & Hannah KreningJack Henry KuninRichard LeamanSeth LedererIgor & Jessica LeventalLinda LevinMark & Lois LevinsonPenny LewisJudy & Dan LichtinMarilyn LindenbaumCharles & Gretchen LobitzJeri LoserJohn & Merry LowElspeth MacHattie & Gerald ChapmanEvi & Evan MakovskyRoger MartinAlex & Kathy MartinezMyron McClellan & Lawrence PhillipsBert & Rosemary MelcherRhea MillerPaul & Barb MoeDouglas & Laura MoranBetty NasterRobert & Ilse NordenholzRobert N. O'NeillTina & Tom ObermeierDee & Jim OhiJohn PascalDon & Becky PerkinsMary PlattCarol PrescottGene & Nancy RichardsGregory Allen RobbinsHerb RothenbergMichael & Carol SarcheDonald Schiff, in memory of Rosalie SchiffRobert & Barbara ShakleeSteve SusmanMorris & Ellen SusmanDick & Kathy SwansonCle SymonsAaron SzalajCarol Trotter & Steve MillsTom Vincent Sr. & Tom Vincent Jr.Ann Weaver, in memory of Marlin WeaverJeff & Martha WelbornGreta WilkeningRobert & Jerry WolfeRuth WolffKaren Yablonski-TollR. Dale Zellers
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MEMORIAL GIFTSIn memory of Henry ClamanCarol & Garry HorlePaul & Carol Lingenfelter
In memory of Sarah Stern FoxAlix & John CorbyRosemarie & Bill MuraneKathy Newman & Rudi HartmannMichele PriceMyra & Robert Rich
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UPCOMING CONCERTS
SPECIAL THANKS
Gates Concert Hall • Newman Center for the Performing Arts • University of Denverfriendsofchambermusic.com
C HAMBER SERIESAugustin Hadelich, violin Conor Hanick, piano Wednesday, November 8, 2017Takács Quartet Wednesday, December 13, 2017Berlin Philharmonic Woodwind Quintet and Stephen Hough, piano Tuesday, February 6, 2018Eighth Blackbird Monday, April 23, 2018Jordi Savall Hespèrion XXI Monday, May 7, 2018
PIANO SERIESIgor Levit, piano Wednesday, January 10, 2018Garrick Ohlsson, piano Tuesday, February 20, 2018Marc-André Hamelin, piano Wednesday, March 14, 2018
SPECIAL EVENTS“Music in the Galleries”Clyfford Still Museum 1250 Bannock St., Denver
Matthew Zalkind, cello November 12, 2017, 2:00 PM Ivy Street Ensemble January 14, 2018, 2:00 PM
SCIENTIFIC AND CULTURAL FACILITIES DISTRICT (TIER III)for supporting FCM’s outreach efforts through school residencies and master classes
COLORADO PUBLIC RADIO (KVOD 88.1 FM)for broadcasting FCM concerts on its “Colorado Spotlight” programs
BONFILS-STANTON FOUNDATIONfor sponsorship of FCM’s Piano Series and audience development programs in memory of Lewis Story
ESTATE OF JOSEPH DEHEER ESTATE OF SUE JOSHELfor providing lead gifts to the FCM Endowment Fund
