Concert two 27 may - 5 june 2013
Welcome The quartet compositions of Haydn, Bartók and Schubert could each stand alone as a headline work for any string quartet program. They were all masters in the art of quartet writing, yet they have such contrasting styles and show a great range of the possibilities in the medium. Schubert however goes outside the box and adds an extra cello and over the final weeks of his life completes one of the most enduring works of the 19th Century, his Quintet in C major. He gets the naming rights for this tour! Haydn’s “Lark” quartet opens the program with its fresh and upbeat approach designed to be played in a concert hall as much as the salon. The first violin soars above the rest of the ensemble for much of the work, perhaps owing to the fact that the op 64 quartets were financed by and dedicated to the violinist Johann Tost from the Esterhaza orchestra. The perpetual motion of the final movement is evocative of an English sailor’s hornpipe that flings us into the Bartók. String Quartet no 3 is the most condensed of Bartók’s six quartets. The single movement work has four related sections where folk melodies, sighs and wails appear through the highly interwoven contrapuntal textures. Bartók uses many extended string techniques such as hitting the strings with the wood of the bow and wild glissando slides, plucking exaggerated vibrato and dense chord clusters.
For Schubert’s Cello Quintet the Australian String Quartet will be joined by the Australian Chamber Orchestra’s principal cellist, the inimitable Timo-Veikko Valve (AKA Tipi). This monumental work contrasts joy and sorrow, intimacy and extroverted effervescence – as is fitting for Anne and Rachel’s final concert tour with the Quartet. After seven memorable years with the Australian String Quartet, Anne and Rachel will be moving on to the next exciting journey in their lives. As seasoned chamber musicians, both players have made a tremendous contribution to string quartet playing in Australia and the on-going success of the Australian String Quartet over the years. Their outstanding musicianship, passion for excellence, generosity and good humour will be greatly missed by us all. We are excited about the future of the Australian String Quartet and look forward to announcing our new members over the course of the year. In the interim, we are delighted to present leading guest artists who will join Kristian and Stephen for the remainder of our 2013 National Season. Thank you for joining us tonight for this wonderful celebration of music!
Australian String Quartet
Elder Conservatorium of Music
1620-2
Delivering over 130 years of music excellence The Elder Conservatorium of Music is one of Australia’s oldest and most distinguished tertiary music schools. For more than a century, staff at the Conservatorium have educated and inspired generations of performers, composers, teachers and leaders in the arts. Home to the ASQ—our quartet in residence, the Conservatorium hosts a vibrant community of talented musicians and provides a supportive environment that encourages creativity, independence and excellence in music.
Staff and students of the Conservatorium are committed to the artistic, educational and community experience of music, and they share their passion and expression with the public through regular performances and concerts. Visit our website to learn more about the program of events, and broad range of certificates, diplomas, undergraduate and postgraduate degrees in varied specialisations.
music.adelaide.edu.au
PROGRAM Haydn / String Quartet in D major op 64 no 5, Lark Bartók / String Quartet no 3 Interval Schubert / String Quintet in C major D956 Guest artist / Timo-Veikko Valve, cello Appears courtesy of the Australian Chamber Orchestra
DATES Melbourne Monday 27 May Melbourne Recital Centre Brisbane Tuesday 28 May Conservatorium Theatre, South Bank Perth Thursday 30 May Perth Concert Hall Sydney Tuesday 4 June City Recital Hall Angel Place Adelaide Wednesday 5 June Adelaide Town Hall
Don’t miss our next National Tour Debussy / 6 - 17 September 2013
AUSTRALIAN STRING QUARTET
Kristian Winther – Violin Anne Horton – Violin Stephen King – Viola Rachel Johnston – Cello The Australian String Quartet was established in 1985 and is Quartet-inResidence at the University of Adelaide. Touring widely to capital centres and regional communities and commissioning many works by leading Australian composers – the ASQ has had a major impact on the musical life of Australia. The Quartet is broadcast frequently on ABC Classic FM and regularly record for commercial release.
Kristian Winther - Violin Anne Horton - Violin Stephen King - Violin Rachel Johnston - Cello
One of Australia’s finest music exports, the ASQ has appeared at international music festivals and toured extensively throughout the United Kingdom, Europe, New Zealand and Asia in recent years. In 2012, the ensemble’s international performance highlights included engagements at the prestigious Trasimeno Music Festival in Italy which saw the Quartet working with leading international artists Angela Hewitt, Anne Sofie Von Otter and the Cremona String Quartet. The members of the Australian String Quartet are privileged to perform on a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743-1784 in Turin and Piacenza, Italy, these exquisite Italian instruments were brought together through the vision of Ulrike Klein. The instruments are on loan to the Australian String Quartet for their exclusive use through the generosity of Ulrike Klein, Maria Myers and the Ngeringa Farm Arts Foundation.
Mendelssohn / String Quartet in E minor op 44 no 2 Andrew Ford / String Quartet no 5 (new commission) Arvo Pärt / Fratres Debussy / String Quartet in G minor op 10 Debussy’s first major work and one of Mendelssohn’s most brilliant creations meet music from our own time.
Adelaide Fri 6 Sept, 7pm Adelaide Town Hall BASS 131 246 bass.net.au
Brisbane Mon 16 Sept, 7pm Conservatorium Theatre QTIX 136 246 qtix.com.au
Perth Mon 9 Sept, 7pm Perth Concert Hall Ticketek 1300 795 012 ticketek.com.au
Sydney Tues 17 Sept, 7pm City Recital Hall Angel Place 1300 797 118 cityrecitalhall.com
Melbourne Wed 11 Sept, 7pm Melbourne Recital Centre (03) 9699 3333 melbournerecital.com.au
Pre-concert talks will be held in all venues prior to the concert at 6.10pm.
Freecall 1800 040 444 asq.com.au facebook.com/ AustralianStringQuartet twitter.com/ASQuartet
GUEST ARTIST
Timo-Veikko Valve Timo-Veikko “Tipi” Valve is one of the most versatile musicians of his generation performing as a soloist, chamber musician and as orchestral leader with both modern and period instruments. Valve studied at the Sibelius Academy in his hometown of Helsinki, Finland and at the Edsberg Music Institute in Stockholm, Sweden, focusing in solo performance and chamber music in both institutions. Tipi has performed as a soloist with all major orchestras in Finland and as a chamber musician throughout Europe, Asia, Australia and the US. He works closely with a number of Finnish composers and has commissioned new works for the instrument. Most recently Valve has premiered concertos by Aulis Sallinen and Olli Virtaperko. Highlights in the 2012-13 season include the world premieres of two new cello concertos written for him by Eero Hämeenniemi and Olli Koskelin.
In 2006 Valve was appointed Principal Cello of the Australian Chamber Orchestra with who he frequently appears as soloist. He also curates the ACO’s chamber music series at Pier 2/3 in Walsh Bay, Sydney. Tipi is a founding member of Jousia Ensemble and Jousia Quartet. Valve’s instrument is attributed to both Giuseppe Guarneri (filius Andreæ) and Bartolomeo Giuseppe Guarneri (del Gesù) from 1729, generously on loan from Mr Peter William Weiss AO.
www.timo-veikkovalve.fi
National Composers Forum 15 – 17 October 2013 With Andrew Ford, Composer-in-Residence
Workshops & Forums Tuesday 15 – 17 October 2013 The University of Adelaide Concert Thursday 17 October 2013, 8pm Elder Hall Admission FREE The Australian String Quartet gives young emerging composers the opportunity to have their work critiqued, performed and recorded by the Quartet during a three day forum hosted by the Quartet and leading Australian composer Andrew Ford. The forum will culminate in a free concert held at Elder Hall. Now calling for submissions (Closing date Friday 26 July 2013). To apply, go the www.asq.com.au
JOSEPH HAYDN Joseph Haydn (1732-1809) String Quartet in D major op 64 no 5 (Hob.III:63), Lark
Allegretto moderato Adagio - Cantabile Menuetto: Allegretto Finale: Vivace From 1766 to 1790 Haydn spent much of his time at Eszterháza, the splendid castle of his employer Prince Nikolaus Eszterházy in rural Hungary. There as he famously quipped in old age, isolation ‘forced him to be original’ particularly in the genres of the symphony and the string quartet. When Nikolaus died in 1790 Haydn who, through publications of his work, had unwittingly become a world famous composer, was free to travel, and over the next few years appeared to great acclaim in Paris and London where he performed and sold his music. The op 64 set was commissioned by Johann Tost, who had been leader of the second violins in Prince Nikolaus’s court orchestra from 1783, but soon became a colourful Viennese businessman. (Even at Eszterháza, however, he pursued business interests, including a music publishing and copying concern – unknown, we gather, to the Prince.) Haydn entered into certain financial arrangements with Tost, effectively allowing him to be his agent for specific pieces. In the absence of copyright laws, Haydn knew the value of selling works to several publishers in different countries, and occasionally his own business practice could be slightly dodgy. But not
as much, it turns out, as Tost’s. There was a falling out over some crooked dealings involving Haydn’s op 54/5 set. Tost, it appeared, hadn’t paid Haydn for the works he was to sell on, and sold works that Haydn had not authorised him to sell, leaving the composer feeling swindled. But all was soon forgiven, especially when Tost became a prosperous cloth merchant in Vienna. He also appears to have been the anonymous ‘Hungarian music-lover’ who commissioned Mozart’s string quintets K593 and 614. The op 64 set was composed at Eszterháza in 1790, and ‘Giuseppe’ Haydn, as the playbills had it, thus had a new set of six quartets to premiere (and sell) when he was invited to London by the impresario Salomon. They were published in Vienna and London the following year. The Lark Quartet, takes its nickname from the first violin’s entry high above the other three instruments in the first movement. There’s nothing especially avian about the rest of the piece: the Adagio is in ABA form, where the central section explores minor tonality; the Menuetto (not yet the faster scherzo which Haydn would later favour) is amusingly rustic, also a characteristic of the ‘fiddling’ violin writing which opens the short, vibrant finale. Gordon Kerry © 2008/13
MEMORABLE MOMENT gRANd hOTEL MELBOuRNE
10% OFF ThE BEST AVAILABLE RATE FOR ASQ MEMBERS* The Grand Hotel Melbourne is proud to be the preferred accommodation partner for the Australian String Quartet when they tour Melbourne throughout the National Season 2013. As part of our partnership we are delighted to offer ASQ members 10% off the best available rate*. To book please call 1300 361 455 and mention ASQ to take advantage of this offer, or email grandhotelmelbourne@accor.com
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*Offer valid until 31/12/13, subject to availability and not available over special event periods. Mention ASQ for discount.
BÉLA BARTÓK Béla Bartók (1881-1945) String Quartet no 3, Sz 85
Prima parte: Moderato Seconda parte: Allegro Ricapitulazione della prima parte: Moderato Coda: Allegro molto A decade after his Second String Quartet (1915-17) Bartók returned to the medium. After World War I, Hungary had had several short-lived governments in the space of two years. Bartók successfully lobbied the liberal and left wing governments to support musical education and research; the right wing party, which came to power in 1919, saw Bartók’s support of the previous government (and his interest in Romanian folk music!) as tantamount to sedition. He determinedly continued his research into the music of various ethnic groups as well as writing about contemporary Hungarian composers, but from 1923 to 1926 composed very little music of his own. Around 1926 Bartók rediscovered an interest in the keyboard music of the baroque – notably that of Italian composers – and that this fired his interest in composing keyboard works of his own. It might be that a rediscovery of the baroque – particularly its concern with the elaboration of strongly profiled motives in counterpoint – also influenced Bartók’s new approach to the string quartet.
The Third is a single-movement work articulated in a clear pattern of slowfast-slow-fast sections. The composer had recently heard Alban Berg’s Lyric Suite and that work’s inventive use of string sonorities clearly impressed him. In the third quartet Bartók explores the range of ‘extended techniques’ which were to become the staple of later twentieth century music, among them sliding glissandos; bowing with the wood, rather than hair of the bow; bowing at the bridge to produce an eerie sound or above the fingerboard to produce a much paler tone. But none of the sounds is used merely for local effect. In the first part a tightly wound chromatic idea is treated contrapuntally though interrupted by terse chords (often built up of symmetrical intervals, in contrast to the asymmetry of a major or minor chord) and rhythmic figures and leading to more ‘stable’ lyrical material, despite a pervasively dissonant palette. The second part plays with fugue and variation techniques but never sounding like anything other than Bartók. The ‘recapitulation of the first part’ is actually a development of the opening material, and the Coda ends frenetically with material derived from the second part. Bartók’s international reputation was further strengthened when he submitted this quartet to a competition run by the Musical Fund Society of Philadelphia. He shared the first prize with Italian composer Alfredo Casella. The work was premiered by the Waldbauer-Kerpely Quartet in London in 1929. Gordon Kerry © 2004/13
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FRANZ SCHUBERT Quintet in C major for two violins, viola and two cellos D 956 (1828)
Allegro ma non troppo Adagio Scherzo: presto – Trio: andante sostenuto Allegretto Just why Schubert, shortly before he died, wrote his celebrated String Quintet is unclear, and, sadly, he never heard it performed; the premiere had to wait, it seems, until 1850. Nor do we know for sure why he chose to add a second cello, echoing the works of Boccherini, rather than the extra viola preferred by Mozart and Beethoven, but he makes full use of the rich textures and lyricism afforded by the ensemble. Like that of Beethoven’s Eroica, the work’s opening cultivates ambiguity: long-held chords establish neither speed nor metre, and are, significantly, not played by all five instruments. We gradually become aware that the seemingly slow introduction was in fact in the same metre as the allegro material that follows, and that material expands in short motifs on the implications of the two chords heard at the start. By contrast, there follows one of Schubert’s most beautiful tunes, given to the two cellos in what Peter Gülke calls the ‘radiantly “illegal”’ key of E flat, accompanied by a short, repeated rhythmic motif in the upper parts. It is such juxtaposition of the lyrical and
the motivic, the huge range of textural changes and the sudden and colourful gearshifts into remote keys that partly explains how Schubert sustains this immense structure. In the adagio the greatest songwriter of his time seems, at first, to have abandoned melody, when in fact he has miraculously slowed it almost to a standstill, enlivening the texture, again, with repeated short rhythmic figures. The impassioned central section is in F minor, a chord that shares one note with the main key of E major: so close, and yet so far. The almost unbearable spell of the adagio is broken by an earthy, cantering scherzo in C, but this in turn is compromised by the central Trio section, a brooding interlude – again in a paradoxically close but remote key, D flat – with falling melodies and darkly glowing timbres. The shimmering return of the scherzo can’t erase the sense of underlying tragedy. ^
Franz Schubert (1797-1828)
Dvorák believed Schubert to have been among the first to introduce Hungarian elements into ‘art music’, and the main theme of the finale bears him out. Its genial swing is offset by frequent, unexpected changes of key, and the emphatic repetition of short motifs. And in the work’s final moments the acceleration becomes alarming before the almost brutal minor gesture with which it concludes. Gordon Kerry © 2009
DONORS
The Australian String Quartet would like to acknowledge and sincerely thank the following donors for their ongoing support along with those donors whose very important contribution remains anonymous. The following donations reflect cumulative donations made from 2006 onwards. All donations to the ASQ are tax deductible and can be made by phoning the ASQ on 1800 040 444.
$400,000 + Allan Myers AO & Maria Myers AO $300,000+ Hunt Family Foundation $50,000+ Clitheroe Foundation Fischer Foundation Michael Lishman $30,000+ Nicholas & Elizabeth Callinan Elizabeth Clayton Lyndsey & Peter Hawkins Richard & Tess Harvey Norma Leslie David and Pamela McKee Peter and Pamela McKee Thyne Reid Foundation Peter and Melissa Slattery $20,000+ Janet and Michael Hayes The Ian Potter Foundation Diana Ramsay AO DSJ $15,000+ Mr Philip Bacon John Clayton Bruce Debelle Josephine Dundon The Robert Salzer Foundation $10,000+ Macquarie Group Foundation Mrs ST McGregor $5,000+ Berg Family Foundation Michael J Drew Dr EH & Mrs A Hirsch M & F Katz Family
Foundation Michael & Susan Kiernan Mr Robert Kenrick The Hon Christopher Legoe Q.C. & Jenny Legoe Kevin Long Joan Lyons Mrs Diana McLaurin P.M. Menz The Late Dame Elisabeth Murdoch AC DBE John O’Halloran Tony & Joan Seymour $2,000+ Don & Veronica Aldridge BJ & JM Barnwell David Bright Dianne Barron-Davis Graham & Charlene Bradley Jennifer & Stephen Charles Dr Peter Clifton David Cooke David Constable AM Maurice & Tess Crotti Dr Neo Douvartzidis John Funder & Val Diamond Higgins Coatings Pty Ltd Hillier Carter Properties Yilmer Family Foundation Janet Holmes à Court AC Keith Holt Mr S Johns Brian L. Jones Renata & Andrew Kaldor Kevin & Barbara Kane Rose Kemp Patricia H Reid Jeanette SandfordMorgan OAM Patrick & Kathie Moore
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Des Gurry Dr & Mrs GC Hall Geoff Hashimoto Geoffrey F Hayes Mrs Helen Healy Laurie & Philippa Hegvold Mr Trevor Henry Mr Dennis Henschke Dr P A Herbert Hartley Higgins David Hilyard Emily Hunt Anthony Ingersent Vernon Ireland Jim & Freda Irenic Robin Isaacs Ms Nola Jennings Sarah Jewell Merle Jones Joan Jones Mr Martin Keith Angus & Gloria Kennedy Rod & Elizabeth King Nicholas Korner David Leece Ida Llewellyn-Smith Grant Luxton Margaret & Cameron MacKenzie Greg Mackie OAM Sheelagh Mahon Mrs Rose McAleer Helen McBryde Duncan McKay Mrs Inese Medianik Mrs Janice Menz Dr Colin E Moore Ms Elizabeth Morris Hughbert Murphy June Nichols Lyn Nossal Mrs Mary O’Hara Lee Palmer Josie Penna The Rev Dr Philip Basil Phillips Mr William Pick Janice Pleydell J & M Poll Mr Franz Pribil Dr Barbara Radcliffe
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Music Library Fund The ASQ greatly appreciates the support of the following patrons who have generously contributed to the acquisition of musical works to establish and build the ASQ’s own music library. Mr R S Divall Janet & Michael Hayes Roz Greenwood and Marg Phillips Diana McLaurin Gary and Janet Tilsley
OFFICIAL PARTNERS Major Sponsor
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ASQ BOARD Paul Clitheroe AM (Chair) Nicholas Callinan Angela Flannery Janet Hayes Ulrike Klein Paul Murnane Maria Myers AO Jeanette Sandford-Morgan OAM Susan Renouf Angelina Zucco – Executive Director
Australian String Quartet Quartet-in-Residence The University of Adelaide SA 5005 Australia T 1800 040 444 F +61 8 8313 4389 E asq@asq.com.au W asq.com.au facebook.com/AustralianStringQuartet twitter.com/ASQuartet