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Speechless CONCERT TWO

21 – 30 May 2014


Welcome


Hello again! Since we last saw you we’ve performed at our annual festival in Dunkeld, Victoria, at the foot of the Grampians. We celebrated the tenth anniversary of ASQ’s performances there, with the works of Brahms, Mendelssohn, Bartók and even a set of Happy Birthday variations (amongst other things). You can catch those performances on ABC radio in the not too distant future. Our program tonight has a “Songs Without Words” theme. Mozart’s Requiem retains its majesterial power when performed without voices and pared down to a mere four players; Berg’s Lyric Suite contains a hidden setting of a Baudelaire poem; and song is always the soul of any work of Franz Schubert. Schubert was at a peak in his musical development and maturity when he composed the Quartettsatz in 1820. The movement is thought to be the beginning of the composer’s twelfth quartet of which Schubert also wrote a brief opening for a second movement. The Quartettsatz survives as a single-movement masterpiece and a tantalizing glimpse at what could have been another fourmovement classic.

(L TO R): KRISTIAN WINTHER, IOANA TACHE, STEPHEN KING, SHARON DRAPER.

Alban Berg wrote his Lyric Suite between the years 1925 and 1926. The six-movement work is romantic and lyrical, as the title suggests, but also frustrated and despairing, with a unique expression of sadness. Berg’s intention was that the detailed,

extra-musical elements behind the piece would remain secret; and they did, until 1977, when scholars gained access to a score of the Lyric Suite annotated by the composer. It revealed an unconsummated love affair between Berg and Hanna FuchsRobettin, both of whom were married. The piece describes their relationship in different stages, from its innocent beginnings to the couple’s declaration of love, and finally an acceptance that the relationship could never be permanent. We conclude this evening’s concert with a rarity in string quartet performance. Wolfgang Amadeus Mozart wrote his unfinished Requiem Mass in D Minor in 1791, before his death that year. Franz Xaver Sussmayr completed the work one hundred days after Mozart’s death, based on the composer’s sketches given to him by Constanze Mozart. In the 18th and 19th centuries, quartet versions of grand masses and symphonies were common and Peter Lichtenthal created his perfect arrangement of this requiem in 1802. Thank you for joining us and 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 String Quartet no 12 in C minor, Quartettsatz D703 Lyric Suite

SCHUBERT BERG

Interval MOZART

Requiem, K626 (quartet version arr. Peter Lichtenthal)

Dates BRISBANE

Conservatorium Theatre, South Bank Wednesday 21 May PERTH

Perth Concert Hall Friday 23 May ADELAIDE

Adelaide Town Hall Monday 26 May MELBOURNE

Melbourne Recital Centre, Southbank Tuesday 27 May SYDNEY

City Recital Hall Angel Place Friday 30 May

Don’t miss our next National tour Boundless 11 – 21 August 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’.


Franz Schubert Franz Schubert (1797-1828) String Quartet no 12 in C minor, Quartettsatz D703 Allegro assai The teenage Schubert wrote some eleven string quartets. These were played during school holidays by an ensemble consisting of his brothers Ignaz and Ferdinand on violin, Franz on viola and their father on cello. In 1816, however, Schubert broke temporarily with his family, possibly to avoid having to continue as an assistant schoolmaster to his father, and moved into the household of his aristocratic friend Franz von Schober. He briefly returned to live with his family the following year but wrote no music for string quartet between 1816 and 1820, pouring his energies into travel, song, symphony and music for the stage. One of a number of Schubert’s ‘unfinished’ masterpieces, the C minor Quartet movement is a world away from the classically oriented works written for the family string quartet (and indeed, assumes much greater technical mastery on the part of performers). Despite being the first movement of a projected work, it is much shorter and more concentrated than we might expect, yet it shows for the first time an understanding of the implications of Beethoven’s radical innovations in his middle period quartets. On the occasion of his teacher Salieri’s 50th anniversary celebrations in 1816, Schubert had criticised the ‘eccentricity which confuses and confounds…tragic and comic, sacred

and profane, pleasant and unpleasant, heroic strains and mere noise’, which he felt Beethoven had unleashed on younger composers. (He didn’t, of course, name Beethoven.) In this work, however, Schubert creates a dramatic structure of extreme contrasts worthy of Beethoven himself. This is effected partly by a new sensitivity to colour, the restless semi-quavers of the opening, for instance, underline the unstable nature of the musical material, and provide a marvellous foil to the more lyrical episodes. It is, in other words, very much a work from the composer of those later masterpieces such as the Death and the Maiden quartet, in which Schubert’s native lyricism, is allowed to unfold on the scale made possible by Beethoven in his Razumovsky Quartets, and at the same time, achieving the kind of concentration also pioneered by Beethoven in his late quartets. Schubert’s later masterpieces earned scorn from Ignaz Schuppanzigh – who had worked with Beethoven on many of his works – who warned Schubert to ‘stick to his songs’. Sadly, it is unlikely that the composer heard a performance of this Quartettsatz or quartet movement; it was Brahms as late as 1870, who organised the work’s publication. © Gordon Kerry 2014


Alban Berg Alban Berg (1885-1935) Lyric Suite I Allegretto gioviale II Andante amoroso III Allegro misterioso - Trio estatico IV Adagio appassionato V Presto delirando - Tenebroso VI Largo desolato In Wagner’s Tristan und Isolde, unrequited erotic passion on an epic scale brought forth music which maintains unresolved tension for hours. It avoided traditional points of tonal repose and freely used a high number of chromatic notes – those foreign to the prevailing key. For Arnold Schoenberg and his pupils Alban Berg and Anton Webern, atonality – music with no reference to traditional keys – was a logical step but potentially chaotic; Schoenberg developed the twelve-note serial method, which aims to keep all twelve notes in equal circulation, as a way of systematising it. For Berg, atonality and serialism were far from cool, cerebral ways of ordering sound, though his Lyric Suite of 1926 is a work of great intricacy. In the outer movements, as well as in significant sections of the inner ones, Berg uses the twelve-note method rigorously. Moreover, the six movements are arranged such that each of the odd-numbered ones is faster than its predecessor by a precise ratio; similarly, each of the even-numbered movements is proportionally slower than the last.

Philosopher Theodor Adorno famously called the piece a ‘latent opera’ and the adjectives in the movement headings alone make it clear that the work has a serious program. But this was confirmed when, in the 1970s, composer George Perle discovered a score of the work annotated by Berg which indicated that the piece does indeed dramatise an intense but unrequited love affair that the composer had with Hanna Fuchs. This explains the use of the numbers 23 (Berg’s mystical number) and 10 (Fuchs’s) for metronome markings and groupings of bars, and the pervasive use of the notes A, B flat (‘B’ in German), B natural (‘H’ in German) and F. It explains the use of certain timbres, such as the paradoxically loud but muted strings in the third movement, and two musical quotations: in the fourth movement a line from the Lyric Symphony of Alexander Zemlinsky and in the sixth, the unmistakeable ‘Tristan’ chord from Wagner’s opera. The love affair is ultimately hopeless. The annotated score of the last movement contains a ‘secret’ vocal line setting a German translation of Baudelaire’s De profundis clamavi – a cry from the heart in a gulf of loneliness begging for oblivion. Berg’s image of this is the viola left alone at the end ‘not even allowed to die’ as Adorno notes, ‘it must play for ever; except that we can no longer hear it.’ Gordon Kerry © 2007


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Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart (1756-1791) Requiem, K626 arr Peter Lichtenthal (1790-1853) Requiem and Kyrie Dies irae Tuba mirum Rex tremendae Recordare Confutatis Lacrimosa Domine Jesu Christe Hostias Sanctus Benedictus Agnus Dei Communio In July 1791, Mozart was commissioned to write a setting of the Mass for the Dead. According to folklore, a mysterious figure arrives with a large purse of gold, asks for a requiem but insists that the identity of his patron remain a secret. The patron, Count Walsegg, was in the habit of commissioning music, copying it out in his own handwriting and claiming it as his own. His wife had died in February and he wanted to honour her with a requiem. Mozart commenced work, and set it aside only because he needed to meet the tight deadlines for two operas. The myth that he worked feverishly but reluctantly on the Requiem contains only a grain of truth. He enjoyed working on church music after a long break from the genre, but during his final illness, which began in mid-November, Mozart almost certainly experienced kidney failure, which may account for the delusions that he had been poisoned and was writing the Requiem for himself. When

Mozart died, his wife Constanze realised that it had to be completed, soon and as secretly as possible. She eventually gave the job to Mozart’s sometime student Franz Xaver Süssmayr, in which version the work is most often performed. The consensus is that Mozart did not compose the Sanctus or Benedictus movements and most scholars doubt that he wrote any of the Agnus Dei. In the Lacrimosa, just over halfway through the piece, Mozart’s manuscript breaks off after merely eight bars. It could be the last music he wrote. Transcription of large-scale works for ‘domestic’ use had always been common. Composer, critic and doctor Peter Lichtenthal, born in Pressburg (modernday Bratislava), made this version of the Requiem early in the 19th century as a means of introducing the music in various Italian cities where he lived in adult life. Apart from some minor excisions – a bar or two here and there – Lichtenthal follows the published Mozart-Süssmayer score, using, principally, the vocal parts, but evoking an orchestral texture where appropriate. In the Baroque-inspired polyphonic sections, such as the opening Kyrie, the purity of the vocal texture sounds radiant on strings, whereas in the more operatic sections, such as the Dies irae and Rex tremendae which depict the terrors and joys of the day of judgement and the afterlife, they are called on to produce sounds and textures that are much more Romantic in character. © Gordon Kerry 2014


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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.


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 Lyndsey & Peter Hawkins Hunt Family Foundation Michael Lishman The Ian Potter Foundation $30,000+ Nicholas & Elizabeth Callinan Richard & Tess Harvey AM Janet & Michael Hayes Norma Leslie David & Pam McKee Thyne Reid Foundation $20,000+ Peter & Pamela McKee $15,000+ Mr Philip Bacon $10,000+ Josephine Dundon Joan Lyons Macquarie Group Foundation Mrs Diana McLaurin P. M. Menz Robert Salzer Foundation $5,000+ Berg Family Foundation John Clayton Angela Flannery Hilmer Family Foundation 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 $2,000+ Don & Veronica Aldridge Bernard & Jackie Barnwell Graham & Charlene Bradley Alexandra & Julian Burt 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 Keith Holt & Anne Fuller Mr S Johns Renata & Andrew Kaldor Kevin & Barbara Kane Michael & Susan Kiernan The Hon Christopher Legoe QC & Jenny Legoe Dr Robert Marin Simon Marks-Isaacs Helen and Phil Meddings Susan & Frank Morgan Mrs Frances Morrell 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 Dr Nigel & Mrs Chris Steele Scott OAM 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 Peter Allan 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 Thomas Breen David & Kate Bullen Pam Caldwell Captain & Mrs D P Clarke Peter Clemenger AO & Joan Clemenger

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 Lynette and Gregory Jaunay Brian L Jones OAM Rod & Elizabeth King Hon Diana Laidlaw AM Keith & Sue Langley David & Anne Marshall HE & RJ McGlashan Mrs Inese Medianik Victor & Barbara Mulder Donald Munro AM & Jacquelyn Munro Jonathan Nicholson & Jennifer Stafford Ken Nielsen Ellen & Marietta Resek John & Etelka Richards Chris & Fran Roberts Jill Russell Jeanette SandfordMorgan OAM Michael & Chris Scobie Dick and Caroline Simpson Pamela and Tony Slater Carl Vine Ted & Robyn Waters Pamela Yule Fay Zaikos


$500+ David & Elaine Annear Terrey & Anne Arcus Prof. Margaret Arstall Dr Reiko Atsumi Mrs J Beare GC Bishop & CM Morony Stephen Block John & Christine Chamberlain Caroline & Robert Clemente Mary Rose & Tim Cooney Alan Fraser Cooper Rae De Teliga Ron Dyer Martin Dykstra Dr & Mrs G C Hall 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 Peter Rush Deborah Schultz Antony & Mary Lou Simpson Sandra Stuart James Syme Simond & Rosita Trinca Nicholas Warden 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 Helen Forrester Mr John Forsyth Pamela Foulkes Bill & Penny Fowler Richard Frolich Christopher Fyfe Prof. Robert Gilbert Margrette Glynn Jan Grant Dieter Grant-Frost H.P. Greenberg Mrs Helen Greenslade Margaret Gregory

Angela Grutzner Des Gurry Jean Hadges Alison Harcourt Charlie Harrison 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 Joan Jones Mr Martin Keith Angus & Gloria Kennedy Wayne & Victoria Laubscher Anne Levy Susan Litchfield 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 Nicholas 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

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 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 Ms Jill 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 Carole & John 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


ASQ Speechless Program