MOORE BEETHOVEN BRAHMS
TOUR TWO 21 MAY – 11 JUNE AUSTRALIAN STRING QUARTET National Season 2019
This is a special concert for us. We are thrilled to welcome Sharon Grigoryan back to the stage, who returns from parental leave. We’ve been honoured to play with some fine musicians over the past year and we thank all of them for being a part of our journey. We are very excited to be reunited as a quartet and to bring the family of Guadagninis back together again. We open tonight’s program with a piece close to our hearts. Through the generosity of our donors who contributed to the Australian String Quartet Richard Divall Australian Music Fund, we were delighted to commission Australian composer Kate Moore to write her third string quartet, Cicadidae. In this piece, Moore sets out to evoke a sound synonymous with the
Australian landscape - a sound that is familiar to all of us, but not generally heard coming from the stage. It is most fitting that this piece is dedicated to our esteemed ASQ Patron, Maria Myers AC, whose commitment to preserving Australian culture is an inspiration to us all. Also, a special thanks to sound artist Brendan Woithe, whose concert prelude will transport you into Kate Moore’s sound-world. This year has already seen us undertake some exciting projects in addition to our first National Season Tour - a recording with iconic Australian singer songwriter Katie Noonan, our beloved ASQ festivals at Dunkeld and Margaret River, a brand new concert experience at the Adelaide Fringe Festival and an appearance at the Four Winds Easter Music Festival in Bermagui, NSW.
WELCOME TO TOUR ONE NATIONAL SEASON 2019 Looking ahead, we will be spending more time in residence across various parts of Australia, building our ever-growing anthology of Australian music recordings, presenting several more of our popular Close Quarters concerts in groovy spaces (check our website for details) and taking part in concerts to celebrate NAIDOC week. We believe that no matter who you are, where you live or how you spend your days, music makes life richer. As we near the end of the financial year, we ask that you consider making a tax deductible donation to support our extensive nation-wide concert and workshop program. We are so grateful that you could join us tonight and hope that you enjoy the concert. Dale, Francesca, Stephen and Sharon
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Brendan Woithe Prelude Kate Moore String Quartet no 3, Cicadidae* (Premiere Season) Beethoven String Quartet in C minor, op 18 no 4 INTERVAL Brahms String Quartet in C minor, op 51 no 1
* Commissioned by the Australian String Quartet through the Australian String Quartet Richard Divall Australian Music Fund, in honour of ASQ Patron Maria Myers AC.
PROGRAM DETAILS
MOORE BEETHOVEN BRAHMS Brisbane** Tue 21 May 7pm Conservatorium Theatre
Melbourne Mon 27 May 7pm Melbourne Recital Centre
Sydney Thu 23 May 7pm City Recital Hall
Perth Tue 28 May 7pm Government House Ballroom
Canberra Sun 26 May 2pm Gandel Hall, National Gallery of Australia
Adelaide Tue 11 June 7pm Adelaide Town Hall
** Recorded by ABC Classic for broadcast on 11 June at 7.30pm.
Our next concert IVES WESTLAKE DEBUSSY 4 – 20 September 2019 asq.com.au
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Guadagnini Quartet Project In 2010, UKARIA embarked on one of the most significant philanthropic projects in Australia’s musical history - the acquisition of a unique quartet of rare stringed instruments (c.1743-1784) crafted by Giovanni Battista Guadagnini.
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Guadagnini is one of history’s foremost luthiers, in company with Stradivarius and Guarneri del Gesu. This matched set of instruments, held in trust by UKARIA and made available as a set in perpetuity to Australia’s most outstanding string quartet, is unprecedented anywhere in the world. The current recipients are the Australian String Quartet. The instruments included in the collection are: 1784 Guadagnini Violin (Turin) 1748-49 Guadagnini Violin (Piacenza) 1783 Guadagnini Viola (Turin) c.1743 Guadagnini Cello ‘Ngeringa’ (Piacenza) Through the generosity of Ulrike Klein AO, The Klein Family Foundation, Maria Myers AC, Allan Myers AC, The James and
Diana Ramsay Foundation, Didy McLaurin, Joan Lyons, David McKee AO and Pam McKee, and many other donors, UKARIA completed the project on 18 December 2017, raising the funds to acquire all four instruments at a total cost of $6,183,188. This project has brought together a group of visionary patrons who understand the significant cultural value in a collection of this calibre. Philanthropic Champions Ulrike Klein AO Klein Family Foundation Allan J Myers AC Maria J Myers AC James and Diana Ramsay Foundation Didy McLaurin Joan Lyons Mrs F.T. MacLachlan OAM David McKee AO and Pam McKee Pauline Menz Dr Rabin Bhandari Lang Foundation Hartley Higgins The Board of UKARIA also recognises and thanks the following donors who have each made a significant contribution to this project:
Major Gifts Don and Veronica Aldridge Elizabeth Clayton John Clayton Colin and Robyn Cowan Katherine Fennell Frances Gerard Julian and Stephanie Grose Andrew and Hiroko Gwinnett Richard Harvey AM Lyndsey and Peter Hawkins Janet and Michael Hayes Jari and Bobbie Hryckow Thora Klein Tupra Pastoral Company Macquarie Foundation Mr H.G. MacLachlan Mrs S.T. McGregor Peter and Pamela McKee Janet McLachlan Robert O’Callaghan and Pam O’Donnell John Phillips Margaret Piper Jill Russell Nigel Steele Scott Sidney Myer Fund Mary Louise Simpson Gary and Janet Tilsley Ian and Pamela Wall Janet Worth To every patron who contributed to this project we thank you for your support. To learn more visit UKARIA.com
Dedicated to musical excellence with a distinctly Australian flavour, the Australian String Quartet (ASQ) creates unforgettable experiences for audiences worldwide. From our home base at the University of Adelaide, Elder Conservatorium of Music, we reach out across Australia and the world to engage people with an outstanding program of performances, workshops, commissions and education programs. We 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 AO. The instruments are on loan to the ASQ for their exclusive use through the generosity of UKARIA. The centrepiece of 2019, our National Season, is filled with masterful renditions of the classic repertoire juxtaposed with new works that speak to our Australian identity. Looking beyond, we are collaborating with acclaimed singer-songwriter Katie Noonan, to record and perform a program of works by ten Australian composers, based on the distinctive poetry of Oodgeroo Noonuccal. Our annual ASQ Festivals, Margaret River Weekend of Music and Dunkeld Festival of Music will feature the artistry of special guest musicians, Li-Wei Qin (cello) and Konstantin Shamray (piano) and the
AUSTRALIAN STRING QUARTET launch of ASQ’s first international weekend of music will extend our reach to New Zealand’s breathtaking Central Otago region. We are also excited to be extending our education programs and Close Quarters series to more metropolitan and regional areas across Australia.
Dale Barltrop plays a 1784 Guadagnini Violin, Turin Francesca Hiew plays a 1748–49 Guadagnini Violin, Piacenza Stephen King plays a 1783 Guadagnini Viola, Turin Sharon Grigoryan plays a c.1743 Guadagnini Violoncello, Piacenza, ‘Ngeringa’
At home in South Australia, we continue our work as Quartet-inResidence at the University of Adelaide’s Elder Conservatorium of Music with various projects, and performances as part of the Elder Hall Lunchtime Concert series. Mornings at UKARIA will continue to bring the sounds of the string quartet to the beautiful landscape of the Adelaide Hills and a collaboration with didgeridoo master William Barton will celebrate NAIDOC Week at the Adelaide Festival Centre.
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BRENDAN WOITHE
PROGRAM NOTES
Prelude (2019) Prelude is a short sound work commissioned by the Australian String Quartet as an auditory transition to Kate Moore’s new piece, Cicadidae. Brendan explores the ideas of metamorphosis and emergence, mirroring the period in a cicada’s life cycle when they transform from a soil dwelling nymph to the short-lived cicada we know so well here in Australia through its evocative song. Brendan has drawn on both personal field recordings and samples of instructed improvisations from members of the ASQ, changing their form into an abstract soundscape using technological interventions and algorithmic manipulations. The soundscape will welcome the audience as they enter the auditorium, and then continue on as a prelude to Cicadidae.
Soundscape Artist/Composer Brendan Woithe is a Sydney based composer and soundscape artist working in film, dance, theatre, installations and experiential. He works at the intersection of creativity and technology, exploring stories and ideas exposed interrogating that space. He has recently composed scores for Reincarnation, with the West Australian Ballet, the upcoming feature film Go!, Eyes, an experiential theatre work, and Do Not Disturb, a 10 part series premiered at this year’s Cannes Series Festival. Brendan collaborates regularly with Australian Dance Theatre, where his most recent works are The Beginning of Nature, Habitus, and North/South, premiering later this year. He has worked with the Zephyr Quartet on commissions and new technologies for the last decade. Some of his recent installations include Circadian Cycle, a dance film and installation for Adelaide Festival Theatre & Adelaide Airport, The Australian Music Vault, a permanent installation at the Arts Centre Melbourne, and Road to Zero, a permanent multi-channel generative installation at the Museum of Melbourne.
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KATE MOORE
GUEST COMPOSER Kate Moore is an Australian-Dutch musician and composer of new music. In 2001 she was awarded B.Mus Cum Laude with the University Medal from The Australian National University majoring in composition and electroacoustic music. Having obtained a masters degree from The Royal Conservatory of The Hague, she has been based in the Netherlands since 2002 and in 2013 she was awarded a Ph.D. from The University of Sydney.
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In 2017 she was the recipient of the Matthijs Vermeulen Prize, the most prestigious Dutch prize for composers, for her work The Dam commissioned for The Canberra International Festival. Her major work Sacred Environment was premiered by The Netherlands Radio Philharmonic Orchestra and choir with soloists Alex Oomens and Lies Beijerinck, taking place at The Holland Festival Proms in The Concertgebouw followed by a commission to write the 2018 Bosch Requiem Lux Aeterna for choir and large Ensemble. In 2018 she was the Zielsverwanten artist in residence at The Muziekgebouw aan ‘t Ij in Amsterdam featuring her own group Herz Ensemble and she was composer in focus at November Music festival in ‘s-Hertogenbosch. Her works have been released on major labels including Grammy and Edison nominated album Dances and Canons, released on ECM New Series as well as Cantaloupe release Stories for Ocean Shells. Active
on the international scene, Moore has had works performed by acclaimed ensembles including ASKO|Schönberg, Alarm Will Sound, The Bang On A Can All-Stars and Icebreaker. Her works have been performed in venues including The Concertgebouw, Carnegie Hall and The Sydney Opera House and at major festivals including The Holland Festival, ISCM World Music Days and MATA.
KATE MOORE
PROGRAM NOTES KATE MOORE (1979 – )
String Quartet no 3, Cicadidae (2019) ‘What happens next?’ Most classical music plays on our desire to predict the future. But rather than chasing after a story or drama, sometimes it’s best to hear music as a space to inhabit, a present moment to savour. After all, this is how we best enjoy nature’s music – the dawn chorus, the wind in the trees. Why not a string quartet? Kate Moore’s Cicadidae is a product of the Australian-Dutch composer’s interest in sound installations, visual arts and nature. There is no beginning, middle or end. Just an unrelenting, mesmerising hum created by the quartet; a dreamscape to enter. The composer writes: When remembering the Australian landscape, the sound of cicadas fills the mind. Their presence is felt through their song. They are invisible to the eye. However, the music they make overwhelmingly floods the air on a summer afternoon. Thousands of creatures are seemingly hidden, lying in shadows of trees and bark, under leaves, rocks, twigs and earthen cavities, singing out loud with all their might. Sitting in the bush listening to the cicadas it is possible to hear the landscape by listening to their subtle orchestration, a sonic map of a vast land. You can hear near and far, the shape of ridges, valleys, cliffs and plains. By closing your eyes, you can hear where a waterhole lies even if it is
out of sight. Where creatures congregate near water, the climactic intensity in which the dynamics of their song grows, attests to its miraculous gift of life. Thousands of tiny creatures sing in harmony as the sun sinks below the horizon, their voices in revolution with the Earth as she lumbers on her journey from night to day, turning and turning and turning. The creatures are musicians. Their bodies are tiny resonating chambers, with silken wings stretched across an exoskeleton beating between the ghostly world of soundwaves and the emanating pulse of sympathetic resonance reflecting the concave and convex of material and matter. They are tiny violin players whose pulse fluctuates with the temperature of change. Allegro in the heat of day, adagio in the depths of night. They play together in perfect harmony, with hyper sensitivity to the minuscule intervals of just intonation perceived within the Earth’s nervous system. They play together in an orchestra of emotion and feeling, crying out for mercy that their creator will protect them because they don’t know what the future will be. David John Lang © 2019 Commissioned by the Australian String Quartet through the Australian String Quartet Richard Divall Australian Music Fund, in honour of ASQ Patron Maria Myers AC.
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LUDWIG VAN BEETHOVEN
PROGRAM NOTES
LUDWIG VAN BEETHOVEN (1770–1827)
String Quartet in C minor, op 18 no 4 (1798-1800) 1. Allegro ma non tanto 2. Andante scherzoso quasi allegretto 3. Menuetto: Allegretto 4. Allegro – Prestissimo Beethoven had initially been reluctant to write a string quartet when first requested in 1795, perhaps not yet feeling up to the task of tackling a genre so thoroughly mastered by Haydn and Mozart. But in 1798 a generous commission from the enthusiastic Prince Lobkowitz (two years his junior) persuaded him to begin work on a set of six quartets. This is the only one of them in a minor key – and it is in C minor, Beethoven’s favourite key for drama and pathos. After moving to Vienna in his early twenties, Beethoven had developed a reputation for impetuosity in his music as well as his manner. His scores are often filled with sforzandos (hard accents) and sudden dynamic contrasts. His short temper and impudence made him seem like a man on a mission, unsatisfied with the present, and always reaching forward. The beginning of this quartet yanks us into an adventure, the first violin climbing into a long, dramatic opening melody while the accompaniment chugs away like a motor. At times the players seem to be fencing each other with loud, jabbing chords. Even in its gentler passages, this movement is powerfully forward-driven, maintaining a kind of excited impatience to get to its destination.
Instead of a typical slow movement, Beethoven follows this with a curiously light-hearted Andante (marked ‘scherzoso’). Like the first movement, it is filled with fidgety rhythmic figures – long, interweaving threads of staccato notes pulling us restlessly onwards. And there’s something slightly absurd about all those fugues and canons, as though Beethoven is showing off his contrapuntal skills so earnestly that you begin to suspect some dry humour. With the second movement having taken the role of light relief, Beethoven ramps up the tempo and intensity of the third movement Minuet. We’re back in moody C minor, and this time the forward-looking impatience is expressed by sinuous ascending lines and lithe chromaticism (the harmonic equivalent of squeezing round some tight corners). The central section is full of gracious melodic dialogue; and then, unusually, Beethoven marks the return of the Minuet theme to be played faster than before. The music breaks into a run in the finale, yet each varied return of the rondo theme keeps pulling up and hesitating (teasingly) at the same cadence. In all the excitement, the grim, severe mood we might have expected from a Beethoven work in C minor gets forgotten, and the composer finishes the quartet with a smile. David John Lang © 2019
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JOHANNES BRAHMS
PROGRAM NOTES JOHANNES BRAHMS (1833–1897)
String Quartet in C minor, op 51 no 1 (1873) 1. Allegro 2. Romanze: Poco adagio 3. Allegretto molto moderato e comodo 4. Allegro For Brahms, no musical experience could be an isolated event; everything was connected to something else. He was acutely aware of the vast musical tradition into which he was writing. And within any given piece, he was fastidious in ensuring that every theme, every phrase, every chord, had a clear purpose beyond itself. Little wonder, then, that some compositions took him so long to write. He had been trying to write string quartets for twenty years (and claimed to have destroyed about twenty different attempts) before finally breaking through with this work in C minor. It had a private read-through in 1869, but not until after he had thoroughly revised it in the summer of 1873 did he allow its performance and publication. He was forty years old. As he explained to a friend: ‘It is not difficult to compose; but it is incredibly difficult to let the superfluous notes drop under the table.’ This music rewards intense engagement by listeners, a determination to follow every step of the musical discourse (almost as though you are playing it yourself), because Brahms is so careful to ensure that every phrase, every gesture, relates to something before it and advances the musical plot.
The main themes of each movement – indeed, every bar of the piece – can be traced back to what we hear within the first 30 seconds: the rising melody of the violins, interrupted by downward leaps, and impelled by the restless energy of the viola and cello. The two outer movements are characterised by bold gestures and an irresistible momentum. At times the drama and intensity of it all sounds almost symphonic, as though we are being swept up in a larger world, something too big for a string quartet to contain. But Brahms is careful to keep everything in balance; in the two central movements he gives us chamber music at its most intimate. The peaceful Romanze turns the rising motif from the first movement into a gentle caress, richly harmonised. The third movement is a pensive, introverted intermezzo, framing a delightfully elegant Austrian Ländler that peeks in like a ray of sunshine. Brahms dedicated the quartet to his friend Theodor Billroth – a renowned surgeon, and also an accomplished amateur musician who regularly hosted chamber music soirées in his home. You can talk about connections in music all you like (‘thematic unity’ and ‘structural cohesiveness’), but it is the connections between people that really make music possible. David John Lang © 2019
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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 contributions either remain anonymous or are less than $1000. The following donations reflect cumulative donations made from 2014 onwards and the Australian String Quartet is extremely grateful for all the support received from its donors.
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DONORS The ASQ is registered as a tax deductible recipient. Donations can be made by phoning the ASQ on 1800 040 444 or online at asq.com.au/support
Principals ($50,001+) Mr Philip Bacon Nicholas Callinan AO & Libby Callinan Clitheroe Foundation Kay Freedman & the late Ian Wallace Richard Harvey AM & the late Tess Harvey Lyndsey & Peter Hawkins Andrew Johnston Klein Family Foundation The Stuart Leslie Foundation Joan Lyons Macquarie Group Foundation Mrs Diana McLaurin Pauline Menz Allan J Myers AC & Maria J Myers AC Andrew Sisson Thyne Reid Foundation Wright Burt Foundation Champions ($25,001 - $50,000) Don & Veronica Aldridge Janet & Michael Hayes Lang Foundation David McKee AO & Pam McKee The Ian Potter Foundation Brenda Shanahan Charitable Foundation Anonymous (1) Guardians ($10,001 - $25,000) John & Libby Clayton TC & MR Cooney Neil Jens Glenda & Greg Lewin AM Peter & Pamela McKee Janet McLachlan Robert Menz MG Prichard & BE Panizza Lady Potter AC Susan M Renouf Anonymous (3)
Classic Partners ($5,001 - $10,000) John & Mary Barlow Berg Family Foundation Brand Family Foundation Maurice & Tess Crotti Perri Cutten & Jo Daniell Mr James Darling AM & Ms Lesley Forwood Angela Flannery Margaret Flatman Nonie Hall Mr Hartley Higgins Kimberley & Angus Holden Keith Holt & Anne Fuller Mr Robert Kenrick Roderick & Elizabeth King Sonia Laidlaw Annette Maluish Mrs Skye McGregor Marshall-Hall Trust Tony & Margaret Pagone Patricia H Reid Robert Salzer Foundation Nigel Steele Scott Gary & Janet Tilsley Carl Wood Anonymous (2) Friends ($1,001 - $5,000) Peter Allan Andrew Andersons AO Michael & Susan Armitage Dr Margaret Arstall Charles & Catherine Bagot Bernard & Jackie Barnwell Philip Barron David & Caroline Bartolo Bernard & Sharon Booth Tim & Lyndie Carracher John & Christine Chamberlain Ric Chaney & Chris Hair John & Libby Clapp Geoffrey Clarke Peter Clemenger AO & Joan Clemenger Caroline & Robert Clemente Dr Peter Clifton Ian & Rosana Cochrane
Bruce and Bronwyn Cooper Colin & Robyn Cowan Dr Rodney G Crewther Marie Dalziel Geoff & Anne Day Ross & Sue Dillon Alan R Dodge AM Mr Peter Dorrian Jane Doyle Michael J Drew Josephine Dundon Barry Jones AC & Rachel Faggetter Vivien & Jack Fajgenbaum Pamela Fiala in memory of Jiri Lyndis & Roger Flynn Richard Frolich John Funder & Val Diamond Ross & Jen Gallery Helen & Michael Gannon Fleur Gibbs Colin Golvan AM QC & Dr Deborah Golvan Great Southern Grammar School Mrs Helen Greenslade Noel & Janet Grieve Jean Hadges Susan & Daniel Hains Gerard & Gabby Hardisty Annette Harris J Holden Family Foundation Jim & Freda Irenic Beth Jackson & John Griffiths Barbara Jarry Lynette & Gregory Jaunay Peter Jopling AM QC Kevin & Barbara Kane Andy & Jim Katsaros M & F Katz Family Foundation Stephen & Kylie King Hon Diana Laidlaw AM Dr David Leece PSM RFD ED The Hon Christopher Legoe QC & Jenny Legoe Peter Lovell Megan Lowe Grant Luxton The late Simon Marks-Isaacs Robyn Martin-Weber
Diane McCusker Elisabeth McDonald H & R McGlashan Helen & Phil Meddings Hugo & Brooke Michell Mrs Frances Morrell Kerrell & David Morris Jock & Jo Muir Victor & Barbara Mulder Maria O'Donnell Paul O'Donnell Mr Robert Peck AM & Ms Yvonne von Hartel AM Rosalind-Ruth M Phelps John Phillips Adam & Michele Plumridge Robert Pontifex AM Ellen & Marietta Resek Ms Eda Ritchie AM Chris & Fran Roberts Jill Russell Bernard Ryan & Michael Rowe Trish & Richard Ryan AO Jeanette Sandford-Morgan OAM Vahe Sarmazian Drs Paul Schneider & Margarita Silva David Scown Segue Financial Services Diana Sher OAM & Jeffrey Sher QC Simply for Strings - Brisbane Antony & Mary Louise Simpson Mary & Ian Steele Elizabeth Syme James & Anne Syme Hugh Taylor AC & Elizabeth Dax AM Mr Eng Seng Toh Jenny & Mark Tummel Sue Tweddell John & Catherine Walter Nicholas Warden Lyn Williams AM Janet Worth Annie & Philip Young Pamela Yule Fay Zaikos Anonymous (20)
Australian String Quartet Richard Divall Australian Music Fund Don & Veronica Aldridge Roslyn Allen Bernard & Jackie Barnwell Brand Family Foundation Nicholas Callinan AO & Libby Callinan John & Christine Chamberlain John & Libby Clayton Caroline & Robert Clemente Perri Cutten & Jo Daniell Fleur Gibbs Roz Greenwood & Marg Phillips Alan Gunther Tim & Irena Harrington Dr Penny Herbert in memory of Dunstan Herbert Keith Holt & Anne Fuller Kevin & Barbara Kane Rod & Elizabeth King Angus Leitch Glenda & Greg Lewin AM Pauline Menz Jo & Jock Muir Allan J Myers AC & Maria J Myers AC Tony & Margaret Pagone MG Prichard & BE Panizza Karin Penttila Lady Potter AC Susan M Renouf Drs Paul Schneider & Margarita Silva Diana Sher OAM & Jeffrey Sher QC Rob & Jane Southey Mary & Ian Steele Gary & Janet Tilsley Annie & Philip Young Anonymous (3)
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National Season 2019 creative – Photography by Jacqui Way. Design & art direction by Cul-de-sac Creative. Printed by Print Solutions SA.
Board Nicholas Callinan AO (Chair) Bruce Cooper (Deputy Chair) Alexandra Burt John Evans Janet Hayes Marisa Mandile Paul Murnane Susan Renouf Jeanette Sandford-Morgan OAM Suzanne Stark Angelina Zucco (Chief Executive) Artistic Directors Dale Barltrop – Artistic Director | Violin 1 Sharon Grigoryan – Artistic Director | Cello Francesca Hiew – Artistic Director | Violin 2 Stephen King – Artistic Director | Viola
Australian String Quartet
Management Angelina Zucco – Chief Executive Sophie Emery – Operations Manager Samuel Jozeps – Marketing & Communications Manager Helen Kearney – CRM & Marketing Administrator Leigh Milne – Accounts Michelle Richards – Development Manager
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 AustralianStringQuartet @ASQuartet @australianstringquartet
MOORE BEETHOVEN BRAHMS
TOUR TWO 21 MAY – 11 JUNE asq.com.au