CONCERT THREE
11 – 31 August 2014
Welcome
Hello and welcome to tonight’s concert, a good old-fashioned string quartet program featuring the music of Haydn, Beethoven and Bartók. When it comes to breaking new ground within the medium of the quartet, few can match these three giants; Haydn who essentially invented the form; Beethoven who endowed it with limitless potential; and Bartók who rewrote the textbook on virtuoso quartet playing. All three works being played tonight are also arguably the finest contributions to the genre of their respective creators. Haydn gave us a lifetime’s worth of remarkable quartets. At the time of writing op 77, one of his final two quartets, he was already a very old man, particularly considering the life expectancy of his era. But the character, humility and depth as well as, of course, his signature humour, are as present as ever. Beethoven’s Serioso quartet is one of a select few of his works where the nickname comes from the composer himself. Right from the outset the intention behind the title is clearly evident in every note in the work; while it is irrefutably a highly entertaining work, it’s borne of blood, sweat and tears, and there is less of Beethoven’s typical humour. One is left with the impression of a very long journey that has been packed into an extraordinarily short space of time. (L TO R): KRISTIAN WINTHER, IOANA TACHE, STEPHEN KING, SHARON DRAPER.
Our program concludes with Bartók’s fifth quartet, generally considered the most challenging of his quartets to perform. The original ASQ spent over a hundred hours rehearsing this hugely entertaining work back in the eighties and we’ve found out why. It’s devilishly tricky, and is a true test of a quartet’s ensemble, stamina, imagination and navigational skills (getting from point A to point B isn’t always simple). We are travelling with this program for even longer than usual; we are excited to be performing in Canberra and regional New South Wales as well as Hobart and China over the next month or two. It’s a great privilege to present this incredible music to such a wide audience. Enjoy! Kristian, Ioana, Stephen and Sharon
Elder Conservatorium of Music
1620-3
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 comprehensive range of undergraduate and postgraduate degrees available in a wide variety of specialisations.
music.adelaide.edu.au
Program H AY D N
String Quartet in G major op 77 no 1 String Quartet op 95 Quartetto Serioso
BEETHOVEN
Interval BARTÓK
String Quartet no 5
Dates BRISBANE
Conservatorium Theatre, South Bank Monday 11 August 7pm Pre-concert speaker Gillian Wills PERTH
Perth Concert Hall Wednesday 13 August 7pm Pre-concert speaker Cassandra Lake ADELAIDE
Adelaide Town Hall Friday 15 August 7pm Pre-concert speaker Richard Chew MELBOURNE
Melbourne Recital Centre, Southbank Monday 18 August 7pm Pre-concert speaker Alistaire Bowler This concert will be broadcast live on ABC Classic FM. SYDNEY
City Recital Hall Angel Place Thursday 21 August 7pm Pre-concert speaker David Garrett CANBERRA
Gandel Hall, National Gallery of Australia Sunday 31 August 2pm
Don’t miss our next National tour Relativity 10 – 19 November 2014
Guadagnini Quartet Project 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 instruments were brought together through the vision of Ulrike Klein, founder of Ngeringa Arts. The instruments are currently on loan to the Australian String Quartet from Ulrike Klein, Maria Myers and Ngeringa Arts. In order to secure the instruments for future generations, Ngeringa Arts has launched the Guadagnini Quartet Project. Its aim is to acquire all four instruments for future generations of Australian musicians and music lovers. Once complete it will be the only matched set of Guadagnini instruments in the world and Ngeringa Arts will hold it in perpetuity. Already through the generosity of the Klein Family and other donors, Ngeringa Arts has acquired the viola. Its next priority is the cello, which is the most valuable of the set. Crafted in 1743 it is one of his finest and was featured in an international exhibition in Parma, Italy to celebrate the 300th anniversary of Guadagnini’s birth.
The Klein Family Foundation has pledged $640,000 and the James and Diana Ramsay Foundation a further $510,000 over three years and a group of donors have so far contributed $87,000. This leaves a further $593,000 to be raised in order to reach the purchase price of $1.83M. Historymaking endeavors like this are born from passion. To succeed, Ngeringa Arts needs the involvement of visionaries who understand the significant cultural value in a collection of this calibre. The Board of Ngeringa Arts recognizes and thanks the following patrons who have each made a significant contribution to this project Klein Family Foundation James and Diana Ramsay Foundation Diana McLaurin Joan Lyons Mrs F.T. MacLachlan OAM Mr H.G. MacLachlan Hartley Higgins
David and Pam McKee Ian and Pamela Wall Richard Harvey Jill Russell Mrs S.T. McGregor Lyndsey and Peter Hawkins Jari and Bobbie Hryckow Anonymous (1) Please join Ngeringa Arts in building this extraordinary musical legacy. To donate go to www.ngeringaarts.com For more information contact Alison Beare General Manager, Ngeringa Arts P (08) 8227 1277 E Alison@ngeringaarts.com
Australian String Quartet With a rich history spanning 29 years, the Australian String Quartet (ASQ) has established a strong national profile as an Australian chamber music group of excellence, performing at the highest international level. From its home base at the University of Adelaide, Elder Conservatorium of Music, the ASQ delivers a vibrant annual artistic program encompassing performances, workshops, commissions and education projects across Australia and abroad. 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. The Quartet is frequently broadcast on ABC Classic FM and records regularly for public release. The Quartet’s performance calendar for 2014 comprises its National Season featuring four unique concert programs presented in Adelaide, Brisbane, Melbourne, Perth and Sydney; its own flagship festivals in the Southern Grampians and Margaret River; regional touring and prestigious invitations to collaborate with leading artists and organisations including their performance earlier this year with the Sydney Symphony Orchestra premiering John Adams’ Absolute Jest at the Sydney Opera House.
As advocates for Australian music, the Quartet delivers an annual forum for emerging composers and regularly commissions, showcases and records new Australian work. Its education program extends beyond workshops and masterclasses to include the Quartet Project – a national mentoring program for emerging quartets. The members of the ASQ 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 ASQ for their exclusive use through the generosity of Ulrike Klein, Maria Myers and a group of donors who have supported Ngeringa Arts to acquire the viola. Kristian Winther plays a 1784 Guadagnini Violin, Turin. Ioana Tache plays a 1748-49 Guadagnini Violin, Piacenza. Stephen King plays a 1783 Guadagnini Viola, Turin. Sharon Draper plays a c.1743 Guadagnini Violoncello, Piacenza, ‘Ngeringa’.
Joseph Haydn Joseph Haydn (1732-1809) String Quartet in G major op 77 no 1, Hob.III:81 Allegro moderato Adagio Menuetto: Presto Finale: Presto In 1809, Napoleon’s armies besieged Vienna for the third time. The first two occupations were relatively peaceful affairs, but in 1809 the French resorted to bombarding the city. Beethoven took refuge in his brother’s cellar with pillows over his ears to preserve what was left of his hearing; in another part of town, the frail and elderly Haydn died peacefully amid the confusion. Ten years before, Haydn wrote to the publisher Härtel that ‘the strain and effort’ of composition was causing him to suffer ‘the worst sort of depression’ which rendered him incapable of composing for days at a time. At the time he was, understandably, feeling the effects of a long life in the service of music, and particularly the heady excitement of his stardom in London in the early 1790s. He composed less from around about 1799 – the time of this letter – though a few months later he was at work on his second great oratorio, The Seasons. The op 77 quartets date from this time, and it may be that Haydn’s loss of stamina
contributed to the fact that there were only two, rather than the usual six, in this set. They are dedicated to Prince Joseph Franz Lobkowitz (to whom Beethoven, at around his time, also dedicated his op 18 quartets). Haydn was distressed about his increasing frailty, but one would never know from these late works, which do indeed have that ‘fire’ for which he was often complimented. Op 77, like the previous set (op 76), carry on with the expansive, public and indeed frankly populist idiom that Haydn had perfected for the London crowds a few years earlier. While the amount Haydn composed in his last decade decreased, the same cannot be said for its quality. The G major quartet is vintage Haydn, with its deceptively simple-sounding first movement. Unusually for Haydn, the slow movement is marked adagio (rather than – for him – the more common and slightly faster andante); its sombre, minor-tinged themes, and their fragmentation into sobbing motives of two or three notes in the central section have a kind of exhausted grief, prefiguring the Beethoven adagios of the next few years. Also Beethovenian is the menuetto (actually a scherzo with its relentless one-in-a-bar metre), though Haydn’s musical personality is still clearly heard, especially in the Balkan-inspired folky trio section at the movement’s centre, and the energetic finale. © Gordon Kerry 2009
Ludwig van Beethoven Ludwig van Beethoven (1770-1827) String Quartet in F minor, op 95, Quartetto Serioso Allegro con brio Allegretto ma non troppo Allegro assai vivace, ma serioso Larghetto espressivo – allegretto agitato The Napoleonic Wars and subsequent economic crisis led Beethoven to consider leaving Vienna until three devoted patrons organised an annuity to keep him there. Despite his financial security, however, Beethoven composed little in the period following. 1810 saw two major works, the op 95 quartet (with Beethoven’s own subtitle, Quartetto Serioso) and the incidental music to Goethe’s Egmont. Egmont tells of the incarceration and death of a just man at the hands of tyranny, but his fight for liberty is represented in the overture and incidental music by a triumphant F major ‘victory symphony’. Both the Egmont overture and op 95 are in the key of F minor, and both end with an unexpectedly joyous, fast coda in the major key. In the ‘Razumovsky’ Quartets, Beethoven had done for the string quartet what he had for the symphony in the ‘Eroica’, expanding them beyond anything contemplated up to that point. Something, however, had wonderfully concentrated the mind that wrote op 95. The piece is little more than twenty minutes long, the result of a ruthless pruning of any extraneous material on
Beethoven’s part. In the first movement, for instance, he eschews many of the conventional formulae which indicate cadences and other points of musical punctuation, and radically shortens the recapitulation of the movement’s main material. Counterpoint is one constant preoccupation within the work, nowhere more so than in the second movement, where an amazing tension is created between the home key of D major (itself remote from the F minor of the work) and a saturation of chromatic twists and turns. A contrasting preoccupation is with the briefest of rhythmically characteristic gestures framed by a humming silence. The resulting rush of continuous energy in the final pages of the work is made even more breathtaking. In this work, radical concentration balances the expansion of form and expression in the ‘Razumovsky’ set. Its drama is that of Haydn: the sudden silence, the shock change of key. In some respects it harks back even beyond Viennese classicism to the emotive style of CPE Bach; its preoccupation with counterpoint reflects an interest in the music of the Baroque which in turn allowed Beethoven to experiment with counterpoint in a way that transformed his quartet writing. And when he was able to marry the serene lyricism of the Harp Quartet with the Quartetto Serioso’s rigour and economy, the transcendental style of the late quartets could be born. Gordon Kerry © 2009
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Béla Bartók Béla Bartók (1881-1945) String Quartet no 5, BB110 Allegro Adagio molto Scherzo: alla bulgarese Andante Finale: Allegro vivace Bartók’s Fifth Quartet was commissioned by American philanthropist Elizabeth Sprague Coolidge, a supporter of many mid-20th century classics. Premiered in Washington in 1935 by the Kolisch Quartet, it was immediately recognised as a masterpiece. The composer at this time was still living and working in Budapest. In 1934, Bartók had finally freed himself from teaching, having been employed by the Academy of Sciences to pursue his work in ethnomusicology. He had by now amassed much material from a variety of sources, including Romanian, Bulgarian, Turkish and Slovak folk-music, as well as that of Hungary itself. The Fifth Quartet contains elements from folk sources, but treats them with rigorous counterpoint. Overall, the work, like the Fourth Quartet and the much later Concerto for Orchestra, is in five movements. These, as in the other works, are arranged symmetrically around a pivotal central movement - here, the Scherzo - so as to produce ‘arch-form’. The other movements form pairs: the first and fifth are energetic, the second and fourth are both slow.
The first movement opens with an arresting figure of repeated notes outlining the integral of the major second. Bartók scholar Lajos Lesznai notes that the figure may derive from the folk-song laments of the Székely people, Hungarian-speakers whose region became part of Romania in 1920. This terse motif, when treated contrapuntally, creates an active and urgent texture, interrupted occasionally by crisp short chords. The Adagio molto, perhaps one of Bartók’s signature ‘night-pieces’, is deceptively simple in its use of slow-moving chords and fragmentary melodic motifs that are elaborated into a searing passage of counterpoint. After the relative calm of the Adagio, Bartók launches into a scherzo that is powered by Bulgarian rhythms, with groupings of 4+2+3 quavers. The melodies have a folk-like flavour, interspersed with shimmering textures. Marked Andante, the fourth movement is a little faster than the corresponding second, beginning with characteristic disembodied pizzicatos and punctuated by a stabbing repeated-note motif. The Finale, fast and furious like the opening, contains what Lesznai regards as a joke: a passage of sudden simplicity (Malcolm Gillies likens it to a barrel-organ) as a sarcastic sop to those critics who found Bartók ‘difficult’. But perhaps the last word should go to Mrs Coolidge: ‘My plea for modern music is not that we should like it, nor necessarily that we should even understand it, but that we should exhibit it as a significant human document.’ © Gordon Kerry 2014
DINE & SLEEP
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A U S T R A L I A N
S T R I N G
Q U A R T E T ’ S
MARGARET RIVER
W E E K E N D
O F
M U S I C
3rd to 5th October, 2014 Join the Australian String Quartet for a weekend of intimate performances featuring exceptional guest artists and indulgent gourmet experiences at leading wineries in the beautiful Margaret River region.
Australian String Quartet
Slava Grigoryan guitar
Sara Macliver soprano
Anna Goldsworthy piano
Tailored packages and concert tickets for this exclusive weekend event are limited. For more information and to book, go to www.asq.com.au or call 1800 080 444. Renaissance Tours is offering a fully escorted tour ex Perth (including the ASQ Platinum Package, accommodation and sightseeing). Call 1300 727 095 for details.
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 2008 onwards. The ASQ is registered as a tax deductible recipient. Donations can be made by phoning the ASQ on 1800 040 444.
$350,000+ Allan Myers AO & Maria Myers AO $250,000+ Klein Family Foundation $50,000+ Clitheroe Foundation Richard & Tess Harvey AM Lyndsey & Peter Hawkins Hunt Family Foundation Norma Leslie Michael Lishman The Ian Potter Foundation $30,000+ Mr Philip Bacon Nicholas & Elizabeth Callinan Janet & Michael Hayes David & Pam McKee Peter & Pamela McKee Thyne Reid Foundation $15,000+ Mrs Diana McLaurin $10,000+ Josephine Dundon Angela Flannery Joan Lyons Macquarie Group Foundation Pauline Menz Robert Salzer Foundation Wright Burt Foundation $5,000+ Berg Family Foundation John Clayton Hilmer Family Foundation Keith Holt & Anne Fuller M & F Katz Family Foundation Mr Robert Kenrick Kevin Long
Skye McGregor The Late Elisabeth Murdoch AC DBE John O’Halloran Mrs Jane Porter Tony & Joan Seymour Peter & Melissa Slattery Nigel Steel Scott $2,000+ Don & Veronica Aldridge Peter Allan Bernard & Jackie Barnwell Graham & Charlene Bradley Hillier Carter Properties Ric Chaney and Chris Hair John & Libby Clapp Geoff Clark Dr Peter Clifton David Constable AM Maurice & Tess Crotti Dr Neo Douvartzidis Michael J Drew Margaret Flatman John Funder & Val Diamond Dr E.H & Mrs A. Hirsch Anita Poddar & Peter Hoffmann Janet Holmes à Court AC Lynette and Gregory Jaunay Mr S Johns Renata & Andrew Kaldor Kevin & Barbara Kane Michael & Susan Kiernan The Hon Christopher Legoe QC & Jenny Legoe Hugh & Fiona MacLachlan
Dr Robert Marin Simon Marks-Isaacs Helen and Phil Meddings Mrs Inese Medianik Susan & Frank Morgan Mrs Frances Morrell Jon Nicholson & Jennifer Stafford Mrs Jenny Perry (in memory of John) Patricia H Reid Susan M Renouf Trish & Richard Ryan AO Paul & Margarita Schneider Vivienne Sharpe Andrew Sisson Keith & Dianne Smith Elizabeth Syme Gary & Janet Tilsley Mr Eng Seng Toh Ian Wallace & Kay Freedman Marjorie White Lyn Williams AM Janet Worth Annie & Philip Young $1,000+ David & Liz Adams John & Angela Arthur John & Mary Barlow Philip Barron Dianne Barron-Davis Simon Bathgate Jean & Geoff Baulch Alison Beare Candy Bennett Ms Baiba Berzins BHP Billiton’s Matched Giving Program Heather Bonnin OAM Stephen & Caroline Brain
3Thomas Breen David & Kate Bullen Pam Caldwell Captain & Mrs D P Clarke Peter Clemenger AO & Joan Clemenger Caroline & Robert Clemente Ian Cochrane David Cooke Colin & Robyn Cowan Robin Crawford & Judy Joye Marie Dalziel Jiri & Pamela Fiala Philip Griffiths Architects Professor Keith Hancock Dr Penny Herbert in memory of Dunstan Herbert Higgins Coatings Pty Ltd Jim & Freda Irenic Kevin & Barbara Jarry Neil J Jens Brian L Jones OAM Rod & Elizabeth King Hon Diana Laidlaw AM Keith & Sue Langley David & Anne Marshall HE & RJ McGlashan DG & KC Morris Victor & Barbara Mulder Donald Munro AM & Jacquelyn Munro Ken Nielsen Lady Potter AC John & Etelka Richards Chris & Fran Roberts Jill Russell Jeanette SandfordMorgan OAM Michael & Chris Scobie
Antony & Mary Lou Simpson Dick and Caroline Simpson Pamela and Tony Slater Carl Vine Nicholas Warden Ted & Robyn Waters Pamela Yule Fay Zaikos $500+ David & Elaine Annear Terrey & Anne Arcus Prof. Margaret Arstall Mrs J Beare GC Bishop & CM Morony Stephen Block John & Christine Chamberlain Mary Rose & Tim Cooney Alan Fraser Cooper Rae De Teliga Ron Dyer Martin Dykstra Angela Grutzner Jean Hadges Dr & Mrs G C Hall Gerard & Gabby Hardisty Tim & Irena Harrington Graeme Harvey Mary Haydock Mr Hartley Higgins Dr Anthony & Emily Horton Andrew & Fiona Johnston Peter Jopling Rose Kemp Stephen & Kylie King David Leece Edwina Lehmann Ms Rose McAleer Alison McIntyre John McKay and Claire Brittain James McLeod Ian & Margaret Meakin Dr Colin E Moore Jenny Nicol Terry & Pauline O’Brien Leon & Moira Pericles Basil Phillips Graham & Robyn Reaney M Resek Ellen & Marietta Resek
Peter Rush Deborah Schultz Sandra Stuart James Syme Simon & Rosita Trinca Peter Wilkinson Jenny Wily & Adrian Hawkes Pat & Rosslyn Zito $100+ Marion R Allen Julie Almond Bill Anderson Susan Armitage Sylvia Bache Merrawyn Bagshaw John Baldock Patricia Barker Joy Barrett-Lennard Mrs Jillian Beare Mr & Mrs Peter & Alison Beer Wendy Birman Michael Bland Professor John Bradley David Bright Max & Elizabeth Bull Pip Burnett Chris & Margaret Burrell Alastair & Sue Campbell Tim & Lyndie Carracher Don Carroll Mrs Ann Caston Richard and Lina Cavill Max and Stephanie Charlesworth Greg Coulter & Carolyn Polson Mrs Margaret Daniel OAM Susan Davidson Mrs Daphne Davies Bruce Debelle Mary Draper Graham Dudley Dr H Eastwell Mrs Alexandra Elliott Mrs Charlotte England Susan Fallaw Philip & Barbara Fargher Mrs Judy Flower Mr John Forsyth Pamela Foulkes Bill & Penny Fowler Richard Frolich
Christopher Fyfe R & J Gallery Prof. Robert Gilbert Dr Joan Godfrey OBE Jan Grant Dieter Grant-Frost H.P. Greenberg Mrs Helen Greenslade Margaret Gregory Des Gurry Alison Harcourt Geoff Hashimoto Ann Hawker Mrs Helen Healy Laurie & Philippa Hegvold Mr Dennis Henschke Dudley and Julie Hill David Hilyard Emily Hunt Anthony Ingersent Vernon Ireland Robin Isaacs Ms Nola Jennings Mr Martin Keith Angus & Gloria Kennedy Wayne & Victoria Laubscher Anne Levy Susan Litchfield Megan Lowe Grant Luxton Margaret & Cameron MacKenzie Greg Mackie OAM Jean Matthews Helen McBryde John & Jill McEwin Duncan McKay Mrs Janice E Menz Richard & Frances Michell Mr & Mrs I Mill Ms Elizabeth Morris Florence Morrow Robert & Heather Motteram Hughbert Murphy John & Gay Naffine Derrick Nichola Mrs Mary O’Hara John Overton Lee Palmer Josie Penna Sabine Pfuhl
Colin A Physick Mr William Pick J & P Pincus Janice Pleydell J & M Poll Mr Franz Pribil Jen & Ian Ramsay The Rev’d Dr Philip Raymont Ian & Gabrielle Reece Dr James Robinson Ms Chloe Roe Mrs Clare Rogers Lesley Russell Jenny Salmon Meredyth Sarah AM The Late Judith Schroder David Scown Adrienne Shaw Mrs Angela Skinner Judy Sloggett Mr Michael Steele Barbara Stodart David & Jo Tamblyn Robyn Tamke Jolanta Targownik JJ & AL Tate Mrs A.N.Robinson & Dr M.G.Tingay Roger & Cherry Trengove Sue Tweddell J.P. Uhr Mr Ian Underwood Brian & Robyn Waghorn Professor Ray Wales Mr David Young Sarah Yu Silvana Zerella 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. Prof Richard Divall AO OBE John & Carole Grace Roz Greenwood & Marg Phillips Janet & Michael Hayes Mrs Diana McLaurin Gary & Janet Tilsley
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ASQ BOARD
Paul Clitheroe AM (Chair) Alexandra Burt Nicholas Callinan Angela Flannery Janet Hayes Ulrike Klein Paul Murnane Maria Myers AO Susan Renouf Jeanette Sandford-Morgan OAM Angelina Zucco – Executive Director
Quartet-in-Residence The University of Adelaide SA 5005 Australia T 1800 040 444 (Freecall) F +61 8 8313 4389 E asq@asq.com.au W asq.com.au Facebook.com/AustralianStringQuartet Twitter.com/ASQuartet