Robert Blocker, Dean
oneppo chamber music series
Mirรณ Quartet with Martin Beaver
David Shifrin, Artistic Director December 13, 2016 โ ข Tuesday at 7:30 pm Morse Recital Hall
Oneppo Chamber Music Series
Miró Quartet with Martin Beaver miró quartet Daniel Ching, violin • William Fedkenheuer, violin John Largess, viola • Joshua Gindele, cello
Joseph Haydn 1732–1809
Alberto Ginastera 1916–1983
String Quartet in D major, Hob. III:34 I. Allegro di molto II. Un poco adagio affettuoso III. Menuetto. Allegretto alla zingarese — Trio IV. Presto scherzando String Quartet No. 1, Op. 20 I. Allegro violento ed agitato II. Vivacissimo III. Calmo e poetico IV. Allegramente rustico intermission
Wolfgang Amadeus Mozart 1756–1791
String Quintet No. 4 in G minor, K. 516 I. Allegro II. Menuetto and Trio. Allegretto III. Adagio ma non troppo IV. Adagio — Allegro Martin Beaver, 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
Miró Quartet The Miró Quartet is one of America’s most celebrated and dedicated string quartets, having been labeled by The New Yorker as “furiously committed” and noted by the Cleveland Plain-Dealer for its “exceptional tonal focus and intepretive intensity.” For the past twenty years, the quartet has performed throughout the world on the most prestigious concert stages, earning accolades from passionate critics and audiences alike. Based in Austin, Texas, and thriving on the area’s storied music scene, the Miró takes pride in finding new ways to communicate with audiences of all backgrounds while cultivating the longstanding tradition of chamber music. The quartet’s 2016-17 season features collaborations with David Shifrin, Martin Beaver, Clive Greensmith, André Watts, and Wu Han, as well as a much-anticipated return to Carnegie Hall. During its 2015-16 season, the quartet returned to the Chamber Music Society of Lincoln Center, performing Beethoven in Alice Tully Hall and the complete cycle of Ginastera’s quartets at the Rose Studio, and performed a late-Schubert quartet cycle for the prestigious Slee Series in Buffalo, New York.
the first ensemble ever to be awarded the coveted Avery Fisher Career Grant. » miroquartet.com Martin Beaver, viola Recognized as a soloist, chamber musician, and the first violinist of the renowned Tokyo String Quartet from 2002-2013, Martin Beaver is in demand all over the world. After a remarkable career, the quartet concluded its final season in the summer of 2013. Remaining one of Canada’s violin ambassadors to the international concert stages, Martin is active in recital, concerto, and chamber music performances. Mr. Beaver has been a concerto artist with orchestras around the world, including the San Francisco Symphony, the National Orchestra of Belgium, Mexico City Philharmonic Orchestra, the Portuguese Radio Orchestra, and all the major orchestras of Canada. He has collaborated with many esteemed artists including violinist Pinchas Zukerman and such eminent conductors as Kazuyoshi Akiyama, Raymond Leppard, Leon Fleisher, and Charles Dutoit. In recital, Martin has enchanted audiences in cities across North America and Europe. He has also been invited to such festivals as the Ravinia Festival (Rising Stars Series), Concerts Under the Dome (Chicago), Seattle Chamber Music Festival, OstBelgien Festival (Belgium), Music in Blair Atholl (Scotland), and major Canadian festivals.
Formed in 1995, the Miró Quartet has been awarded first prize at several national and international competitions including the Banff International String Quartet Competition and the Naumburg Chamber Music Competition. Since 2003, the Miró Quartet has served as the quartet- A recipient of many awards, Mr. Beaver was in-residence at the Sarah and Ernest Butler the first to be awarded the use of the 1729 School of Music at the University of Texas “ex-Heath” Guarneri del Gesù violin on loan at Austin, and in 2005 the quartet became from the Canada Council for the Arts’
Artist Profiles • Notes on the Program
Musical Instrument Bank. He has also been the recipient of the Canada Council’s prestigious Virginia Parker Award, and has received top prizes at the Queen Elizabeth Competition in Belgium, the 1990 International Violin Competition of Indianapolis, and the 1991 Montreal International Music Competition. A former pupil of Victor Danchenko, Josef Gingold, and Henryk Szeryng, Mr. Beaver has served on the faculties of the Royal Conservatory in Toronto, University of British Columbia, Peabody Conservatory of the John Hopkins University, the Steinhardt School at New York University, and the Yale School of Music. Mr. Beaver has been appointed to the faculty at the Colburn School in Los Angeles. He acts as co-director of the chamber music program and maintains his own studio in the school’s Conservatory of Music. joseph haydn String Quartet in D major, Hob. III:34
surpass their prior roles providing “harmonic padding” and establish their voices as essential to the conversation. The fourth quartet of this collection begins with a unison group of four repeated notes. Seemingly simple, this four-note motif acts as a portal to other harmonic worlds throughout the movement. The second movement presents a set of variations in D minor that are operatic in their melodrama: the first violin acts as a distressed soprano and the cello is a sorrowful tenor. The third movement, Allegretto alla Zingarese, or, Allegretto “in the Gypsy Style,” obscures any trace of a clear downbeat and exists as a sort of “Menuetto” for a dancer with two left feet. The gypsy influence remains in the final movement with a flashy, chromatic, and at times comically uncouth first violin part. It ends in a flash, evaporating in a final pianissimo. alberto ginastera String Quartet No. 1, Op. 20
Buenos Aires native Alberto Ginastera beHaydn earned his title “Father of the String gan composing his first string quartet in Quartet” with the publication of his Hob. 1948, shortly after finishing his studies with III:31-36, a group of six quartets written in Aaron Copland at Tanglewood. His String 1772. Though the composer, then 40 years Quartet No. 1, Op. 20, is an early work from old, had already completed more than 50 a period marked by what he called his symphonies and about 20 other string “subjective nationalism,” which explored quartets, his contribution to the genre by tonality, polytonality, rhythmic experimentway of the Hob. III quartets redefined the ation, and strong allusions to vernacular roles of each individual instrument. Rather aesthetics. Traces of his homeland can be than a concerto for violin with a three-part found throughout the work. The first moveaccompaniment, the Hob. III quartets re- ment, marked Allegro violento ed agitato, flect an egalitarian dialogue. Though the is aggressive and macho, evoking the rhyfirst violin still enjoys the spotlight, the thms and melodies of gauchos. The second cello sheds its duties as mere accompanist movement, Vivacissimo, though pianissimo and luxuriates in occasional soloistic mo- at the outset, takes the fervor of the first ments. The second violin and viola parts movement and converts it into neurotic,
Notes on the Program
nervous energy. It depicts a rural dance descent in the first violin part that is contest called a “malambo,” in which men accompanied by petulant, insistent eighth vie for hours, accompanied by guitars. The notes in the middle voices. Though the movement ends as if the listener has left the secondary theme offers a temporary rearena, hearing the contest continue on spite from the gloom, it ultimately fails through the night as the village sleeps. The to change the mood. The second movement, third movement, Marked Calmo e poetico, a Menuetto and Trio, is coarse and violent is a nocturne that opens with the “guitar” —qualities that are unexpected in a trachord built on ascending fourths from an ditional dance. The “wrong” beats are E in the cello. The cello wails in mourning accented and its dynamics are unpredictable; as the other strings provide accompaniment it is a dance not for dignified ladies and that feature novel extended string techgentlemen of the court, but rather for niques. The finale, marked Allegramente vile and unspeakable creatures. rustico, carries on the boisterous zeal of the first two. Copland’s influences can be The third movement, marked Adagio ma detected in the rhythmic and thematic non troppo, offers a proverbial shoulder to architecture of the movement. cry on, muted strings giving it a sweet and ethereal feeling. The fourth movement Adagio that follows is puzzling. The comfort wolfgang amadeus mozart of E-flat major is gone and the final moveString Quintet No. 4 in G minor, K. 516 ment’s fate rests in the second Adagio’s conclusion. In the end, triumph arrives Each musical key carries explicit connota- in the key of G major. The last movement’s tions — some of which are universal among Allegro, in its overt and comical glee, laughs composers (C major is often associated with in the face of the prior movements, still purity; E-flat major, perhaps by Beethoven’s dripping with tears. precedent, is often considered heroic), and —Julia Clancy some are very specific for each individual composer. The key of G minor was one of sorrow and desperation for Mozart. His first piano quartet and penultimate symphony illuminate the darkest, most anguished layers of his soul. In The Magic Flute, Pamina sings in G minor: “Ah, I feel the joy of love has gone for evermore! Never will happiness return to my heart! If you do not feel love’s yearning I must seek peace in the grave.” Mozart’s use of G minor creates a dark cloud that looms over his String Quintet No. 4, K. 516, and if his Symphony No. 40 in G minor, K. 550, can foretell the Quintet’s fate, that cloud won’t soon dissipate. The Allegro opens with a slithering chromatic
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ONEPPO CHAMBER MUSIC SERIES SEP 27
2016–2017
BRENTANO STRING QUARTET With Ettore Causa, viola; Argus Quartet
OCT 25
PRISM QUARTET Bach, Gershwin, Schumann, and Martin Bresnick
DEC 13
MIRÓ QUARTET With Martin Beaver, viola; David Shifrin, clarinet
JAN 24
BRENTANO STRING QUARTET With Jonathan Biss, piano; Hsin-Yun Huang, viola
FEB 14
IMANI WINDS Wei-Yi Yang, piano
FEB 28
AN UNLIKELY MUSE A concert drama about Brahms and the clarinetist who inspired his later works
MAR 28
JERUSALEM STRING QUARTET Haydn, Prokofiev, and Beethoven
MAY 09
COMPETITION WINNERS Winning student chamber ensembles
brentano string quartet
miró quartet
DAVID SHIFRIN Artistic Director TUESDAYS, 7 : 30 PM Morse Recital Hall BOX OFFICE 203 432-4158 music-tickets.yale.edu
Robert Blocker, Dean
Upcoming Events Lunchtime Chamber Music december 14 Wendy Sharp, director Morse Recital Hall | Wednesday | 12:30 pm free admission Prokofiev at 125 december 14 Horowitz Piano Series In a program hosted by faculty pianist Boris Berman in observance of the 125th anniversary of Prokofiev’s birth, YSM student pianists perform transcriptions and arrangements of the composer’s ballets Morse Recital Hall | Wednesday | 7:30 pm Tickets start at $10 • Students $5 Guitar Chamber Music december 15 Yale School of Music Ensembles Students from YSM faculty guitarist Benjamin Verdery’s studio perform a program of chamber music Morse Recital Hall | Thursday | 7:30 pm free admission London Haydn Quartet january 15 Collection of Musical Instruments The London Haydn Quartet and clarinetist Eric Hoeprich perform works by Haydn, Beethoven, and Weber 15 Hillhouse Ave | Sunday | 3 pm Tickets start at $25 • Students $10 Seniors & Yale faculty and staff $20
Olga Kern, piano january 18 Horowitz Piano Series Renowned pianist Olga Kern performs works by Scarlatti, Beethoven, Rachmaninoff, Scriabin, and Balakirev Morse Recital Hall | Wednesday | 7:30 pm Tickets start at $21 • Students $11 Arthur Haas & Friends january 20 Faculty Artist Series Faculty harpsichordist Arthur Haas performs with his ensemble Gold and Glitter, featuring Sang Joon Park, baroque flute; Daniel Lee, baroque violin; and Martha McGaughey, viola da gamba Morse Recital Hall | Friday | 7:30 pm free admission Wendy Sharp & Friends january 22 Faculty Artist Series Faculty violinist Wendy Sharp performs with YSM faculty pianist Melvin Chen, violist Marka Gustavsson, and cellist Mimi Hwang Morse Recital Hall | Sunday | 3 pm free admission
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