Australian String Quartet Schubert Ledger Shostakovich

Schubert Ledger Shostakovich TOUR THREE

26 SEPTEMBER – 9 OCTOBER 2018

AU S T R A L I A N S T R I N G Q UA R T E T

N AT I O N A L S E A S O N 2 0 1 8

Welcome

Job no. 3615-2 CRICOS 00123M

Welcome to our 3rd National Season tour for 2018. It is our delight to present to you the world premiere of a ground-breaking new Australian string quartet by James Ledger “The Distortion Mirror”. The privilege of putting together a brand new work gives us the chance to chart new territory and to explore the myriad ways that we may bring the notes off the page and into existence for the very first time. This wonderful sense of discovery has been heightened ever more so by the addition of a fascinating array of electronic manipulations that completely transform the sound of the string quartet as we have come to know it.

We have been grateful to work very closely with James on bringing his piece to life and we are also most indebted to our sound engineer, Adele Conlin, whose integral role in this project has rendered her the crucial fifth member of our band!

Speaking of new members, we welcomed another member to our extended ASQ family this past July, when Sharon and Slava Grigoryan gave birth to a beautiful boy, Sebastian. We wish the three of them well and look forward to Sharon’s return to the quartet next year. In the meantime, it is our great pleasure to welcome Blair Harris, our guest cellist for this tour, who joins us from Melbourne, where he frequently appears as a recitalist and chamber musician. Blair is currently a member of the Sydney-based new music group, Ensemble Offspring.

The pairing of Schubert and Shostakovich is a very enticing one for us. The two composers, whilst worlds apart, both knew tremendous

suffering. Each reflect their pain in very unique and personal ways, but ultimately, both works deliver some of the most poignant music ever written for string quartet. From the hushed, undulating opening of the Schubert to the final ray of sunlight at the close of the Shostakovich, our final program of the year begins and ends with barely a whisper. Yet the drama that unfolds throughout the course of these works gives us a glimpse into the tumultuous lives of these two masters of the string quartet.

It has been a tremendously exciting year and while this is our final national tour, the year is far from over for us. We are thrilled to be spending two weeks in October performing alongside the Sydney Dance Company in Forever and Ever, a double bill which includes Rafael Bonachela’s highly acclaimed work, Frame of Mind, featuring three gripping pieces for string quartet by Bryce Dessner. We’ll also be performing at the Port Fairy Spring Music Festival where we will complete the final instalment of our Quartet and Country project with two of Australia’s finest indigenous musicians, Djakapurra Munyarryun and Ursula Yovich. Before the year is out, we will be performing several concerts in Italy and back on home soil, taking our music to the regional centres of Mt Gambier, SA and Hay, NSW. We’d like to thank you all for your support of the ASQ this year and hope that you’ll join us again in 2019.

Dale, Francesca, Stephen and Blair

proud sponsors of the australian string quartet

Program

Venues & Dates

Schubert String Quartet no 13 in A minor Rosamunde

Perth Wed 26 September 7pm Government House Ballroom

INTERVAL

Brisbane Mon 1 October 7pm Conservatorium Theatre

James Ledger String Quartet no 2 The Distortion Mirror* (World premiere performances) Guest Artist, Adele Conlin, Live Electronics / Sound Engineer

Shostakovich String Quartet no 10 in A-flat major op 118

*Commissioned by Robert Menz, on behalf of the Menz family, for the Australian String Quartet in celebration of the 90th birthday of Pauline Menz.

Melbourne Tue 2 October 7pm Melbourne Recital Centre Sydney Wed 3 October 7pm City Recital Hall Canberra Sun 7 October 2pm James O Fairfax Theatre, National Gallery of Australia Adelaide Tue 9 October 7pm Adelaide Town Hall

This concert will be broadcast on ABC Classic FM on 5 October 2018 at 8pm (AET).

voyagerestate.com.au

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Australian String Quartet 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 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.

At home in South Australia, we continue our work as Quartetin-Residence at the University of Adelaide’s Elder Conservatorium of Music with projects including our annual ASQ Day at Elder, 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.

Left to right: 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’. *Currently on parental leave.

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.

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

Blair Harris

Adele Conlin

Guest Artist Cello

Guest Artist Live Electronics / Sound Engineer

Blair is a highly regarded solo cellist and chamber musician, known particularly for his strikingly individual interpretations and innovative collaborative projects.

Adele Conlin has worked in classical music and broadcasting for 20 years.

Blair is passionate about the creation and performance of new music. He is a member of Ensemble Offspring, one of Australia’s leading contemporary music groups, and prior to this enjoyed many years performing with Syzygy Ensemble.

His work with these award winning groups has seen the commissioning and performance of more than 60 new works

by Australian composers. Over his career he has worked with numerous chamber music ensembles including Streeton Trio, Seraphim Trio, Inventi Ensemble and the Melbourne Chamber Orchestra.

As a soloist Blair has performed with the Melbourne Symphony Orchestra and Orchestra Victoria on numerous occasions. Blair is currently guest principal cello of the Auckland Philharmonia Orchestra.

For this program, Blair is playing the c.1743 Guadagnini, Violoncello, Piacenza, ‘Ngeringa’ on loan for the ASQ’s exclusive use through the generosity of UKARIA.

After training as a sound engineer at the ABC, Adele moved to London and joined BBC radio, engineering recordings and broadcasts of classical concerts, Proms and operas. She was a specialist engineer for the BBC Symphony Orchestra, the BBC’s leading orchestra and the backbone orchestra of the Proms with a strong commitment to contemporary classical music.

Adele regularly ran the broadcast sound stage operation for the Last Night of the Proms, and in 2016 she spent a year with their production team managing Proms concerts and events.

She also worked for the broadcast department of the Royal Opera House on their live worldwide cinema relays.

Since returning to Australia, Adele has engineered for the Australian Ballet (Alice’s Adventures in Wonderland), the Melbourne Symphony Orchestra (Sidney Myer Music Bowl concerts) and the Australian String Quartet (MSO Metropolis series).

Franz Schubert (1797-1828)

String Quartet no 13 in A minor, Rosamunde, D804 (1824) Allegro ma non troppo Andante Menuetto Allegro moderato After rehearsing Schubert’s Death and the Maiden quartet in mid-1824, Ignaz Schuppanzigh is reported to have told the composer to ‘go back to your songs’.

Schuppanzigh was a larger-thanlife character in early nineteenth century Vienna, and the string quartet which he led had been the vehicle for many of Beethoven’s later works in the form. So it’s a strange reaction (especially given that the piece includes melodic references to at least two of Schubert’s songs), and even stranger given that the Schuppanzigh Quartet had already given a public performance of this quartet in A minor, D804, just a few months earlier. In fact, that was the only public performance of any of Schubert’s works in the medium during his lifetime. A reviewer from the Allgemeine Musikalische Zeitung patronised Schubert by saying that ‘for a first-born [it is] not to be despised’.

The work is by no means a ‘firstborn’ – Schubert had composed some eleven quartets for his family as a teenager. This is the shortest of Schubert’s last three quartets, and in many respects the most economical with its material; but like the Death and the Maiden quartet

it includes thematic material from previous works. The first movement begins with a disarmingly simple melody and accompaniment, but in the movement’s central development section, Schubert displays a symphonic mastery.

For the Andante Schubert uses the theme (which he also used in his Impromptu D935) from the third entr’acte from Rosamunde.

Rosamunde, Princess of Cyprus, a play by Helmine von Chezy, was produced in 1823. The show was by all accounts a turkey and the script has been lost, but we do have ten of the numbers Schubert wrote – about an hour of music, including choruses, one song, ballet music and three entr’actes. The first entr’acte, a sonata design in B minor, just might be the missing finale to the Unfinished Symphony.

After the genial mood of the Rosamunde movement (in C major), the minuet returns to a more serious minor mode, during which Schubert quotes his song The Gods of Greece – specifically the melody setting the line ‘O beauteous world, where art thou?’ The finale bravely attempts to lighten the atmosphere but minor tonality intrudes repeatedly, reminding us that Schubert, already gravely ill, wrote at this time, ‘imagine a man… whom enthusiasm for all things beautiful threatens to forsake, and I ask you, is he not a miserable, unhappy being?’ © Gordon Kerry 2008

James Ledger

James Ledger (born 1966–)

Guest Artist Composer

String Quartet no 2 The Distortion Mirror (2018)

The orchestral music of James Ledger is well known to Australian concertgoers. His first work for orchestra, Indian Pacific (1996), is still regularly performed around the country.

with Ghosts won an ARIA award in 2013. In 2015 the Sydney and New Zealand Symphony Orchestras simultaneously premiered War Music for choir and orchestra, with text by Kelly.

Since then, Ledger has been composer-in-residence with the West Australian, Adelaide and Christchurch (NZ) Symphony Orchestras, the Australian National Academy of Music and the Australian Festival of Chamber Music. He has written much instrumental music and “has established an impressive reputation as a symphonic composer” (The Australian). Ledger has also received commissions from Australia’s leading chamber ensembles including the Australian String Quartet for whom he wrote Processions which The Australian described as “a triumph”.

James Ledger originally studied French horn at the West Australian Academy of Performing Arts. He was awarded a Churchill Fellowship to research contemporary compositional practice focussing on new music in Estonia. He is currently lecturer in composition at the Conservatorium of Music at the University of Western Australia.

In 2011, the Monthly Magazine listed Ledger’s orchestral work Chronicles as one of 20 Australian Masterpieces since 2000, describing it as “a piece of emotional extremes in which everything is in balance”. The work was awarded Work of the Year: Orchestral in the APRA/Australian Music Centre Art Music Awards. In 2014, his violin concerto Golden Years won the same award.

Ledger enjoys an ongoing collaboration with songwriter Paul Kelly. Their song-cycle Conversations

For more information please visit jamesledger.com

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Dusk to Dawn How to Defy Gravity To Fly then Fall Science and Religion

This is my second string quartet, and also the second commissioned by the Australian String Quartet. The first one, Processions, was written for them in 2011. This particular quartet differs from that (and most others) in that it adds electronic processing to the group.

In String Quartet no 2, subtitled The Distortion Mirror, each instrument is individually miked up and the sound is sent to a computer and manipulated in some way. The possibilities for the use of live electronic processing are limitless, but one particular process I focussed on was looping. Here, sound can be recorded and instantly played back in a continuous, repeating loop. The recorded loop can then be pitchstretched, time-stretched, reversed and so on. The length of the loop can also vary considerably – from a fraction of a second to several minutes.

The live quartet is accompanied by a heavily modified version of itself – as if looking into some kind of sonically distorting mirror. These types of mirrors are often found in side-shows at carnivals and fairs.

They are curved in a particular way to make the viewer appear fat, thin, tall, short, wriggly, fish-eyed…you get the idea.

There are four movements in this work and each movement is in two sections. They all attempt to explore opposites or a duality.

1. Dusk to Dawn. There is a sense of unease as the creatures come out at dusk. This is followed by a sense of assurance and calm as dawn arrives.

2. H ow to Defy Gravity. I imagined what it would be like to fall upwards and then look back down at the Earth. Here, the music accelerates inexorably upwards until a moment of prayer-like reverence is reached.

3. T o Fly then Fall. This essentially is the opposite of the previous movement. After a joyful opening, the quartet suddenly and clumsily fall back to Earth.

4. Science and Religion. The first section utilises a lot of extended techniques – bow scrapes, tapping, bends etc – I imagined a scientist examining atoms under a microscope. The second half is a pulsing lament that becomes very intense and anguished.

James Ledger 2018 The Distortion Mirror was commissioned

by Robert Menz, on behalf of the Menz family, for the Australian String Quartet in celebration of the 90th birthday of Pauline Menz.

Dmitri Shostakovich (1906-1975)

happy with Irina, whom he had married two years before.

String Quartet no 10 in A flat op 118 (1964) Andante Allegro furioso Adagio – Allegretto – Andante

The ambivalence may account for the extremes of expression that he cultivated in the Tenth Quartet - Wendy Lesser describes it as ‘at once Shostakovich’s harshest and his friendliest quartet.’ In a conventional four-movement design, the opening Andante begins with a long solo violin melody in that genial but slightly uneasy ‘Baroque’ manner favoured by Shostakovich (and Weinberg) at times. The movement features quietly insistent rhythms, and a contrasting theme for cello. After the delicate reserve of the Andante, the Allegro furioso is shocking in its volume, violence and unremitting rhythm. Curiously, though, while this music suggests a characteristically bleak vision there is none of the pathos with which Shostakovich sometimes leavens such music - more curious in that he often does so using music of Jewish provenance. This is not conventionally tragic music.

With the outbreak of World War II in 1939 a young Polish Jew named Moisei Weinberg (or Vainberg) fled east to Minsk, where he studied at the Conservatorium, and then to Tashkent, where he met Shostakovich. Weinberg would be protégé, colleague and close friend for the rest of Shostakovich’s life. They supported each other through inevitable political travails (Weinberg was arrested as a traitor and only released thanks to Stalin’s providential death.) Weinberg, as pianist, helped in the revival of Shostakovich’s suppressed Fourth Symphony, and premiered new works. There was also friendly rivalry, and Shostakovich is said to have composed his Tenth Quartet because both he and Weinberg had already written nine. Weinberg was the dedicatee of the new work.

It was composed at an artists’ retreat at Dilizhan, in Armenia, where Shostakovich and his wife Irina spent the summer of 1964. It was a complicated time: Shostakovich’s health was declining, and he had succumbed to pressure to join the Communist Party a few years before, a decision that took its toll on him; but after a disastrous second marriage, he was now extremely

The slow movement is a passacaglia - another reference to the Baroque tradition, and a form which both Shostakovich and his friend, Benjamin Britten, cultivated extensively. The theme here is presented by the cello, and after several elaborations the music passes straight into the finale. Here Shostakovich gathers together themes from the passacaglia and returns to the first movement (at first in a completely different mood) before a quiet and resigned close. © Gordon Kerry 2018

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 contributions either remain anonymous or are less than $1000.

The following donations reflect cumulative donations made from 2013 onwards and the Australian String Quartet is extremely grateful for all the support received from its 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

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TOUR ONE HAYDN WINKELMAN SIBELIUS Haydn String Quartet op 33 no 3 The Bird Helena Winkelman Papa Haydn’s Parrot Sibelius String Quartet op 56 Voces Intimae

TOUR TWO MOORE BEETHOVEN BRAHMS

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Kate Moore String Quartet no 3 (Premiere Season) Beethoven String Quartet op 18 no 4 Brahms String Quartet op 51 no 1

TOUR THREE IVES WESTLAKE DEBUSSY Ives String Quartet no 1 From the Salvation Army Nigel Westlake* String Quartet no 3 (World Premiere) Debussy String Quartet op 10 *Commissioned by the Australian String Quartet with generous support from Carl Wood and the Aldridge Family Endowment.

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NATIONAL PROGRAM 2019

MARGARET RIVER WEEKEND OF MUSIC – WESTERN AUSTRALIA Fri 12 – Sun 14 April 2019 ASQ with guest artists Li-Wei Qin, cello and Konstantin Shamray, piano Savour the best of the spectacular Western Australian wine region with unforgettable adventures at Voyager Estate, Vasse Felix, Cape Mentelle and Leeuwin Estate. Join us for an exclusive weekend celebrating fine music, food and wine.

“ WHAT BEAUTIFUL VARIED REPERTOIRE, WHAT A SETTING, WHAT FOOD AND WINE!”

ASQ FESTIVALS

Alan R. Dodge AM, festival guest

Take the musical experience deeper with our effervescent three-day festivals in Western Australia’s Margaret River region and Dunkeld in Victoria’s Southern Grampians.

DUNKELD FESTIVAL OF MUSIC – VICTORIA

In 2019 we bring along guest artists Konstantin Shamray (piano) and Li-Wei Qin (cello) to explore chamber music in all its rich variety.

ASQ with guest artists Li-Wei Qin, cello and Konstantin Shamray, piano

In 2019, we are excited to be extending our festival program to New Zealand for the very first time, spending three days in the breath-taking region around Queenstown and Arrowtown on the country’s South Island.

BOOKING INFORMATION

More information at asq.com.au or telephone 1800 040 444

Fri 5 – Sun 7 April 2019 Sun 7 – Tue 9 April 2019

Dunkeld is a truly magical regional environment within the Southern Grampians. With intimate concerts in the charming Mt Sturgeon Woolshed and Myers’ Library, and the warm hospitality of the iconic Royal Mail Hotel, this is a sought-after highlight of the ASQ’s touring calendar.

NEW ZEALAND WEEKEND OF MUSIC – QUEENSTOWN & ARROWTOWN, CENTRAL OTAGO Fri 25 – Sun 27 October 2019 Join the ASQ for three decadent days, celebrate string quartet music accompanied by the region’s finest food and wine amidst unparalleled landscapes. With intimate recitals at The Lodge at The Hills, Thomas Brown Gallery and St Peter’s Anglican Church, join us for a wonderful weekend away and bask in some of life’s finest delights.

Pictured The Lodge at The Hills, Arrowtown, NZ

Patron MARIA MYERS AC

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