QUATUORÉBÈNE

JUILLIARD415

2020 brings the best and brightest from New York City: Robert Mealy and Juilliard415.

Next generation baroque, this 23-piece orchestra of lavish opulence launches CMNZ’s 2020 Season with a bang.

For more, visit chambermusic.co.nz/2020

AUCKLAND Friday 28 FebruaryWELLINGTON Saturday 7 March

Tēnā koutouHow lucky we are to be a part of Quatour Ébène’s global project “Beethoven Around the World”.

In 2014 Quatuor Ébène were asked by Carnegie Hall to be the one string quartet to play the Beethoven Cycle through their 2019/2020 season as celebration of Beethoven’s 250th birthday. The musicians accepted the invitation and then characteristically took it to a new level with the idea of playing Beethoven not just in New York, but to perform and record the complete cycle live in concerts right around the world.

They began in April this year and by the time they get to January 2020 the Quartet will have given some 40 concerts across 18 countries and six continents. The theme for their world tour is sharing across geographical and cultural divides. A message that I’m sure resounds with all of us here.

If you happen to see a film crew as part of your experience tonight, it is because the quartet have a crew following them throughout their world tour. The documentary is set to be released at the end of 2020.

I would like to sincerely thank Ambassador Sylvaine Carta-Le Vert, Ambassador of France to New Zealand for her generous welcome to the musicians of Quatour Ébène.

Catherine GibsonChief Executive Chamber Music New Zealand

Please kindly remember to switch off all cellphones, pagers and watches. Taking photographs, or sound or video recordings during the concert is prohibited unless with the prior approval of Chamber Music New Zealand. Thank you.

“The Quartet, the place of battle between the intimate and the shared, but also the place of realization of the most noble challenge of modernity.” – G. Di Salvatore, Filmexplorer

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The Wellington concert is being broadcast live by RNZ Concert.

DURATION: 100 minutes including an interval

The artists reserve the right to make changes to the programme.

Ludwig van BeethovenString Quartet in G Major, op. 18 no. 2 (“Compliments”)

Ludwig van BeethovenString Quartet in F Minor, op. 95 (“Serioso”)

-Interval-

Ludwig van BeethovenString Quartet in E-flat Major, op. 74 (“Harp”)

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Beethoven Live Around the WorldWELLINGTON, AUCKLAND

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What began in 1999 as a distraction in the university’s practice rooms for the four young French musicians has become a trademark of the Quatuor Ébène, and has generated lasting reverberations in the music scene. The four breathe new life into chamber music through their consistently direct, open-minded perspective on the works. Regardless of the genre, they approach the music with humility and respect. They change styles with gusto, and yet remain themselves with all the passion that they experience for each piece, and which they bring to the stage and to their audiences directly and authentically.

There is no single word that describes their style: they’ve created their own. Their traditional repertoire does not suffer from their engagement with other genres; rather, their free association with diverse styles brings a productive excitement to their music. From the beginning, the complexity of their oeuvre has been greeted enthusiastically by audiences and critics.

After studies with the Quatuor Ysaÿe in Paris and with Gábor Takács, Eberhard Feltz and György Kurtág,

the quartet had a victory at the ARD Music Competition 2004. This marked the beginning of their rise, which has culminated in numerous prizes and awards including the 2007 Borletti-Buitoni Trust and – as first ensemble ever – the 2019 Frankfurt Music Prize.

With their charismatic playing, their fresh approach to tradition and their open engagement with new forms, the musicians have been successful in reaching a wide audience of young listeners; they communicate their knowledge in regular masterclasses at the Conservatoire Paris.

In 2005, the ensemble won the Belmont Prize of the Forberg-Schneider Foundation. Since then, the Foundation has worked closely with the musicians, who are performing on instruments chosen with and loaned by Gabriele Forberg-Schneider since 2009.

The Quatuor Ébène’s CDs, featuring recordings of music by Haydn, Bartók, Debussy, Fauré, Mozart and the Mendelssohn siblings have won numerous awards, including the Gramophone Award, the BBC Music Magazine Award and the Midern Classic Award. Their 2010 album

Quatuor Ébène

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“Fiction” with jazz arrangements has only solidified their unique position in the chamber music scene, as well as their 2014 crossover CD “Brazil”, a collaboration with Stacey Kent, and their recent recording with Michel Portal, “Eternal Stories“ (May 2017).

“It’s an elegant album, and probably the Ébène’s most mature contemporary record thus far.” - The Strad, November 2017

In fall 2014, Erato released a 90th Birthday Celebration, a live recording (on CD and DVD) of Menahem Pressler’s birthday celebration concert with the Quatour Ébène in Paris. In 2015/2016 the musicians focussed on the genre of the “Lied“. They collaborated with Philippe Jaroussky for the CD “Green (Mélodies françaises)” which won the BBC Music Magazine Award 2016 and published a Schubert CD. On the one hand, it includes Lieder, recorded with Mathias Goerne (arranged for string quartet, baritone and bass by Raphaël Merlin) and on the other hand, the string quintet, recorded with Gautier Capuçon.

From April 2019 through January 2020 the Quatuor Ébène will go on a world tour with the theme “Beethoven Live Around the World” with concerts in North America, South America, Africa, Australia & New Zealand, Asia and Europe. The quartet will guest in concert halls including the Perelman Theater Philhadelphia, Sala São Paulo, Melbourne Recital Centre, and the Pierre Boulez Saal in Berlin. Each of these seven tours will end with a live recording of the last concert. These recordings will be released as a box set in 2020 by Erato.

The quartet will present the complete Beethoven cycle in 2020 for their 20th anniversary as well as for the 250th jubilee of the composer’s birth in concert halls including Carnegie Hall New York, the Alte Oper Frankfurt, the Wiener Konzerthaus, the Concertgebouw Brugge, the Philharmonie de Paris and at the Verbier Festival.

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The opus 18 quartets were written at the end of the 18th century, and they are very much embodiments of the classical forms of that century from Mozart and Haydn. Beethoven in 1799 was a pupil of Haydn’s, a huge fan of Gluck’s, and perhaps a little professionally envious of then popular composer Cherubini. A newcomer to Vienna, this young Beethoven aspired to make his name writing within established musical moulds as well as anybody had ever done (or, he hoped, better). The opus 18 quartets are brilliant, brimming with character, yet reside largely within the expected structures of a string quartet written by Mozart or Haydn.

The second of these quartets, which we hear tonight, is a perfect illustration. The music is amiable and filled with sunlight – fresh-faced and full of Haydnesque whimsy. The first movement enters the room like an elegant gentleman: witty conversation, courtly bows, suspenseful pauses. This has earned this music the nickname Komplimentierungsquartet, referring to the Quartet’s genial atmosphere

Ludwig van Beethoven(1770 - 1827)String Quartet in G Major, op. 18 no. 2 (“Compliments”)

I. AllegroII. Adagio cantabile – Allegro – Tempo III. Scherzo: AllegroIV. Allegro molto, quasi presto

(the English nickname “compliments” failing a little in its translation). The Allegro begins with a charming violin melody and a light and playful accompaniment. It is easy to hear Haydn’s influence here, employing his teacher’s wit as well as developing melodic material to its full potential. The second melodic idea in the movement is disarmingly simple and delivered with impeccable manners. Later in the movement, Beethoven puts on a faux seriousness, introducing a little fugue that builds in tension to a disapproving climax, followed by a shocked pause, clutching at pearls. The quartet meanders about a bit, and just as we start to wonder how he’ll put the pieces back together again, the cello part delivers three brassy blasts, and the good times recommence. The movement ends exactly as it began, with the same simple phrase and its teasing silences.

Don’t let the second movement lull you into a false sense of security. The Adagio cantabile begins how we might expect, with a melody that is

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sweet but also formal - almost courtly in nature. The closing statement of this first lyrical section is a unison statement followed by pauses, like a tender farewell between two lovers – taking an embarrassingly romantic selfie – perhaps. What happens next is a complete surprise: the same motif is turned into an energetic game of catch, some nearby friends snatching the lovers’ mobile phone and tossing it to each other. Everyone dashes about breathlessly for about forty seconds (when perhaps the mobile has been recovered) and the beautiful tender melody resumes.

When composing the Scherzo Beethoven must have recalled Haydn’s wistful remark: “I wish someone would show us a new way to write minuets.” The sparkling Scherzo tosses rhythmic bits between the four instruments and is brilliantly unpredictable, thematically and harmonically. Beethoven’s early scherzos show amazing variety and resource, perhaps answering Haydn’s wish!

The Quartet then ends with the final movement in a playful mood with teasing games of ‘Guess My Key,’ hide and seek, and chase - running at a blistering speed and showing the young composer’s sense of humour. Beethoven referred to the Allegro molto, quasi presto as ausgeknopft: “unbuttoned.” This movement ends the Quartet full of bright energy, relaxed spirits, and a delight in childlike fun.

Duration: Approx. 24 min

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Everything unessential is cut away, leaving extreme concentration and dangerously high tension. But strength, not strain, is the lasting impression. Beethoven isn’t one for offering suffering without catharsis, as we will see.

The opening is explosive and defiant: a Beethoven as “me against the world!”. Lewis Lockwood points out in his biography “Beethoven” the key, F minor, is that of Beethoven’s “Appassionata” Piano Sonata, the storm scene in the Sixth Symphony and the “Egmont” Overture.” The first movement is particularly intense, and as in the “Appassionata” much use is made of the contrast between the keynote F and G flat a semitone higher, which repeatedly intrudes to challenge the main key. This semitone contrast sometimes appears at other pitches too, creating abrupt shifts to remote keys. This movement is unusually short but nonetheless gives the impression of limitless power.

The Allegretto then offers some of Beethoven’s most intimate and beautiful writing, giving us momentary peace following the emotional torrent of the relentless first movement. In the remote key of D major it contains two main elements — a lush cantabile main theme and a second theme as

What a changed Beethoven we now hear in this next Quartet. What torture. What suffering. What strength. “Serioso” is one of Beethoven’s most personal works – Beethoven wrote to his publisher that it was “written for a small circle of connoisseurs and never to be performed in public.” Dated October 1810 it was written during an extremely difficult time for Beethoven: he was dealing with his deafness, poor health, financial issues and a depressing rejection of marriage from Therese Malfatti. His faith in humanity declined as Napoleonic wars raged across Europe. Austria’s entry into the war and the occupation of Vienna by the French army brought death and hardship to Beethoven’s door.

This period of his life was profoundly important for his music. He produced several revolutionary works, including the Fifth and Sixth Symphonies and the Op 74 “Harp” String Quartet you will also hear this evening. This period for Beethoven is often described as his “heroic” period but “Serioso” is cut from a different philosophical cloth to the other quartets written during this time. This is the only quartet with a nickname given by the composer, and “Serioso” is indeed serious - tightly coiled, restrained as if caged, an almost wrathful and terrible work.

Ludwig van Beethoven(1770 - 1827)String Quartet in F Minor, op. 95 (“Serioso”)

I. Allegro con brioII. Allegretto ma non troppoIII. Allegretto assai vivace ma serioso – Più allegroIV. Larghetto espressivo

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an expressive fugue. The movement begins with a gently descending line in the cello developed by the first violin. Unexpected and deeply troubled chords pepper the texture. The viola introduces a fugal subject passed around the quartet, like each calling out across a void, the other perpetually beyond reach. Like something out of a Beckett play, the characters are suffering doubts in parallel, unable to connect, before the opening cello line returns. What follows is a brilliant double fugue, intricately woven together to create one of the great moments in the string quartet literature.

Beethoven never called the next movement a “Scherzo.” He used this term only literally, when humour or wit was intended. There is no humour in this fierce piece: this movement is jagged, galloping downhill, unstoppable. The trio sections are then carried by hymn-like music in the lower three instruments as the first violin flutters above, as if fretting about the impending return of the turbulent scherzo. Beethoven increases the tempo and the emotional fervour in the coda, sending the movement to its brusque end.

The finale then opens with a short but deeply plaintive introduction, leading

to a movement of extraordinary, tortuous beauty; a dance of despair and depression – indeed there is a school of thought that the abrupt swings and changes of mood in “Serioso” supports the theory that Beethoven suffered from bipolar affective disorder. Profoundly disturbing as he can be however, he cannot just express only depression, for the humanity in his work is uncontainable, triumphing over the most terrible agonies of his life and phenomenal creative efforts. In this work, he achieves his triumph in the apparent impossibility of a totally convincing disconnection — in this case in the gloriously fleeting and elated F major coda which has puzzled many. What does it mean? Why did he do that? We can only guess. Throughout the work the most basic functions of melodic direction become powerful themes: reaching, and then plummeting with a suffocating sense of oppression that often the music feels imprisoned, almost airless. Perhaps at the end of this Quartet Beethoven reaches upwards and finally uncages himself, finally released, and arrives at his catharsis, his liberty. In the end, it seems understanding comes from elsewhere, born of eternal, transient freedom.

Duration: Approx. 21 min

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“The Ébène foursome animated an entire

universe.”– Bachtrack

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What’s in a nickname? As Beethoven’s publisher realised, quite a lot. Especially when the nickname is such a reminder of the pleasant, rippling arpeggios in the first movement, in one of Beethoven’s most serene and graceful string quartets, “Harp.”

Beethoven’s “Harp” Quartet is a piece that proceeds by stealth – the very antithesis of the flamboyantly ground-breaking “Razumovsky” Quartets. The veiled and amorphous opening is simply extraordinary, creeping in marked sotto voce, which is all the more remarkable when you consider what was going on for Beethoven in 1809 when he wrote the piece. This is a work that transcends the circumstances in which it was written. On the one hand things were good: he had secure patronage for the first time, making him less reliant on giving performances and selling music to publishers to eke out an existence. Creatively he was on a roll, in the previous three years alone he had produced three concertos, three symphonies, two piano trios, the three

“Razumovsky” Quartets and more besides. But Beethoven was madly in love with Therese Malfatti, to whom he would soon propose marriage, only to be turned down. Haydn had died earlier that year, and Vienna was invaded by the French for a second time. In a letter to his publisher Beethoven talked of how destructive and disorderly life had become, Beethoven apparently cowering under pillows in his brother’s cellar trying to shelter from the “drums, canons and human misery in every form.” You couldn’t imagine a more considered response to external turmoil as the “Harp” Quartet.

After the warmth and humanity of the opening we’re into the Allegro, which is where we first encounter the pizzicato that Beethoven’s wily publisher decided to use to give the Quartet its nickname, though there are plenty of novel textures throughout the “Harp” Quartet. It’s a visual effect as well as an aural one. It sounds as if the pizzicatos are a dialogue between the cello and the

Ludwig van Beethoven(1770 - 1827)String Quartet in E-flat Major, op. 74 (“Harp”)

I. Poco adagio – AllegroII. Adagio ma non troppoIII. PrestoIV. Allegretto con variazioni

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first violin. It’s only when you see it (or read the score) that you see that the pizzicato is shared between all four players – like a test of a quartet’s interaction of melding of tone or dynamic – a work that plays tricks with your expectations. Who would have predicted that its shy opening would have developed into this glorious and ebullient outpouring, before launching into the frenzy of pizzicatos.

It certainly puzzled some commentators. In 1811 when the “Harp” was just two years old a reviewer found it unduly sombre and lugubrious and had a dig at Beethoven for trying to express sentiments that were alien to the genre. The Scherzo came in for special criticism, “akin to a war dance of a nation of savages.” Later on the opposite happened, with musicologists tending to write it off as a light throwback to the earlier quartets, especially when compared to those that surround it – the “Razumovsky”s and the “Serioso” – which is no more accurate that saying the Fourth Symphony is somehow a lesser piece than the Third or Fifth.

The second movement, Adagio ma non troppo, was described by an anonymous early critic writing in 1811 as a “sombre nocturne” (dunkles Nachtstück); a more recent commentator describes it as “tender, yet elegiac.” It is a shift into the minor, and dark introspection. A beautiful cantabile melody in the major mode alternates with minor-key episodes. The opening melody returns twice, each time more lavish than before; the movement ends with some heart-rending espressivo morendo (expressive, dying away) chords.

When sketching out his Quartet Beethoven originally intended a minuet as his third movement. Instead there is a driving Scherzo, one that apparently obsessed Mendelssohn (and it’s not difficult to hear why). But listen to the rhythm of the opening. Does it remind you of a certain Beethoven Symphony, one with which it shares the key of C minor (hint: dah dah dah dunnn). And there is a wonderful ambiguity of time signature – are we in 3/4 or 6/8? In the transition

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between Scherzo and Trio, the musical material couldn’t be simpler – we have a scale from the cello then taken up by the first violin – but the tempo remains fiercely dramatic: in a nutshell, even faster.

We arrive back at the original key for the Finale and are reminded of the Allegro in the opening. All seems well with the world. Will Beethoven simply round things off with brevity and wit? Apparently not. The first violin makes a break for it and seems to forget they are a chamber musician and not a concerto soloist; if amateur quartets think the Razumovskys are fiendish, this takes matters to a whole new level of inaccessibility. But it’s not just the first violinist in the limelight – the second violinist moment afterwards is surely one of the most radiant and soaring in the quartet repertoire, and those pesky pizzicatos just refuse to lie down. There are shades of the Fifth Symphony in the quiet pulsating lead up to the Finale – but what follows couldn’t be more different. Instead of a blazing finale (as much as to say ‘There’s no brass

in a string quartet!‘) we have some delightfully resourceful variations on an accented theme. The moods of the variations alternate between even and odd, like an early running of Schumann’s Florestan and Eusebeus, and in their unobtrusive way, contain shrewd prophecies foreshadowing many Brahmsian qualities. The last movement of Brahms’s B-flat Quartet, op 67, might almost be described as a variation on Beethoven’s variations, theme and all. But the cheekiness and Haydnesque wit in those closing bars show the Janus-like qualities of the “Harp” Quartet. It looks back to the past of quartets by Haydn while simultaneously looking to the future and Beethoven’s late quartets. Those final bars link to the heritage on which Beethoven was building and the efforts towards the great glories still to come.

Duration: Approx. 33 min

Programme notes by Anna van der Leij

Gabriel, true to french form, is a wine enthusiast. Complex, sophisticated, historic and multi-layered, we asked Gabriel whether any wines embodied similarities to Beethoven’s String Quartets.

Gabriel Le MagadureWINE AND BEETHOVEN

String Quartet in G Major, op. 18 No. 2 (“Compliments”)“For me, Beethoven’s “Harp” contains a childhood joy. So perhaps the string quartet would need wine which wasn’t too complex, something you could drink very easily with friends – something with a sparkling atmosphere. A young wine, perhaps a Beaujolais or a Morgon.”

String Quartet in F Minor, op. 95 (“Serioso”)“ “Serioso” is a small string quartet, structured and direct to its goal - there is no “bla-bla” with this Quartet! So “Serioso” would be a very straight and strict wine. Not complex, but very strong and you know where you are. The wines I would pick? A Côtes-du-Rhône , or Gigondas perhaps. Or a Siras, a Châteauneuf-du-Pape, and probably a bit of Carignan.”

String Quartet in E-flat Major, op. 74 (“Harp”)“Gosh, I have no idea about this one! The wine for “Harp” Quartet needs to be one which comes out of nowhere. The wine you will have only one day in your life. You are attending a wine tasting, and somebody gives you something from anywhere – Georgia? Chile? And suddenly, “Oh! What a new world!” ”

Founders' Circle MembersAnonymousGraeme EdwardsArnold and Reka SolomonsThe Estate of Jenni CaldwellThe Estate of Aileen ClaridgeThe Estate of Walter FreitagThe Estate of Chisne GunnThe Estate of Warwick Gordon HarrisThe Estate of Joan KerrThe Estate of Monica Taylor Ensemble ($10,000+)Anonymous Robin & Sue HarveyKaye & Maurice ClarkGill and Peter DavenportPeter and Carolyn DiesslProfessor Jack Richards

Octet ($5,000+)M Hirschfeld Children's TrustHylton LeGrice and Angela LindsayThe Lyons Family - in memory of Ian Lyons Murray ShawKerrin and Noel VautierLloyd Williams and Cally McWha

Quintet ($2,500+)Joy ClarkJohn and Trish GribbenAnn HardenJane KominikCollin PostArnold and Reka SolomonsPeter and Kathryn Walls Quartet ($1,000+)Anonymous (2)Donald and Susan BestRoger and Joanna BoothPhilip and Rosalind BurdonMD and MA CarrRick and Lorraine ChristieRoger ChristmasThe Cranfylde Charitable Trust Graeme and Di EdwardsPeter and Rae FehlFinchley TrustDame Jennifer GibbsPatricia GillionDavid and Heather HuttonLinda MacFarlaneElizabeth McLeay

Roger and Jenny MountfortBarbara PeddieRoger ReynoldsMartin and Catherine Spencer Basil & Jenny StantonAlison ThomsonAnn TrotterJudith TrotterAnna WilsonBruce Wilson and Jill WhiteAnn WylieDavid Zwartz

Trio ($500+)Anonymous (6)Diane BaguleyPhilippa BatesHarry and Anne Bonning Sarah BuistJD CullingtonJonathan CweorthHanno FairburnTom and Kay FarrarJohn FarrellAnne French Consulting LtdBelinda GalbraithC & P GibsonLaurie Greig Gary and Helena HawkeDouglas and Barbara HolborowE Prof Les HolborowMichael Houstoun and Mike NicolaidiCaroline ListFiona Macmillan and Briony MacmillanMargaret MalaghanRaymond and Helen MatiasAE McAloon Fiona McAlpineAndrew and Mary McEwen Heather Miller Margaret NielsenPrue Olde Robert and Helen PhilpottMiles RogersSylvia RosevearPeter and Juliet RoweJohn and Kathryn SinclairRoss Steele Mary SmitPriscilla TobinDavid TrippPatricia UngerRichard and Elaine WestlakeTim Wilkinson

Thank YouTo all of our generous donors who support CMNZ throughout the year

Board Kerrin Vautier CMG (Chair), Hon Chris Finlayson, Hamish Elliott, Andreas Heuser, Matthew Savage, Vanessa Doig

Staff Chief Executive, Catherine Gibson Artistic Manager, Jack Hobbs Artistic Administrator, Elliot Vaughan Outreach Coordinator, Beckie Lockhart Operations Coordinator, Rachel Hardie Marketing Manager, Will Gaisford Senior Designer, Darcy Woods Marketing Executive, Aja Lethaby Ticketing & Database Executive, Laurel Bruce Content Producer & Comms Executive, Anna van der Leij Business & Funding Administrator, Rafaela Gaspar Financial Coordinator, Yvonne Morrison

Branches Auckland: Chair, Roger Reynolds; Concert Manager, Bleau Bustenera Hamilton: Chair, Murray Hunt; Concert Manager, Sharon Stephens New Plymouth: Concert Manager, Cathy Martin Hawke’s Bay: Chair, June Clifford; Concert Manager, Jamie Macphail Manawatu: Chair, Graham Parsons; Concert Manager, Virginia Warbrick Wellington: Concert Manager, Rachel Hardie Nelson: Concert Manager, Clare Monti Christchurch: Concert Manager, Jody Keehan Dunedin: Chair, Terence Dennis; Concert Manager, Richard Dingwall Southland: Chair, Rosie Beattie; Concert Manager, Rosie Beattie

Regional Presenters Marlborough Music Society Inc (Blenheim), Christopher's Classics (Christchurch), Cromwell & Districts Community Arts Council, Geraldine Academy of Performance & Arts, Musica Viva Gisborne, Music Society Eastern Southland (Gore) Arts Far North (Kaitaia), Aroha Music Society (Kerikeri), Chamber Music Hutt Valley, Motueka Music Group, Oamaru Opera House, South Waikato Music Society (Putaruru), Waimakariri Community Arts Council (Rangiora), Rotorua Music Federation, Taihape Music Group, Tauranga Musica Inc, Te Awamutu Music Federation, Upper Hutt Music Society, Waikanae Music Society, Wanaka Concert Society Inc, Chamber Music Wanganui, Warkworth Music Society, Wellington Chamber Music Trust, Whakatane Music Society, Whangarei Music Society.

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