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Program Notes – Escher String Quartet
Sponsored by the W. Ford Schumann '50 Performing Arts Endowment
Chacony in G minor for String Quartet (c. 1678, arr. 1947–8, rev. 1963)
Henry Purcell, arr. Benjamin Britten
English composer Henry Purcell (1659-1695) wrote vocal and instrumental music for court, church, and
theatre. While the exact year of composition of the Chacony in G minor is unknown, scholars speculate
that it belongs in the repertory for the Twenty-Four Violins. As a young man, Henry Purcell obtained the
post of composer for this court ensemble of strings and basso continuo. The unusual term “Chacony”
identifies the composition as a chaconne involving a repeated eight-measure harmonic progression
containing variations primarily in the upper three voices.
Benjamin Britten’s (1913-1976) fascination with Purcell is evident in the extensive publications of his
arrangements, editions, and realizations of the Baroque composer’s output. Although most of these
collections are vocal works with piano or orchestral accompaniment, the Chacony in G minor was one
of two instrumental arrangements Britten completed based on Purcell’s work. Unlike the continuo
realizations in many of his vocal arrangements, the Chacony leaves no harmonic stamp of Britten’s
20th-century style. Instead, this version for string orchestra or quartet (with or without harpsichord)
contains an expressive dynamic structure and modified dotted rhythms.
Quartet No. 2 in C major for Strings, Op. 36 (1945)
Benjamin Britten
Even before the tribute of the Chacony in G minor, Benjamin Britten’s second of three string quartets
was composed for the 250th anniversary of Purcell’s death. Whereas the Chacony is clearly an
arrangement that preserves the essence of an older style, the Quartet reflects Britten’s bold musical
language following experiences abroad during World War II. Commissioned by Mary Behrend, a patron
of the Aldeburgh Festival, the Quartet was first performed by the Zorian Quartet at Wigmore Hall in
London. Britten wrote to Behrend, “To my mind it is the greatest advance I have yet made.”
In accordance with the Classical string quartet tradition, Britten uses sonata form for the first
movement. However, the exposition is significantly longer than the recapitulation, and the latter
presents the themes simultaneously. The Vivace is an exploration of active ostinato patterns and
gestures in waves. The third movement is the longest part of the composition, its name referencing the
Chacony form of Henry Purcell. The ground bass is introduced in unison at the opening, but this
material appears in various instruments throughout the movement. Britten divides sections with several
solo cadenzas, creating a larger-scale structure than Purcell employed in his Chacony.
“Se la mia morte brami” from Madrigali libro sesto (1611) and Illumina faciem tuam (1603)
Carlo Gesualdo, arr. Pierre Lapointe
Carlo Gesualdo (c1561-1613), the Prince of Venosa and Count of Conza, is infamous for engaging
assassins to help him murder his wife and her lover. However, his reputation as a man does not
overshadow his legacy as an unorthodox composer of the Italian Renaissance. He took textual
expression to the extreme, often sacrificing the contrapuntal rules that would make his music far easier
to sing. In these arrangements, violist Pierre Lapointe modifies two five-voice compositions for string
quartet, capturing the essence of Gesualdo in order to relate it to later works for the string quartet
medium.
From Gesualdo’s sixth book of madrigals, “Se la mia morte brami” includes the disorienting
chromaticism, diminished intervals, and abrupt transitions that characterize his style. The anguished
cries on “crudel” (“cruel”) are followed by sweet sonorities that portray a happy death (perhaps with the
double entendre common in madrigals of this period). Even in the wordless version for string quartet,
the heightened activity near the end announces the departure of the soul.
English translation:
If you desire my death, cruel one, I shall die happy and after death adore you alone.
But if you desire that I not love you, ah, with but the thought alone, grief kills me, and my soul departs.
The motet Illumina faciem tuam is unusually consonant for Gesualdo. Though it resembles the pristine
sound of Palestrina at first, Gesualdo’s striking departures include large leaps, striking 9-8 suspensions,
and a few chromatic shifts near the conclusion of the motet.
English translation:
Let thy face shine upon thy servant; save me in thy kindness.
O Lord, let me not be put to shame, for I have called upon you.
Quartet in A minor for Strings, Op. 132 (1825)
Ludwig van Beethoven
Though Ludwig van Beethoven (1770-1827) composed 16 string quartets, he wrote none between
1810 and 1822. The cellist Prince Golitsïn from St. Petersburg commissioned several quartets in 1822,
but the first in E flat was not finished until 1825. Although Beethoven began the A minor quartet next, a
serious gastric illness in April delayed his compositional process. The Schuppanzigh Quartet premiered
it privately in September and publicly in November.
Written in Beethoven’s last two years, the late string quartets are full of deep inward exploration. The
forebodings of his illness, frustrations of his deafness, and anxiety about his nephew Karl all contributed
to new forms of expression. The achingly beautiful third movement of this quartet, entitled “Heiliger
Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart” (“Song of Thanksgiving to the
Deity from a convalescent in the Lydian mode”), is the center of five movements with the symmetrical
key scheme of A minor–A major–F major–A major–A minor.
The haunting opening of the first movement sets the stage with harmonically-ambiguous semitones that
develop into a rich A minor tonality. A virtuosic violin solo leads into a memorable theme, but without
the settled impression that often accompanies the first theme of an Allegro movement. The
juxtaposition of enigmatic, bright, and anguished moments in this movement foreshadow the journey
yet to come.
The second movement is essentially a minuet and trio, though the sparse texture adds a degree of
introspection to the dance form. The trio contains a sustained tone with sweet meanderings in a high
register. This affect remains even when staccato chords replace the pedal tone, but a surprising
venture into C sharp minor interrupts the mood.
The “Heiliger Dankgesang” in the third movement is an ethereal prayer that alternates with a whimsical
Andante to create another symmetrical five-part structure. Based on the Lydian church mode
(containing white notes on the piano between F and F), the unhurried lyrical sections are devoid of
accidentals. In fact, this contemplative sound world may remind listeners of the living composer Arvo
Pärt. One might also find a link to Carlo Gesualdo’s unconstrained way of reaching the divine.
The fourth movement’s proud march brings the listener back to a world more often associated with
Beethoven. The regular phrase lengths and dominant-tonic relationships hearken back to the
composer’s earlier works, yet an operatic violin recitative brings a startling passion to the end and leads
into a darker final movement.
The fifth movement visits major keys between instances of the A-minor rondo theme, but there is
always an underlying sense of fear. Still, Beethoven chooses to end the entire quartet with a joyful A
major and a lively tempo.
– Sarah Riskind
The Escher String Quartet
The ensemble takes its name from Dutch graphic artist M.C. Escher and draws inspiration from the
artist’s method of interplay between individual components working together to form a whole. This
philosophy has worked well for the group. According the the Boston Globe, "Finely honed technique
and a focused ensemble blend are this group's strong suits...a dark ambrosial brew all its own."
The Escher String Quartet has received acclaim for its individual sound, inspired artistic decisions and
unique cohesiveness. Championed by members of the Emerson String Quartet, the group were proud
to be BBC New Generation Artists for 2010-2012. Having completed a three-year residency as artists of
The Chamber Music Society of Lincoln Center’s “CMS Two” program, the ensemble has already
performed at prestigious venues and festivals around the world including Alice Tully Hall, the 92nd
Street Y and Symphony Space in New York, Kennedy Center, the Louvre, Ravinia and Caramoor
Festivals, Music@Menlo, West Cork Chamber Music Festival, Wigmore Hall, the City of London
Festival and a tour of China including Beijing, Shanghai and Hangzhou.
Within months of its inception in 2005, the Escher String Quartet was invited by both Pinchas Zukerman
and Itzhak Perlman to be the quartet-in-residence at each artist's summer festival: The Young Artists
Programme at Canada’s National Arts Centre and The Perlman Chamber Music Program on Shelter
Island, NY. The Eschers have since collaborated with artists such as Andrés Diaz, Lawrence Dutton,
Kurt Elling, David Finckel, Leon Fleisher, Vadim Gluzman, Benjamin Grosvenor, Wu Han, Gary
Hoffman, Joseph Kalichstein, David Shifrin, Joseph Silverstein, and Pinchas Zukerman. In August 2012
the Quartet gave their BBC Proms debut, performing Hugh Wood’s 4th String Quartet.
In 2012-2013 the Quartet will complete their final BBC New Generation Artists recording project in
London, as well as returning to the Wigmore Hall following their successful debut there in February
2012. They will continue their relationship with the Chamber Music Society of Lincoln Center, curating
and performing a series of concerts celebrating the 100th anniversary of Britten’s birth. Their tours in
Europe include a date with the prestigious Agence de concerts et spectacles Cecilia in Geneva, their
Austrian debut in Eisenstadt, and concerts at several UK festivals including Paxton and Gregynog.
2012-2013 releases include the complete Zemlinsky Quartets on Naxos; the Escher String Quartet will
also record the complete Mendelssohn Quartets for release by BIS. Their previous recordings include
‘Stony Brook Soundings’ Vol. 1 (Bridge Records), which features the quartet in the premiere recordings
of five new works. Other recordings include the Amy Beach Piano Quintet with Anne-Marie McDermott
for the CMS Studio Recordings label.
The Williams College Music Department’s Visiting Artist Series brings outstanding groups and soloists
representing various musical styles and genres to the Williams campus to work with students and
faculty and perform for the pleasure of all.