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					          Wooster Chamber Music Series
            2006-07 Season Schedule

October 1, 2006              Emerson String Quartet

November 5, 2006              Borealis Wind Quartet

January 14, 2007             Colorado String Quartet

February 4, 2007                Biava String Quartet

March 18, 2007               Juilliard String Quartet

April 15, 2007                   Gryphon Piano Trio

                                                        Colorado String Quartet

                                                         The College of Wooster
                                                           Gault Recital Hall
                                                         525 E. University Street
                                                          Wooster, Ohio 44691

                                                        Sunday, January 14, 2007
                                                                 3:00 P.M.
duration of the introduction and the proper key of the quartet is not
revealed in a convincing manner until the fourteenth bar of the Allegro
                                                                                                 Colorado String Quartet
vivace exposition. Also of note is the absence of a true opening “theme.”             Julie Rosenfeld, Violin; Deborah Lydia Redding, Violin;
Instead, Beethoven builds the sonata-allegro structure around a core                      Marka Gustavsson, Viola; Diane Chaplin, Cello
motive (the “short-long” that opens the Allegro vivace); this motivic
approach would become a hallmark of later works, such as the “short-            The Colorado Quartet has toured more than twenty countries on four
short-short-long” motive that forms the backbone of the Fifth Symphony.         continents, to become one of the world's finest string quartets. They are
                                                                                esteemed for their impassioned, lyrical playing and for their deep
As an homage to Razumovsky, the first two Op. 59 Quartets include               knowledge of the quartet literature, both classical and contemporary.
direct quotations of Russian folk songs. Though not explicitly labeled as       Their live performances and recordings alike have received enthusiastic
such, the theme of the second movement (Andante con moto) is clearly            reviews, and they were recently called the "Fab Four" of the renowned
evocative of such a melody. Though slow and lyrical, Beethoven avoids           Newport Music Festival.
any potential for monotony by maintaining a constant eighth-note pulse,
often including extended pizzicato passages in the cello. Though initially      The Colorado has performed at Carnegie Hall, Lincoln Center, The
serving a supporting role, the plucked cello rises to the forefront later in    Kennedy Center in Washington, D.C., and the Concertgebouw in
the movement.                                                                   Amsterdam, along with countless other venues. As part of the Mostly
                                                                                Mozart Festival, they performed twenty Haydn quartets over a two-year
The third movement marks a slight return to tradition. For several years        period. They recently became the first all-female quartet to have
Beethoven had consistently eschewed the stately Minuet in favor of the          performed the complete Beethoven Quartets (which they regularly
more raucous Scherzo (as he did in the “Eroica” Symphony). This time,           perform) both in North America and in Europe. In 1995, the Quartet
however, he opts for the grace of the Minuet to act as a not-too-harsh          commemorated the 50th anniversary of Béla Bartók's death with the first
contrast to the introspection of the Andante. The movement is not               complete performance of his string quartets to occur in Philadelphia.
without a few rhythmic surprises, particularly in the middle Trio section.
The blistering finale (Allegro molto) ensues without pause. Its fugal           The group has traveled extensively. Their most recent long-distance
character is evident from the outset; Beethoven goes so far as to               adventure was a trip to Sarajevo, where they performed at the Bosnia
construct a genuine fugue exposition until the final voice (the first violin)   International Music Festival, which takes place in the Bosniak Cultural
enters. Though the proper fugue is broken, the contrapuntal nature of           Center, a converted Turkish bath from Ottoman times. There, they were
the opening continues throughout. The finale forecasts the importance           warmly received, and further left their mark with a master class for
of fugal techniques in Beethoven’s later string quartets, culminating in        Sarajevo Academy students whose knowledge was primarily rooted in the
the monumental Grosse Fuge. The finale is a technical tour de force             Russian tradition.
which earns the quartet its occasional descriptive title, “Heroic.”
                                                                                The Colorado Quartet maintains extensive commitments to the education
                                                                                and mentoring of younger musicians. They are the Artistic Directors of
                                                     Notes by Brian Biddle      Soundfest, a two-week Chamber Music Festival and Quartet Institute on
                                                                                Cape Cod. At Soundfest, they not only perform several concerts during
                                                                                each season, but also manage to coach both young professional quartets
                                                                                and apprentices in age groups ranging from 10 to 21 years of age. They
                                                                                are Quartet-in-Residence at Bard College in New York State, and have
                                                                                held residencies at the Oberlin Conservatory of Music, The New School in
                                                                                Philadelphia, Swarthmore College, Skidmore College, and Amherst
                                                                                College. They have taught master classes throughout North America, at
                                                                                institutions such as The Eastman School of Music, Northwestern
                                                                                University, and Indiana University, and have served on the juries of
                                                                                international competitions including the Coleman Chamber Music
                                                                                Competition, Banff Quartet Competition, and Concert Artists Guild

                                                                                The Quartet's CD recordings include works by Beethoven, Brahms,
                                                                                Schubert, Mendelssohn, and Henry Cowell (with Musicians Accord), and
more contemporary works by Karel Husa, Ezra Laderman, and Mel                  forgoing traditional large-scale form in favor of a single continuous work.
Powell. In 2003, they marked their 20th anniversary with the first             The Fourth Quartet elaborates on the new coloristic approach of the
recording of what will, by the 25th anniversary, become a complete set of      Third in the context of a broader multi-movement form.
the Beethoven Quartets.
                                                                               The Fourth Quartet is an early fully-formed example of Bartók’s
                                                            Sarah J. Buck      characteristic symmetrical structures. The five movements of the quartet
                                                                               act as a palindrome; the first and fifth movements (both marked Allegro)
                                                                               are related, as are the Scherzo-like second and fourth movements
                                                                               (Prestissimo and Allegretto, respectively). The opening Allegro contrasts a
                                                                               dissonant, contrapuntal motive with a longer lyrical phrase in a
Wolfgang Amadeus Mozart (1756-1791)
                                                                               traditional sonata-allegro structure. The first Scherzo is played almost
                                                                               entirely with mutes, building a nervous energy that eventually evaporates
                                                                               in a cloud of rising glissandi and pizzicato lines.
Completed in Vienna at the end of 1782, the G Major quartet was
published three years later as the first of a set of six dedicated to Joseph
                                                                               The third movement (Non troppo lento) is the centerpiece of the
Haydn, the first great master of the string quartet genre. Haydn was
                                                                               palindrome. It contrasts the busy landscapes of the first two movements
largely responsible for transforming the string quartet from the servile
                                                                               with a simple and expressive cello solo accompanied by a static harmonic
role of providing “background music” for noblemen’s parties to the most
                                                                               backdrop. The first violin answers, building to a climax then fading to
challenging of concert music idioms. The depth of the G Major quartet
                                                                               the stark opening gestures once again. The second Scherzo returns to
speaks to that transformation particularly well.
                                                                               the nervous energy of the first. It is pizzicato throughout, occasionally
                                                                               employing Bartók’s characteristic “snap” pizzicato, in which the string is
The first two movements capture the playful wit of Haydn particularly
                                                                               plucked with such force that it rebounds off of the fingerboard. Strident
well. Both the Allegro vivace and the following Minuet punctuate their
                                                                               multiple-stopped chords mark the beginning of the final Allegro. The
elegance and grace with jarring contrasts of loud and soft; the Trio of the
                                                                               finale explores the gestures of the first movement, but it attacks them
second movement even provides a touch of mystery. The Andante
                                                                               with greater zest, leading to an enthusiastic conclusion.
cantabile is soothing and at times celestial, drawing on the lowest register
of the cello to create an almost mystical sense of spaciousness. The
                                                                               Ludwig van Beethoven (1770-1827)
Molto allegro finale is a delightful fusion of Baroque polyphony and
                                                                               STRING QUARTET IN C MAJOR, OP. 59, NO. 3 (1806)
Classical sonata form. Rather than opening the movement with a simple
set of contrasting themes, each “theme area” is presented as a miniature
                                                                               The three quartets designated Opus 59 were composed at the request of
fugal exposition. The end result is a lighthearted and unmistakably
                                                                               Count Razumovsky, the Russian ambassador to Vienna who was well-
Classical double fugue which melds together its disparate techniques
                                                                               known as a chamber music enthusiast. All three quartets were written
with seamless craftsmanship. The finale encapsulates the artistic
                                                                               in 1806 and were premiered the following year by the Count’s personal
atmosphere of Vienna in the late 18th century, an environment which
                                                                               quartet (led by Ignaz Schuppanzigh) at his home. Though initially
would nurture all of Mozart’s late masterworks.
                                                                               criticized for being long and extraordinarily difficult (to both perform and
                                                                               comprehend), the three Razumovsky Quartets have endured to become
Béla Bartók (1881-1945)
                                                                               admired and indispensable components of chamber music repertory.
                                                                               Those familiar with the quartets of Beethoven cannot help but notice
Bartók’s contributions to the string quartet repertoire of the twentieth
                                                                               dramatic differences of style between the Op. 59 Quartets and the
century are comparable only to those of Shostakovich; like the quartets
                                                                               composer’s previous contribution to the string quartet repertory, the six
of Beethoven, the six surviving Bartók quartets serve as a microcosm of
                                                                               quartets of Op. 18. Indeed, much stylistic evolution has taken place; the
the evolution of the composer’s craft as a whole. The Third and Fourth
                                                                               reserved Classicism found in the earlier works has by the time of Op. 59
Quartets appeared in the late 1920s as Bartók’s mature style was only
                                                                               begun to give way to more experimental and evocative musical gestures.
beginning to emerge (in works such as the First Piano Concerto of 1926).
                                                                               The Andante introduction to the first movement sets out in this spirit,
                                                                               immediately sounding a murky diminished-seventh chord very far a field
The Third and Fourth String Quartets were composed in 1927 and 1928,
                                                                               from the tonic key of C major, calling to mind the introduction of
respectively. The Third Quartet marked a new direction in Bartók’s
                                                                               Mozart’s “Dissonant” Quartet. Indeed, things are left quite unclear for the
writing for strings, incorporating a vast array of colorful sonorities but
                                                                                     A very special thanks to
                 Colorado String Quartet                                      Mrs. Joseph Fishelson for her support.
      Julie Rosenfeld, Violin; Deborah Lydia Redding, Violin;
          Marka Gustavsson, Viola; Diane Chaplin, Cello                                             UNDERWRITER
                                                                                        Sarah Jane Buck and Nick Amster Fishelson
                                                                                              Mr. and Mrs. Stanley C. Gault
                                PROGRAM                                                        Jay Klemme and Anne Wilson
                                                                                                      Deborah P. Hilty
                                                                                                 Lois and Raymond McCall
String Quartet in G Major, K. 387                     W. A. MOZART                        The Donald and Alice Noble Foundation
    Allegro vivace assai                                (1756-1791)                                  Stephen M. Rhodes
                                                                                                Viola Startzman Robertson
    Menuetto (Allegro)/Trio
                                                                                                     Ken and Jill Shafer
    Andante cantabile
                                                                                                  Tim and Jenny Smucker
    Molto allegro
                                                                                                      Yvonne Williams

String Quartet No.4                                   BÉLA BARTÓK                                       BENEFACTOR
    Allegro                                             (1881-1945)                                 Dorothy A. Carlisle
    Prestissimo, con sordino                                                                  Robert and Mary Grace Engisch
    Non troppo lento                                                                                  Louise E. Hamel
    Allegretto pizzicato                                                                             Elinor B. Hancock
    Allegro molto                                                                                 Terry and Stuart Ling
                                                                                                    Clara Louise Patton
                           INTERMISSION                                                        Margaret and David L. Powell
                                                                                                 Bill and Carolyn Sheron
                                                                                                  Kathy and Harry Zink

String Quartet in C Major, Op. 59, No. 3     LUDWIG VAN BEETHOVEN                                         PATRON
    Introduzione: Andante con moto - Allegro vivace      (1770-1827)
    Andante con moto quasi Allegretto                                  Bill and Marilyn Blanchard                  Carolyn Hostetler
    Menuetto grazioso - Trio                                           Carlye and Frank Cebul                      Miriam and Burney Huff
    Allegro molto                                                      H. Alberta Colclaser                        Amelia and Cyril Ofori
                                                                       Marian Cropp                                Sara L. Patton
                                                                       Com-Patt-ibles Floral Elegance              Kenneth and Louise Plusquellec
                                                                       William Dameron                             Ed E. Schrader and Daniel E. Rider
                                                                       Mary and Ed Eberhart                        Erwin and Susan Riedner
                                                                       Alice and Larry Gabriel                     Steve and Cheryl Shapiro
                                                                       Liz and Steve Glick                         Melinda and Mark Snider
                                                                       Catherine and Tom Graves                    Marilyn J. Tanner
                                                                       R. Stanton and Diane M. Hales               Jacquelyn S. Yates
    Presented with support of

                                                                       Mary Finkbeiner                             Peggy and Charles Ulrich
                                                                       Ronald and Prue Holtman                     Catherine Wiandt
                                                                       Frank and Jean Knorr                        David Wiesenberg
                                                                       Roberta and Hal Looney                      Lynora Williams and Paul Chaat Smith
                                                                       Don and Linda Sommer