We’ve got two exciting concerts coming up this spring.
First, on March 7, 2020 we’re collaborating with guitarist Peter Zisa on a concert featuring two rarely-heard works from the 17th and 19th century for guitar and string quartet – Sylvius Leopold Weiss’ Concerto for Lute, and Mauro Giuliani’s Concerto for Guitar, Op. 30 . Originally written for guitar with string orchestra, they work very well arranged for string quartet. Rounding out the program will be one of Beethoven’s most loved quartets, his mighty Op. 59 no 1 “Rasumovsky” quartet.
On March 29, 2020 we return to the Camerata Music Salem series. We’ll be playing two works of Beethoven in honor of his 250th birthday year – the Op. 59 no 1 “Rasumovsky” quartet and the sublime Cavatina movement from his Op. 130 quartet. Tchaikovsky’s Quartet No. 1 in D major, Op. 11 will bring the concert to a rousing conclusion!
Please visit the Events Calendar page for more information.
A fantastic look at why the Op. 131 quartet is so great, by UCLA professor Robert Winter – click here to listen.
This week and next, we’re taking on Beethoven’s Quartet No. 14 in C-sharp minor, op. 131. This seven movement quartet – played without pause from beginning to end – is thought to be Beethoven’s own favorite quartet, and it was performed for Schubert (at his request) on his deathbed. It’s a work that demands so much of an ensemble, and starting the slow, melancholy fugue that begins the work is much like being strapped into an inexorable amusement park ride – once you start, you can’t stop. Not until you reach the double bar at the end.
Many performers think that the op. 131 quartet is Beethoven’s greatest composition for string quartet (as did Richard Wagner). I’m not going to dispute that assertion. It is clearly his most experimental and fantastic quartet (he wrote that it had “less lack of imagination than before”). Understatement of the year, by Herr Beethoven! There are many reasons for this admiration and respect, and I’ll share some of mine here.
Emotional range. This quartet starts with a slow fugue that has as its subject a musical motive that might be best described as despairing. It bravely tries to rise by three notes, then heavily sags down in defeat. It has all the intellectual rigor you’d expect of a fugue, but none of that matters. The air of sadness pervades the movement. It’s immediately followed by the first of two scherzos in the quartet, and it couldn’t be any more different, cleverly set up by a unison C-sharp that evaporates into the a most effervescent D major. The massive set of variations that makes up the third movement encompass an entire world of emotion in its pages. Perhaps most stunningly, the final movement takes us from C-sharp minor to C-sharp major, with a breathtaking coda that somehow manages to convey triumph, resignation, and fierce defiance all at once – while still bringing back the basic materials of the fugue that opened the quartet over 30 minutes earlier. Amazing!
Difficulty. This is one of the supreme tests of a string quartet. Intonation is tested by the keys which allow very little use of open strings, and so provide little resonance to the harmonies. Part writing is intricate and constantly shifting – no one plays an entire melody in the piece, melodies start in one instrument and end in another, often passing through several instruments in succession before their conclusion. There are, as in many of Beethoven’s compositions for strings, many passages which just don’t work well for the instruments. Beethoven says: Too bad!
Risk and reward. It pays to try to take things to their utmost with this quartet. The quality of sound shouldn’t be sacrificed, but passages like the beginning of the last movement should just rage like a wild animal. It’s that pitting of elegance against brutality that really gets to the heart of what Beethoven is playing with in his last compositions. It went on to profoundly influence Shostakovich (who wrote 15 quartets of his own) and Bartók, to name just a few.
Please join us at the University of Portland Mago Hunt Recital Hall on Wednesday, November 2 at 12:30 pm for our free concert of Webern and Beethoven. [map]
We’re excited to present a fantastic new piece by David Ludwig to our Salem audience next month (click here for details).
The genesis of his String Quartet No. 1 “Pale Blue Dot” arose from David’s musing on the Voyager I mission, which produced one of the iconic images of mankind, which became known popularly as the Pale Blue Dot photo.
One of the other aspects of the Voyager I mission was to send a collection of images, sounds, music, and information about the human race. Among these was a recording of the Cavatina movement from Beethoven’s String Quartet in B-flat major, Op. 130, played by the Budapest String Quartet. There is a brief, spectral quotation of the beginning of the Cavatina in this new quartet.
Of local interest to chamber music fans, Pale Blue Dot was written for the brilliant Dover String Quartet, which has been in residence at Chamber Music Northwest the past few seasons. Below is a recent performance of Pale Blue Dot by the Dover Quartet at the Curtis Institute of Music, where they are the quartet-in-residence.
You can read much more about Ludwig’s inspiration and composition of this new quartet on his blog.