Robert Blocker, Dean
oneppo chamber music series
Brentano String Quartet with ettore causa , viola & argus quartet
David Shifrin, Artistic Director September 27, 2016 • Tuesday at 7:30 pm Morse Recital Hall
Oneppo Chamber Music Series
Brentano String Quartet mark steinberg, violin • serena canin, violin misha amory, viola • nina lee, cello with ettore causa, viola; argus quartet Joseph Haydn 1732–1809
String Quartet in E-flat major, Op. 20, No. 1 I. Allegro moderato II. Menuetto. Allegretto – Trio III. Affetuoso e sostenuto IV. Finale. Presto
Felix Mendelssohn 1809–1847
String Quintet No. 2 in B-flat major, Op. 87 I. Allegro Vivace II. Andante scherzando III. Adagio e lento IV. Allegro molto vivace Ettore Causa, viola intermission
Mendelssohn String Octet in E-flat major, Op. 20 I. Allegro moderato con fuoco II. Andante III. Scherzo. Allegro leggierissimo IV. Presto Argus Quartet Ettore Causa, viola
As a courtesy to the performers and audience, silence electronic devices. Please do not leave the hall during selections. Photography or recording of any kind is prohibited.
Artist Profiles
Since its inception in 1992, the Brentano String Quartet has appeared throughout the world to popular and critical acclaim. “Passionate, uninhibited and spellbinding,” raves The Independent (London); The New York Times extols its “luxuriously warm sound [and] yearning lyricism;” the Philadelphia Inquirer praises its “seemingly infallible instincts for finding the center of gravity in every phrase and musical gesture;” and The Times (London) opines, “the Brentanos are a magnificent string quartet … This was wonderful, selfless music-making.” Within a few years of its formation, the quartet garnered the first Cleveland Quartet Award and the Naumburg Chamber Music Award; and in 1996 the Chamber Music Society of Lincoln Center invited them to be the inaugural members of Chamber Music Society Two, a program which was to become a coveted distinction for chamber groups and individuals. The quartet embarked on its first European tour in 1997, and was honored in the U.K. with the Royal Philharmonic Award for Most Outstanding Debut. That debut recital was at London’s Wigmore Hall, and the quartet has continued its warm relationship with Wigmore, appearing there regularly and serving as the hall’s quartet-in-residence during the 2000– 2001 season.
Konzerthaus in Vienna; Suntory Hall in Tokyo; and the Sydney Opera House. The quartet has participated in summer festivals such as Aspen, the Music Academy of the West in Santa Barbara, the Edinburgh Festival, the Kuhmo Festival in Finland, the Taos School of Music, and the Caramoor Festival.
In addition to performing the entire twocentury range of the standard quartet repertoire, the Brentano Quartet has a strong interest in both very old and very new music. It has performed many musical works pre-dating the string quartet as a medium, among them madrigals of Gesualdo, fantasias of Purcell, and secular vocal works of Josquin. Also, the quartet has worked closely with some of the most important composers of our time, among them Elliott Carter, Charles Wuorinen, Chou Wen-chung, Steven Mackey, Bruce Adolphe, and György Kurtág. The quartet has commissioned works from Wuorinen, Adolphe, Mackey, David Horne, and Gabriela Frank. The quartet celebrated its tenth anniversary in 2002 by commissioning ten composers to write companion pieces for selections from Bach’s The Art of the Fugue, the result of which was an electrifying and wide-ranging single concert program. The quartet has also worked with the In recent seasons the quartet has traveled celebrated poet Mark Strand, commiswidely, appearing all over the United sioning poetry from him to accompany States and Canada, and in Europe, Japan, works by Haydn and Webern. and Australia. It has performed in the world’s most prestigious venues, includ- The quartet has been privileged to ing Carnegie Hall and Alice Tully Hall collaborate with such artists as soprano in New York; the Library of Congress Jessye Norman, mezzo-soprano Joyce in Washington, D.C.; the Royal DiDonato, pianist Richard Goode, and Concertgebouw in Amsterdam; the pianist Mitsuko Uchida. In 2015-2016,
Artist Profiles
they will collaborate with pianist Jonathan Biss on a project centered around late works of great composers.
Ettore Causa, viola
Italian-born violist Ettore Causa is praised for his exceptional artistry, The quartet has recorded the Opus 71 passionate intelligence, and complete Quartets of Haydn, and has also recorded musician-ship. He was awarded both a Mozart disc for Aeon Records, consis- the P. Schidlof Prize and the J. Barbirolli ting of the K. 464 Quartet and the K. 593 Prize for the most beautiful sound at Quintet, with violist Hsin-Yun Huang. In the Lionel Tertis International Viola 2010-2012, the quartet recorded all of Competition. Causa has made solo and Beethoven’s late quartets, which were recital appearances in venues such as also released on Aeon. In the area of newer Carnegie Hall, Zurich Tonhalle, Madrid music, the quartet has released a disc of National Auditorium, Salle Cortot the music of Steven Mackey on Albany (Paris), Tokyo Symphony Hall, and Records, and has also recorded the music Teatro Colon, and has performed at of Bruce Adolphe, Chou Wen-chung, festivals such as the Menuhin (Gstaad), and Charles Wuorinen. Upcoming Salzburg, Tivoli (Copenhagen), Prussia releases include a recording of Schubert’s Cove (England), Savonlinna (Finland), Cello Quintet, recorded at Amherst with Lanaudière (Canada), and Norfolk Michael Kannen. (Connecticut) festivals. Mr. Causa is a former member of the Aria Quartet and In 1998, cellist Nina Lee joined the a current member of the Poseidon Quartet, succeeding founding member Quartet, and has collaborated with such Michael Kannen. The following season, renowned musicians as the Tokyo, Artis, the quartet became the first ensemble- and Elias string quartets, Pascal Rogé, in-residence at Princeton University, Boris Berman, Peter Frankl, Thomas where they taught and performed for Adès, Natalie Clein, Ana Chumachenco, fifteen years. In the fall of 2014, the Ani Kavafian, Alberto and Antonio Lysy, quartet became the resident string quartet Liviu Prunaru, Thomas Demenga, at the Yale School of Music, succeeding Anthony Marwood, Ulf Wallin, William the Tokyo String Quartet in that position. Bennett, and others. At Yale, they perform in concert each semester, and work closely with the Ettore Causa studied at the International students in chamber music contexts. Menuhin Music Academy with Alberto Lysy and Johannes Eskar, and later at The quartet is named for Antonie the Manhattan School of Music with Brentano, whom many scholars consider Michael Tree. After teaching for many to be Beethoven’s “Immortal Beloved,” years at the International Menuhin Music the intended recipient of his famous Academy, Mr. Causa joined the faculty love confession. of the Yale School of Music in 2009. His recordings include two Claves CDs: one » brentanoquartet.com of the Brahms viola sonata and the other
Artist Profiles
his transcription of Romantic pieces, which was awarded “5 Diapasons” by the French music magazine. Mr. Causa performs on a viola made for him by Frederic Chaudière in 2003. Argus Quartet Formed in the summer of 2013, the Argus Quartet is receiving invitations from concert series throughout the United States and abroad. Recent performances include appearances at Carnegie Hall, Laguna Beach Live!, Encinitas’ Music By the Sea series, the Hear Now Music Festival, Music Academy of the West, the Birdfoot Festival, and the Muziekgebouw aan ‘t IJ in Amsterdam. During the 2016-17 season, the Argus Quartet will serve as the Ernst Stiefel Quartet-inResidence at the Caramoor Center for Music and the Arts. The Argus Quartet recently began an appointment as the Yale School of Music’s Fellowship Quartet-in-Residence and is the first ensemble to be mentored by the Brentano String Quartet in that capacity. This season, the Argus Quartet will appear at Carnegie Hall and the Norfolk Chamber Music Festival in programs with the Brentano String Quartet and clarinetist David Shifrin. The Argus Quartet believes that today’s ensembles must honor the storied chamber music traditions of our past while forging a new path forward. In that spirit, their repertoire includes not just staples of the chamber music canon, but also a large number of pieces by living composers. The quartet was recently awarded
a commissioning grant from Chamber Music America for a new work by composer and Grammy Award nominee Eric Guinivan. Beyond its commitment to performing chamber music at the highest level, Argus aims to engage audiences in unique ways. Last fall marked the inaugural season of Argus in LA, a concert series that reimagines many aspects of the traditional concert experience. These handcrafted presentations have something for everyone: eclectic programming, world premieres, and exciting guest artists. Education and outreach are an important part of the Argus Quartet’s mission. In addition to their teaching responsibilities at Yale, the quartet has worked with students through residencies and master classes at James Madison University, Rockport Music, the Milken School, the Young Musicians Foundation, California State University Long Beach, and the Birdfoot Festival. joseph haydn String Quartet in E-flat major, Op. 20, No. 1 Were you an actor in Shakespeare’s Globe Theater when his plays were first performed, you would have been given “sides” before rehearsal, a copy of your lines, and only yours, perhaps with a few cues to help you figure out when to say them. You would show up to meet your fellow actors, probably with educated guesses as to what would evoke certain responses and what responses
Notes on the Program
your lines would elicit, and immerse yourself in the discovery of what the play actually was about. No study of the whole beforehand, no profound meditation on the interrelationships of characters and events, just real-time experience: fresh, immediate, and often surprising. Playing a quartet from Haydn’s Op. 20 when the ink was just barely dry would have been a similar experience. The works were published in the 1770s; the first complete score showing all the parts together (considered a completely necessary study text by any serious artist today) appeared only in 1802. The music was published for the entertainment and edification of those playing at home, with friends. You would invite your musically literate friends to join you for an evening of music-making, and each person, from his or her own part, would be able to make reasonable, logical guesses as to what the remainder of the quartet might be doing. But Haydn being Haydn, master of clever twists and turns and of the novel combining and recombining of ideas, would subvert those expectations around nearly every turn. And as with good comedy, the thwarting of expectations would provoke delight and fascination. Besides playing chamber music with friends, were you living at that time you might spend some leisure time at social salons. You would go to enjoy the art of conversation, and would endeavor to embody the qualities of attentiveness, erudition, wit, and creativity. You would try to listen well,
respond with enthusiasm and personality, and perhaps surprise and titillate with a bon mot or two. The interaction in many a movement of a Haydn quartet is quite akin to the conversational atmosphere at a salon, a comparison which would not have been lost on people who were active and eager participants in both. And Haydn was writing these quartets for exactly these people, not so much as pieces to impress an audience. The music is largely about the sense and the feeling of the interaction within the group. A modern-day audience is put in the role of eavesdropper, a role not without its considerable pleasures. So many details of the music might provoke a knowing smile from the educated amateur musician sitting down to read Op. 20, No. 1 for the first time. The piece begins straightforwardly enough, but one member is strangely mute. Hmm. Perhaps all will finally begin in earnest together in the second phrase. The connecting link between the two phrases is quite a bit fancier than warranted in the cello, a pompous intruder in the salon using eight words where four will do. The second phrase comes along and still one member sits on the sidelines. A brief modulation ensues and finally the second violinist is lured into the action. But the first violinist then steps aside, the cello plays the role of second violin to the second’s first, and the violist plays at being the supporting bass that is the job of the cello. A battle for prominence between the violins ensues, each snatching the tune
Notes on the Program
from the other. Then the quartet lapses into an imitation of an orchestra, putting an end to this. At other moments a concerto texture is invoked, or the music wanders seemingly aimlessly only to find itself and realize it is not in the expected place, and so on and so forth, never without a subtle twist to keep us guessing. Precisely the feel of a good, diverting conversation. The clarity of the rhetoric is wonderfully startling to a cultured ear.
attempted, but it turns out we’re not in Kansas anymore. It doesn’t take hold. But while Haydn could easily have written the briefest transition to bring us back to the right key, he instead allows a silence to startle us enough to be ready for the shrug and slap in the face that jolts us back to where we should have been all along. The slow movement displays a mesmeric homogeneity of texture and rhythm, choral in sound and with kaleidoscopically shifting colors and shadows. The surface is pared down and with it our attention to the sky-shifts is honed and intensified. All shenanigans left behind, the movement enchants with its hushed confidences. Haydn writes phrases that flout circularity and regularity, often in groups of five pulses, all float and drift. We leave the salon to confide one on one, quiet and intimate. Mozart was clearly touched deeply by this movement and paid extraordinary tribute to it in the slow movement of his own E-flat major quartet, K. 428.
Minuets in Haydn quartets represent an opportunity for the composer gleefully to refuse to go along with the conventions of the dance that would have been in everyone’s ears. A Haydn minuet is always a confrontation between tradition and innovation. The one in Op. 20, No. 1 is no exception. The tune itself is a non-sequitur of sorts, but one that gets repeated enough to become expected just in time to be abruptly changed just when we are sure we know what we have coming to us. The contrasting trio section finds the violist in the role of spectator, and perhaps the music feels as if it were As a young man, Haydn made money happening within his memory, in a collaborating with a comic actor named sort of subjunctive mood, in the past Kurz on burlesque performances and or in a dream-state. Unbeknownst to comic operas (at least one of which was us at this moment, it is a foreshadowing banned by the queen for impropriety!). of the extraordinary slow movement Kurz was fond of physical comedy. His with which it shares both a key and a theater housed an apparatus the Jesuits motivic link. (The first four notes in constructed to have angels descend the second violin and cello are identical from the heavens; he used it instead to with the inner voices that begin the feature flying donkeys. The burlesque following movement.) When the viola is rarely far from the surface in a comic finally joins it is as if in semi-awakening, finale by Haydn, and here we have in a bit of a haze trying to ascertain hiccuping, sudden fits and starts, the where we are. The minuet tune is sense of a creature chasing its own tail,
Notes on the Program
and many other ridiculous and charming exploits. One of my favorite anecdotes about Haydn finds him in the back of the concert hall during a performance of one of his symphonies erupting in giggles at every surprise. I would like very much to think of him so during the finale of Op. 20, No. 1. —Mark Steinberg felix mendelssohn String Quintet No. 2 in B-flat major, Op. 87 The B-flat Viola Quintet of Felix Mendelssohn would have to count as one of the composer’s “mature” works, since he wrote it in 1845, only two years before his death; and yet he was only thirty-six at the time. It is the second of his two viola quintets, the first, in A major, having been one of his prodigious teenage masterpieces. The viola quintet as a genre was first made great by Mozart, who composed six; after him, however, there were very few contributors across the years, with one quintet from Beethoven, two from Mendelssohn, two from Brahms, one from Dvorák and one from Bruckner, and effectively none from the major composers of the 20th century. This is surprising in view of the rich symmetry and combinatorial potential of the scoring. Mendelssohn’s B-flat Quintet has reminded many of his famous Octet, which he wrote twenty years earlier at the age of 16. The opening of each work is exuberant, brilliant, even heroic, and displays the first violin in a truly soloistic capacity, with the other parts
supporting in an effervescent, fevered accompaniment. In the Quintet, this mood is followed by a turbulent triplet passage, and finally a songful second theme that is introduced by the first viola. Despite some shadowy low points, the extroverted character of the opening unquestionably dominates this movement; it is as if the Quintet aspires at times to become an entire string orchestra. The second movement is an intermezzo, substituting here for the more common quicksilver Mendelssohn Scherzo. Grave rather than fleeting, the movement is a graceful, antique dance in 6/8 time. Although it is in the dark key of G minor, there is a kind of lift in the music that suggests that behind the stern mask there might be a smiling face, or at least a twinkle in the eye; but the dancer is not giving anything away. The third movement, on the other hand, is unambivalently grief-stricken. The hushed opening, with its dotted rhythms, evokes a funeral march. Perhaps the movement is a distant cousin of the well-known slow movement from Schumann’s Piano Quintet, but in Mendelssohn’s work the rhythmic unity among the five instruments confers an even more somber hue on the proceedings. After a more anguished transitional passage, a consoling, intimate second theme appears in a major key; later in the movement, the forces of major and minor struggle for supremacy, culminating in an astonishing climax that has an almost religious fervor.
Notes on the Program
written dozens of major works, including operas, concertos, and symphonies— notably his twelve string symphonies, of which the Octet can be named as one of the richest outgrowths. The string octet as a genre was largely uncharted territory. Louis Spohr had written a string octet, or as he called it, a Double String Quartet, a little more than a year earlier, but Mendelssohn’s Octet calls for a single, cohesive ensemble, rather than a combination of two distinct groups. The first movement opens with a thrilling theme spread over three octaves, contrasted by a rich second theme spanning only a fourth. Mendelssohn gives due attention to the inner voices, whose accompaniments are melodic, rather than mere harmonic felix mendelssohn padding. The Scherzo is chamber-like String Octet in E-flat major, Op. 20 in its texture and transparency but symphonic in its scope, size, and diabolical Felix Mendelssohn’s String Octet, written in 1825, is universally regarded intricacies. Inspired by a misty and as a masterpiece. The fact that the com- ghostly passage from Goethe’s Faust, the Scherzo seems to appear and then disposer was only 16 years old when he completed the work adds to its mystique solve into thin air. The finale brilliantly displays Mendelssohn’s mastery of but explains little in the way of its counterpoint. It begins with a wildly mature craftsmanship and the astounding clarity and compositional control fast fugue subject that ascends through it reveals. Mendelssohn, who was born all the voices. The wicked pace pits the music’s splendid nobility against its unin Hamburg and raised in Berlin as a child of wealthy arts patrons, had every derlying warmth and youthful mischief. —Julia Clancy intellectual and musical inspiration at his disposal. His parents hosted weekly salon concerts to which they invited celebrated composers, writers, and musicians, Goethe and Rossini among them. Mendelssohn’s musical cultivation came not through the stereotypical struggle of a tortured artist, but from a wealth of resources, comforts, and unyielding familial support. Prior to composing the Octet, the young Mendelssohn had
The finale is active, genial, and festive, a more easygoing companion to the first movement. In this final movement, the emphasis is on contrapuntal movement, the agile passing-around of ideas from voice to voice. Again the String Octet comes to mind, with its own energetic, contrapuntal finale; even in little details the two movements recall each another, such as when the first viola introduces a new idea in midmovement that becomes an important force. Despite a surprise pause near the movement’s end, with a teasing interjection, the trumpet-like idea that opened the movement gets the final word. —Misha Amory
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