MESSAGE FROM THE DIRECTOR OF THE CHAMBER ARTS SOCIETY OF DURHAM My dear audience, What a pleasure it is to welcome you back to Baldwin Auditorium for the 2021-2022 Chamber Arts Society of Durham concert season. Living well often results in our taking for granted everything that makes our lives secure and happy. I am never again going to take the pleasure of hearing a live concert for granted. I suspect that will be true for many of you. We have a splendid roster for this season. A quartet that occupied our “up and coming young quartet” slot three years ago (the Calidore) returns as a “now arrived” quartet. The former slot will be filled by the exciting Eliot Quartet from Frankfurt, who will join me on the next night for a special concert reading of T.S. Eliot’s Four Quartets. A stunning new piano trio, the Junction Trio, and a wonderful clarinet trio (Frautschi, Manasse, and Nakamatsu) will join our old friends the Belcea Quartet, the Schumann Quartet, and the Quatuor Danel. Add the astonishing Naughton sisters piano duo and we will have much to treasure. Welcome back! George D. Gopen Director, Chamber Arts Society of Durham
CALIDORE STRING QUARTET Sat, Sep 25 | 8 PM
SAT, SEP 25 | 8 PM
Praised by The New York Times for their “deep reserves of virtuosity and irrepressible dramatic instinct,” the Calidore String Quartet return to the Chamber Arts Society of Durham and Duke Performances with an intense program of classical masterpieces. Haydn invented not only the symphony but also the string quartet, and the six quartets of op. 20 mark the arrival of his full maturity in this genre. Mendelssohn’s first mature quartet, op. 13, was written in 1827, when he was only 18 years old. The emotional range it explores — from the mind of a teenager — reminds us that only Mozart was his equal as a child composer. That same year, 1827, was the year of Beethoven’s death. A year earlier, he had given us his celestial op. 131, considered by many to be the single greatest
string quartet of all time. The Calidore is now recording all of Beethoven’s string quartets for Signum Records. PROGRAM Haydn: String Quartet, op. 20, no. 4 Mendelssohn: String Quartets, op. 13 Beethoven: String Quartets, op. 131
SAT, OCT 23 | 8 PM
Longtime audience favorites of the Chamber Arts Society, the Belcea Quartet return with a program which curiously highlights the role of the cello. Mozart’s String Quartet No. 23 was written towards the end of his life, when, heavily in debt, he was commissioned to write three quartets for the King of Prussia, himself an amateur cellist. As a result, the cello is given expansive, cantabile melodies throughout. This cello-centric focus recurs in Shostakovich’s Quartet No. 14, which he wrote in tribute to Sergei Shirinsky, the cellist of the Beethoven Quartet. In the third movement, Shostakovich cleverly “spells” the cellist’s name in notes that sound, in Cyrillic pronunciation, like “Serezha” — the affectionate form of the name “Sergei.” The
Belceas conclude with Brahms’s C Minor Quartet, op. 51, no. 1. Their recording of the piece won them the Diapason d’Or de l’Année. PROGRAM Mozart: String Quartet No. 23 in F Major K. 590 Shostakovich: String Quartet No.14 Brahms: String Quartet, op. 51, no. 1
SCHUMANN SAT, NOV 13 | 8 PM
Harald Eggebrecht of Süddeutsche Zeitung calls the Schumann Quartet “fire and energy . . . with a willingness to astonish.” The quartet is named not for the composer, but for the three brothers Schumann, who make up the ensemble with Estonian violist Liisa Randalu. Together since 2007, they have won numerous awards, including the 2016 Newcomer Award from the BBC. They begin with Beethoven’s early and elegant A Major, op. 18, no. 5, modeled directly on Mozart’s quartet, K. 464, in the same key. Then Ravel’s first and only string quartet, written when the composer was completing his studies at Paris Conservatory and struggling with his overly conservative administrators. It was both inspired by, and approved of by, Debussy, whose lone quartet preceded it by a decade.
The Schumanns close with the second of Brahms’s string quartets, op. 51, no. 2, a more expansive, lyrical piece than the first, which pays homage to Bach with contrapuntal textures throughout. PROGRAM Beethoven: String Quartet in A Major, op. 18, no. 5 Ravel: Quartet in F Brahms: String Quartet in A Minor, op. 51, no. 2
SAT, DEC 4 | 8 PM
The astonishing twin sister piano duo, Christina and Michelle Naughton “have to be heard to be believed” (The Washington Post). They bring us a choice of works that can be considered regenerated. An additional second piano part to Mozart’s K. 545 solo sonata was supplied by Edvard Grieg. When Beethoven refused to translate his gigantic Große Fuge (from his op. 130 string quartet) for piano (four hands), the publisher called upon Anton Haim to do it. Intensely disliking the transcription, Beethoven then drafted his own fiendishly difficult arrangement. Ravel himself transcribed his own orchestral La Valse in a version for two pianos. The Naughton Sisters end this concert with a piece whose title may be misleading. The “rolling over” of Beethoven here is John
Adams taking passages from two late Beethoven works — the op. 110 piano sonata and the Diabelli variations — to regenerate them into his own serious and engaging piano duo. PROGRAM Mozart: Sonata No. 16 in C Major John Adams: Roll Over Beethoven Beethoven: Große Fuge Ravel: La Valse for Two Pianos
JUNCTION
TRIO
SAT, JAN 15 | 8 PM
New, and already esteemed, the Junction Trio brings together three top-ranking soloists: violinist Stefan Jackiw, cellist Jay Campbell, and pianist Conrad Tao. Specialists in contemporary music, they also perform the classics at the highest level. They begin with John Zorn’s Ghosts (2015), which derives its inspiration f rom the ghostly middle movement of Beethoven’s Ghost trio. Charles Ives’s “Piano Trio,” well over one hundred years old now, remains ref reshingly new. Its second movement, nicknamed “TSIAJ” (standing for “This Scherzo Is A Joke”), is indeed full of jokes, with constant quotations f rom American folk songs and Yale drinking songs. And finally, we have Brahms's Piano Trio No. 1, op. 8 — of the most well-loved works of the entire piano trio repertoire. As the early
op. number suggests, Brahms wrote this at the beginning of his career. He rewrote it towards the end of his career, making it one his most mature chamber works. PROGRAM Zorn: Ghosts Ives: Piano Trio Brahms: Op. 8
ELIOT
QUARTETT SAT, FEB 26 | 8 PM
The Eliot Quartett occupies the slot in the Chamber Arts Society series that is reserved each year for one of the world’s brightest up-and-coming string quartets. Honoring with its name the poet T.S. Eliot, this quartet was enthusiastically recognized at the 2018 international competition in Salzburg, the 2019 Banff competition, and others. They open with Mozart's K. 575, the first of the quartets commissioned by the King of Prussia. Like with the others of this commission, Mozart features the cello, so avidly played by his patron. In the face of the 1942 Nazi invasion of Russia, Prokofiev and other leading musicians were evacuated 900 miles to the Kabardino-Balkar region. There he wrote his second string quartet, utilizing local folk themes. In the second movement, we can hear an imitation of the kjamantchi,
a string instrument from the Caucasus. The Eliot Quartett concludes with Franck's String Quartet in D Major, commemorating the composer's 200th birthday. On February 27 at 7 PM, George Gopen, a T.S. Eliot scholar at Duke and the longtime director of the Chamber Arts Society of Durham, will present a reading of Eliot’s “Four Quartets” alongside his own music, written to directly echo major moments of musicality in his reading. PROGRAM Mozart: K. 575 in D Major Prokofiev: String Quartet No. 2 Franck: String Quartet in D Major SPECIAL PERFORMANCE T.S. ELIOT’S FOUR QUARTETS SUN, FEB 27 | 7 PM
FRAUTSCHI MANASSE NAKAMATSU
TRIO
SAT, MAR 19 | 8 PM
Violinist and two-time GRAMMY nominee Jennifer Frautschi joins forces with the Manasse/Nakamatsu Duo for a devilish program of virtuosity and expressive freedom. They will perform for us in a variety of combinations. Pianist Jon Nakamatsu — gold medalist in the Van Cliburn International Piano Competition and the US National Chopin Piano Competition — gives us Chopin's mesmerizing F Minor Fantasy. Jon Manasse, one of this generation's most celebrated clarinetists, joins him for Weber’s sparkling Duo Concertante. Together, Frautschi and Nakamatsu attack Ravel's Tzigane, an exhilarating work tinged with extraordinary romantic power and musical pyrotechnics. All three musicians combine for both Khatchaturian’s G Minor Trio and
the most impressive twentieth-century work for these instruments, Bartok’s Contrasts. With this concert we continue to honor long-time Chamber Arts Society advisory board member Horst Meyer’s generous bequest that provides us with one wind instrument program per year. PROGRAM Ysaÿe: Sonata for Solo Violin in D Minor Ballade, op. 27, no. 3 Carl Maria von Weber: Grand Duo Concertante for Clarinet and Piano, op. 48 Chopin: Fantasy in F Minor, op. 49 Khachaturian: Trio in G Minor for Clarinet, Violin, and Piano (1932) Ravel: Tzigane for Violin and Piano BartÓk: Contrasts for Clarinet, Violin, and Piano, Sz 111/BB116
QUATUOR
DANEL
SAT, APR 2 | 8 PM
For Quatuor Danel, now celebrating thirty years together, Russian music is a distinct specialty and point of pride. The quartet was the first to record all seventeen of Mieczyslaw Weinberg's stunning string quartets. They single-handedly are leading the revival of this Polish/Soviet Jewish composer's chamber music, long silenced due to its "degenerate" designation by the Nazi regime and his imprisonment by the Stalin government. Quatuor Danel’s all-Russian program includes Weinberg’s Quartet No. 9 and features the North American premiere of Lera Auerbach's Quartet No. 5, "Songs of Alkonost" (2011). They conclude with Tchaikovsky's Quartet No. 3, op. 30, written as a poignant tribute to Ferdinand Laub, the man Tchaikovsky called
"the best violinist of our time." When the piece was first played for him, he is known to have commented: “At first I didn’t much like the Finale, but now I can see that it is quite good.” PROGRAM Weinberg: Quartet No. 9 in F-sharp minor, op. 80 Lera Auerbach: Quartet No. 5, “Songs of Alkonost” (North American Premiere) Tchaikovsky: Quartet No. 3 in E-flat minor, op. 30
BALDWIN AUDITORIUM
WELCOME BACK LIVE VISITOR INFORMATION Duke Performances will continue to prioritize the health and safety of our extended community. Current guidelines for campus visitors are available at returnto.duke.edu/campus-visitors. We strongly encourage all individuals to be fully vaccinated before attending performances on the Duke University campus and at our venues in the community. Duke Performances will adhere to all university, local, and state regulations on and off campus, which are subject to change on short notice depending on public health conditions. Specific health and safety information will be provided online and via email for each performance in advance.
BALDWIN AUDITORIUM LOCATION Baldwin Auditorium is located on Duke University’s East Campus at the intersection of Onslow Street and West Markham Avenue.
BALDWIN AUDITORIUM BOX OFFICE
PLEASE NOTE: RESERVED SEATING IN BALDWIN Chamber Arts concerts in Baldwin offer reserved seating only. Season subscribers will be assigned the same seats for the entire season with the option to renew those seats for future seasons.
Located in the lobby of the hall, the Baldwin Box Office will serve patrons on the evening of the concert and open one hour before show time to distribute will call and to sell any available tickets for the performance. Tickets are available any time online at dukeperformances.org or you may email tickets@duke.edu to make an appointment for a box office representative to receive a call.
SEATING Baldwin is equipped with plush, modern, and comfortable seating. Wheelchair accessible seating is also available at all levels, including the balcony via elevator. Please contact the University Box Office at tickets@duke.edu if you have questions about accessibility. Please allow enough time to park and be seated before the start time of the concert. Late seating is at the discretion of the House Manager out of respect for the musicians and other patrons.
BALDWIN AUDITORIUM 107
30 7 220
ORCHESTRA
30 1
LOWER BOX L 659
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LOWER BOX R 459
J 30 3
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BALCONY
RIGHT
CENTER 519
103 101
1 40 501
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PLEASE CONTACT THE UNIVERSITY BOX OFFICE IF YOU HAVE ANY QUESTIONS ABOUT YOUR ORDER: TICKETS@DUKE.EDU
2021 | 2022 CAS ADVISORY BOARD George Gopen, Director Robert Bryant, Director Emeritus Rod Gerwe, Joe Gulla, David Liu Nancy Kalow, Stephen Teitsworth
CAS ENDOWMENTS The 2021-2022 Chamber Arts Series is supported by Duke Performances, the Jacob Joseph and Ruth Marsey Blum Endowment Fund, the Robert and Margaret Boyer Endowment Fund, the Edith London Endowment Fund for the Chamber Arts Society, the Ernest W. Nelson Fund for the Performing Arts, and the Horst and Ruth Mary Meyer Endowment for Wind Instruments.
SUPPORT THE CHAMBER ARTS SOCIETY Since 2007, the Chamber Arts Society of Durham has expanded its annual series from six concerts to eight while keeping the average ticket price for subscribers a mere $28. Our goal is to continue to present the country's highest level of chamber music performance right here in Durham. Your donations make that possible. A gift of any amount, however modest, helps the Chamber Arts Society of Durham sustain its vital tradition of artistry. We know that as patrons of the musical arts, you share our conviction that artists need advocates. Join us in ensuring that they find them here in Durham. Checks, sent to the address below, can be made payable to “Chamber Arts Series.” Gifts may also be made online at giving.duke.edu or by calling (919) 684-4444. All gifts will be acknowledged with a receipt and are fully tax-deductible. If you have questions about making a contribution, please contact Maggie Brandt at (919) 660-3314 or maggie.brandt@duke.edu. MAIL TO CHAMBER ARTS SERIES, BOX 90940, DURHAM, NC 27708 OR CALL 919-684-4444 THANK YOU FOR YOUR SUPPORT!
Parking #1 & #2 (Bivins/Pegram) are accessible via the campus entrance located at the intersection of West Markham Avenue and Sedgefield Street.
PARKING #3
W MARKHAM AVE
PARKING #1
BALDWIN AUDITORIUM
Parking #3 (Asbury Church) is located at the intersection of West Markham Avenue and Sedgefield Street. PARKING #2
ACCESSIBLE PARKING
N BUCHANAN BLVD
Accessible parking is located in the accessible parking lot (Brown/Bishops). The lot is accessible via the campus entrance located at North Buchanan Boulevard and Dacian Avenue. Patrons with accessibility or mobility concerns only please.
ONSLOW ST
BERKELEY ST
Parking for Chamber Arts concerts is FREE in parking lots on Duke’s East Campus and in the adjacent neighborhood.
SEDGEFIELD ST
PARKING
Drivers may drop off patrons with accessibility or mobility issues at the rear traffic circle behind Baldwin Auditorium at West Markham Avenue and Onslow Street prior to parking. For driving directions, visit dukeperformances.org.
TICKETS & PRICING Join us! New series subscriptions go on sale at dukeperformances.org on Tue, Aug 17. Subscribe to the eight-part series for $225 to save 20%. Single tickets are $35; Duke student tickets are $10 with thanks to the generous support from the Provost and the Vice Provost for the Arts at Duke University. Note: There is a 7.5% North Carolina sales tax that is included in the price of your subscription. A $5 service charge per subscriber will be added to each renewal, or $1.50 per single ticket. If you are unable to attend please contact the box office.
ONLINE RENEWALS Current Chamber Arts Series subscribers received an email at the end of July with renewal instructions. Subscribers that wish to renew for the 2021/22 season may renew online through Thu, Aug 12. Questions about subscriptions may be directed to tickets@duke.edu.
ACCESSIBILITY Duke University encourages patrons with disabilities to participate in its programs and activities. If you anticipate needing any type of accommodation or have questions about physical access please contact the University Box Office at tickets@duke.edu in advance of the concert.
WEBSITE & EMAIL Visit dukeperformances.org for updates on the series. We also encourage you to join Duke Performances’ email list which can be accessed through the website. We will use this list to inform you of any changes to the schedule.
TICKETS ON SALE! DUKEPERFORMANCES .ORG
SPECIAL PERFORMANCE T.S. ELIOT’S FOUR QUARTETS SUN, FEB 27 | 7 PM
QUATUOR DANEL SAT, APR 25 | 8 PM
FRAUTSCHI/MANASSE/NAKAMATSU TRIO SAT, MAR 19 | 8 PM
ELIOT QUARTETT SAT, FEB 26 | 8 PM
JUNCTION TRIO SAT, JAN 15 | 8 PM
CHRISTINA & MICHELLE NAUGHTON (PIANO DUO) SAT, DEC 4 | 8 PM
SCHUMANN QUARTET SAT, NOV 13 | 8 PM
BELCEA QUARTET SAT, OCT 23 | 8 PM
CALIDORE STRING QUARTET SAT, SEP 25 | 8 PM
THE CHAMBER ARTS SERIES AT DUKE PERFORMANCES 2021 | 2022
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DUKE UNIVERSITY BOX 90757, DURHAM, NC 27708
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