QUATUOR ÉBÈNE - Chamber Music New Zealand
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QUATUOR ÉBÈNE
JUILLIARD415
AUCKLAND Friday 28 February
WELLINGTON Saturday 7 March
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/2020Tēnā koutou
How 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 Gibson
Chief 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
Quatuor Ébène 3
Beethoven Live Around the World
WELLINGTON, AUCKLAND
Ludwig van Beethoven Page 6
String Quartet in G Major, op. 18 no. 2 (“Compliments”)
Ludwig van Beethoven Page 8
String Quartet in F Minor, op. 95 (“Serioso”)
-Interval-
Ludwig van Beethoven Page 11
String Quartet in E-flat Major, op. 74 (“Harp”)
DURATION: 100 minutes including an interval
The artists reserve the right to make changes to the programme.
The Wellington concert is being broadcast live by RNZ Concert.4 Quatuor Ébène
Quatuor Ébène
What began in 1999 as a distraction the quartet had a victory at the ARD
in the university’s practice rooms for Music Competition 2004. This marked
the four young French musicians has the beginning of their rise, which has
become a trademark of the Quatuor culminated in numerous prizes and
Ébène, and has generated lasting awards including the 2007 Borletti-
reverberations in the music scene. The Buitoni Trust and – as first ensemble
four breathe new life into chamber ever – the 2019 Frankfurt Music Prize.
music through their consistently direct,
open-minded perspective on the With their charismatic playing, their
works. Regardless of the genre, they fresh approach to tradition and their
approach the music with humility open engagement with new forms,
and respect. They change styles with the musicians have been successful in
gusto, and yet remain themselves with reaching a wide audience of young
all the passion that they experience listeners; they communicate their
for each piece, and which they bring knowledge in regular masterclasses at
to the stage and to their audiences the Conservatoire Paris.
directly and authentically. In 2005, the ensemble won the
There is no single word that describes Belmont Prize of the Forberg-Schneider
their style: they’ve created their own. Foundation. Since then, the Foundation
Their traditional repertoire does has worked closely with the musicians,
not suffer from their engagement who are performing on instruments
with other genres; rather, their free chosen with and loaned by Gabriele
association with diverse styles brings a Forberg-Schneider since 2009.
productive excitement to their music. The Quatuor Ébène’s CDs, featuring
From the beginning, the complexity recordings of music by Haydn,
of their oeuvre has been greeted Bartók, Debussy, Fauré, Mozart and
enthusiastically by audiences and critics. the Mendelssohn siblings have won
After studies with the Quatuor Ysaÿe numerous awards, including the
in Paris and with Gábor Takács, Gramophone Award, the BBC Music
Eberhard Feltz and György Kurtág, Magazine Award and the Midern
Classic Award. Their 2010 albumQuatuor Ébène 5
“Fiction” with jazz arrangements has From April 2019 through January 2020
only solidified their unique position the Quatuor Ébène will go on a world
in the chamber music scene, as well tour with the theme “Beethoven Live
as their 2014 crossover CD “Brazil”, a Around the World” with concerts
collaboration with Stacey Kent, and in North America, South America,
their recent recording with Michel Africa, Australia & New Zealand, Asia
Portal, “Eternal Stories“ (May 2017). and Europe. The quartet will guest in
concert halls including the Perelman
“It’s an elegant album, and Theater Philhadelphia, Sala São Paulo,
probably the Ébène’s most mature Melbourne Recital Centre, and the
contemporary record thus far.” - The Pierre Boulez Saal in Berlin. Each of
Strad, November 2017 these seven tours will end with a live
In fall 2014, Erato released a 90th recording of the last concert. These
Birthday Celebration, a live recording recordings will be released as a box
(on CD and DVD) of Menahem Pressler’s set in 2020 by Erato.
birthday celebration concert with the The quartet will present the complete
Quatour Ébène in Paris. In 2015/2016 Beethoven cycle in 2020 for their
the musicians focussed on the genre 20th anniversary as well as for the
of the “Lied“. They collaborated with 250th jubilee of the composer’s birth
Philippe Jaroussky for the CD “Green in concert halls including Carnegie
(Mélodies françaises)” which won the Hall New York, the Alte Oper
BBC Music Magazine Award 2016 and Frankfurt, the Wiener Konzerthaus,
published a Schubert CD. On the one the Concertgebouw Brugge, the
hand, it includes Lieder, recorded Philharmonie de Paris and at the
with Mathias Goerne (arranged for Verbier Festival.
string quartet, baritone and bass by
Raphaël Merlin) and on the other
hand, the string quintet, recorded
with Gautier Capuçon.6 Quatuor Ébène
Ludwig van Beethoven I. Allegro
(1770 - 1827) II. Adagio cantabile – Allegro – Tempo
III. Scherzo: Allegro
String Quartet in G Major, op. 18 no. 2
IV. Allegro molto, quasi presto
(“Compliments”)
The opus 18 quartets were written at (the English nickname “compliments”
the end of the 18th century, and they failing a little in its translation). The
are very much embodiments of the Allegro begins with a charming
classical forms of that century from violin melody and a light and playful
Mozart and Haydn. Beethoven in accompaniment. It is easy to hear
1799 was a pupil of Haydn’s, a huge Haydn’s influence here, employing his
fan of Gluck’s, and perhaps a little teacher’s wit as well as developing
professionally envious of then popular melodic material to its full potential.
composer Cherubini. A newcomer to The second melodic idea in the
Vienna, this young Beethoven aspired movement is disarmingly simple
to make his name writing within and delivered with impeccable
established musical moulds as well manners. Later in the movement,
as anybody had ever done (or, he Beethoven puts on a faux seriousness,
hoped, better). The opus 18 quartets introducing a little fugue that builds
are brilliant, brimming with character, in tension to a disapproving climax,
yet reside largely within the expected followed by a shocked pause,
structures of a string quartet written by clutching at pearls. The quartet
Mozart or Haydn. meanders about a bit, and just as
we start to wonder how he’ll put the
The second of these quartets, pieces back together again, the cello
which we hear tonight, is a perfect part delivers three brassy blasts, and
illustration. The music is amiable and the good times recommence. The
filled with sunlight – fresh-faced and movement ends exactly as it began,
full of Haydnesque whimsy. The first with the same simple phrase and its
movement enters the room like an teasing silences.
elegant gentleman: witty conversation,
courtly bows, suspenseful pauses. This Don’t let the second movement lull
has earned this music the nickname you into a false sense of security. The
Komplimentierungsquartet, referring Adagio cantabile begins how we
to the Quartet’s genial atmosphere might expect, with a melody that isQuatuor Ébène 7
sweet but also formal - almost courtly The Quartet then ends with the final
in nature. The closing statement of movement in a playful mood with
this first lyrical section is a unison teasing games of ‘Guess My Key,’
statement followed by pauses, like a hide and seek, and chase - running at
tender farewell between two lovers a blistering speed and showing the
– taking an embarrassingly romantic young composer’s sense of humour.
selfie – perhaps. What happens next Beethoven referred to the Allegro
is a complete surprise: the same motif molto, quasi presto as ausgeknopft:
is turned into an energetic game of “unbuttoned.” This movement ends
catch, some nearby friends snatching the Quartet full of bright energy,
the lovers’ mobile phone and tossing relaxed spirits, and a delight in
it to each other. Everyone dashes childlike fun.
about breathlessly for about forty
seconds (when perhaps the mobile
has been recovered) and the beautiful
tender melody resumes.
Duration: Approx. 24 min
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!8 Quatuor Ébène
Ludwig van Beethoven I. Allegro con brio
(1770 - 1827) II. Allegretto ma non troppo
III. Allegretto assai vivace ma serioso – Più
String Quartet in F Minor, op. 95 allegro
(“Serioso”) IV. Larghetto espressivo
What a changed Beethoven we Everything unessential is cut away,
now hear in this next Quartet. What leaving extreme concentration
torture. What suffering. What strength. and dangerously high tension. But
“Serioso” is one of Beethoven’s most strength, not strain, is the lasting
personal works – Beethoven wrote to impression. Beethoven isn’t one for
his publisher that it was “written for a offering suffering without catharsis, as
small circle of connoisseurs and never we will see.
to be performed in public.” Dated
October 1810 it was written during an The opening is explosive and defiant:
extremely difficult time for Beethoven: a Beethoven as “me against the
he was dealing with his deafness, world!”. Lewis Lockwood points out
poor health, financial issues and a in his biography “Beethoven” the
depressing rejection of marriage from key, F minor, is that of Beethoven’s
Therese Malfatti. His faith in humanity “Appassionata” Piano Sonata, the
declined as Napoleonic wars raged storm scene in the Sixth Symphony
across Europe. Austria’s entry into the and the “Egmont” Overture.” The first
war and the occupation of Vienna by movement is particularly intense,
the French army brought death and and as in the “Appassionata” much
hardship to Beethoven’s door. use is made of the contrast between
the keynote F and G flat a semitone
This period of his life was profoundly higher, which repeatedly intrudes to
important for his music. He produced challenge the main key. This semitone
several revolutionary works, including contrast sometimes appears at other
the Fifth and Sixth Symphonies and pitches too, creating abrupt shifts
the Op 74 “Harp” String Quartet you to remote keys. This movement is
will also hear this evening. This period unusually short but nonetheless gives
for Beethoven is often described as the impression of limitless power.
his “heroic” period but “Serioso” is cut
from a different philosophical cloth The Allegretto then offers some
to the other quartets written during of Beethoven’s most intimate and
this time. This is the only quartet with beautiful writing, giving us momentary
a nickname given by the composer, peace following the emotional torrent
and “Serioso” is indeed serious - of the relentless first movement. In
tightly coiled, restrained as if caged, the remote key of D major it contains
an almost wrathful and terrible work. two main elements — a lush cantabile
main theme and a second theme asQuatuor Ébène 9
an expressive fugue. The movement to a movement of extraordinary,
begins with a gently descending tortuous beauty; a dance of despair
line in the cello developed by the and depression – indeed there is a
first violin. Unexpected and deeply school of thought that the abrupt
troubled chords pepper the texture. swings and changes of mood in
The viola introduces a fugal subject “Serioso” supports the theory that
passed around the quartet, like each Beethoven suffered from bipolar
calling out across a void, the other affective disorder. Profoundly
perpetually beyond reach. Like disturbing as he can be however, he
something out of a Beckett play, the cannot just express only depression,
characters are suffering doubts in for the humanity in his work is
parallel, unable to connect, before uncontainable, triumphing over the
the opening cello line returns. What most terrible agonies of his life and
follows is a brilliant double fugue, phenomenal creative efforts. In this
intricately woven together to create work, he achieves his triumph in the
one of the great moments in the apparent impossibility of a totally
string quartet literature. convincing disconnection — in this
case in the gloriously fleeting and
Beethoven never called the next elated F major coda which has puzzled
movement a “Scherzo.” He used this many. What does it mean? Why
term only literally, when humour or did he do that? We can only guess.
wit was intended. There is no humour Throughout the work the most basic
in this fierce piece: this movement functions of melodic direction become
is jagged, galloping downhill, powerful themes: reaching, and
unstoppable. The trio sections are then plummeting with a suffocating
then carried by hymn-like music sense of oppression that often the
in the lower three instruments as music feels imprisoned, almost airless.
the first violin flutters above, as if Perhaps at the end of this Quartet
fretting about the impending return Beethoven reaches upwards and
of the turbulent scherzo. Beethoven finally uncages himself, finally released,
increases the tempo and the and arrives at his catharsis, his liberty.
emotional fervour in the coda, sending In the end, it seems understanding
the movement to its brusque end. comes from elsewhere, born of
The finale then opens with a short but eternal, transient freedom.
deeply plaintive introduction, leading
Duration: Approx. 21 min10 Quatuor Ébène
“The Ébène
foursome
animated
an entire
universe.”
– BachtrackQuatuor Ébène 11
Ludwig van Beethoven I. Poco adagio – Allegro
(1770 - 1827) II. Adagio ma non troppo
III. Presto
String Quartet in E-flat Major, op. 74
IV. Allegretto con variazioni
(“Harp”)
What’s in a nickname? As Beethoven’s “Razumovsky” Quartets and more
publisher realised, quite a lot. besides. But Beethoven was madly in
Especially when the nickname is such love with Therese Malfatti, to whom
a reminder of the pleasant, rippling he would soon propose marriage,
arpeggios in the first movement, in only to be turned down. Haydn had
one of Beethoven’s most serene and died earlier that year, and Vienna
graceful string quartets, “Harp.” was invaded by the French for a
second time. In a letter to his publisher
Beethoven’s “Harp” Quartet is a piece Beethoven talked of how destructive
that proceeds by stealth – the very and disorderly life had become,
antithesis of the flamboyantly ground- Beethoven apparently cowering under
breaking “Razumovsky” Quartets. pillows in his brother’s cellar trying to
The veiled and amorphous opening shelter from the “drums, canons and
is simply extraordinary, creeping in human misery in every form.” You
marked sotto voce, which is all the couldn’t imagine a more considered
more remarkable when you consider response to external turmoil as the
what was going on for Beethoven “Harp” Quartet.
in 1809 when he wrote the piece.
This is a work that transcends the After the warmth and humanity of
circumstances in which it was written. the opening we’re into the Allegro,
On the one hand things were good: which is where we first encounter
he had secure patronage for the first the pizzicato that Beethoven’s wily
time, making him less reliant on giving publisher decided to use to give
performances and selling music to the Quartet its nickname, though
publishers to eke out an existence. there are plenty of novel textures
Creatively he was on a roll, in the throughout the “Harp” Quartet. It’s a
previous three years alone he had visual effect as well as an aural one.
produced three concertos, three It sounds as if the pizzicatos are a
symphonies, two piano trios, the three dialogue between the cello and the12 Quatuor Ébène
first violin. It’s only when you see it The second movement, Adagio
(or read the score) that you see that ma non troppo, was described by
the pizzicato is shared between all an anonymous early critic writing
four players – like a test of a quartet’s in 1811 as a “sombre nocturne”
interaction of melding of tone or (dunkles Nachtstück); a more recent
dynamic – a work that plays tricks with commentator describes it as “tender,
your expectations. Who would have yet elegiac.” It is a shift into the minor,
predicted that its shy opening would and dark introspection. A beautiful
have developed into this glorious and cantabile melody in the major mode
ebullient outpouring, before launching alternates with minor-key episodes.
into the frenzy of pizzicatos. The opening melody returns twice,
each time more lavish than before;
It certainly puzzled some the movement ends with some
commentators. In 1811 when the heart-rending espressivo morendo
“Harp” was just two years old a (expressive, dying away) chords.
reviewer found it unduly sombre and
lugubrious and had a dig at Beethoven When sketching out his Quartet
for trying to express sentiments that Beethoven originally intended a
were alien to the genre. The Scherzo minuet as his third movement. Instead
came in for special criticism, “akin to there is a driving Scherzo, one that
a war dance of a nation of savages.” apparently obsessed Mendelssohn
Later on the opposite happened, (and it’s not difficult to hear why). But
with musicologists tending to write it listen to the rhythm of the opening.
off as a light throwback to the earlier Does it remind you of a certain
quartets, especially when compared Beethoven Symphony, one with which
to those that surround it – the it shares the key of C minor (hint:
“Razumovsky”s and the “Serioso” – dah dah dah dunnn). And there is a
which is no more accurate that saying wonderful ambiguity of time signature
the Fourth Symphony is somehow a – are we in 3/4 or 6/8? In the transition
lesser piece than the Third or Fifth.Quatuor Ébène 13
between Scherzo and Trio, the musical in a string quartet!‘) we have some
material couldn’t be simpler – we delightfully resourceful variations
have a scale from the cello then taken on an accented theme. The moods
up by the first violin – but the tempo of the variations alternate between
remains fiercely dramatic: in a nutshell, even and odd, like an early running of
even faster. Schumann’s Florestan and Eusebeus,
and in their unobtrusive way, contain
We arrive back at the original key for shrewd prophecies foreshadowing
the Finale and are reminded of the many Brahmsian qualities. The last
Allegro in the opening. All seems well movement of Brahms’s B-flat Quartet,
with the world. Will Beethoven simply op 67, might almost be described as
round things off with brevity and wit? a variation on Beethoven’s variations,
Apparently not. The first violin makes theme and all. But the cheekiness
a break for it and seems to forget they and Haydnesque wit in those closing
are a chamber musician and not a bars show the Janus-like qualities of
concerto soloist; if amateur quartets the “Harp” Quartet. It looks back to
think the Razumovskys are fiendish, the past of quartets by Haydn while
this takes matters to a whole new simultaneously looking to the future
level of inaccessibility. But it’s not just and Beethoven’s late quartets. Those
the first violinist in the limelight – the final bars link to the heritage on which
second violinist moment afterwards Beethoven was building and the efforts
is surely one of the most radiant and towards the great glories still to come.
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 – Duration: Approx. 33 min
but what follows couldn’t be more
different. Instead of a blazing finale
(as much as to say ‘There’s no brass
Programme notes by Anna van der LeijGabriel Le Magadure
WINE AND BEETHOVEN
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.
String Quartet in G Major, op. 18 String Quartet in E-flat Major, op.
No. 2 (“Compliments”) 74 (“Harp”)
“For me, Beethoven’s “Harp” contains “Gosh, I have no idea about this one!
a childhood joy. So perhaps the string The wine for “Harp” Quartet needs to
quartet would need wine which be one which comes out of nowhere.
wasn’t too complex, something The wine you will have only one day
you could drink very easily with in your life. You are attending a wine
friends – something with a sparkling tasting, and somebody gives you
atmosphere. A young wine, perhaps something from anywhere – Georgia?
a Beaujolais or a Morgon.” Chile? And suddenly, “Oh! What a
new world!” ”
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.”Thank You
To all of our generous donors who support CMNZ throughout the year
Founders' Circle Members Roger and Jenny Mountfort
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Ensemble ($10,000+)
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Kerrin Vautier CMG (Chair), Hon Chris Finlayson, Hamish Elliott,
Andreas Heuser, Matthew Savage, Vanessa Doig
Staff
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Join the conversation
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