SEPTEMBER 2021 - Alexander String Quartet and Robert Greenberg - San Francisco Performances
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SEPTEMBER 2021
Alexander String Quartet and
Robert GreenbergSeptember 2021 Dear Friends,
Welcome back, as we devote the month of September to a deeper dive
Artist Profiles 5 into chamber music with our Ensemble-in-Residence, the Alexander
String Quartet and our Music Historian-in-Residence, Dr. Robert
Greenberg.
The Art of the Quintet We begin by featuring the art of the string quintet as we present five
programs that bring several guest artists to the stage with the ASQ.
September 5 at 10am
MOZART: Quintet in B-flat Major, K.174; Quintet in C Major, K.515 8 First, violist emeritus Paul Yarbrough returns to join the quartet for five
programs of Mozart quintets. We also present two programs of quartets
plus clarinet by Mozart and Brahms with guest artist Eli Eban, and then
September 5 at 3pm
MOZART: Quintet in G Minor, K.516; Quintet in D Major, K.593 10 local cellist Eugene Sor joins forces with the quartet for a performance
of Schubert’s beloved String Quintet. Later in the month we return to
our celebration of Beethoven at 250, with performances of the String
September 11 at 10am
12
Quartet No. 13, Op. 130 and the Grosse Fugue Op. 133; and the String
MOZART: Quintet in E-flat Major, K.614; Clarinet Quintet in A Major, K.581 Quartets No. 15, Op. 132 and No. 16, Op. 135.
This September is packed with great chamber music, and it also serves
September 11 at 3pm
BRAHMS: Quintet in G Major, Opus 111; Clarinet Quintet in B Minor, Opus 115 14 as a kind of “back to school” for those who want to learn more about
the lives and times of the composers being featured. Thanks for joining
us as we continue to return to the power of live music in these special
September 12 at 10am
16
performances.
SCHUBERT: Cello Quintet in C Major, D. 956
Beethoven Quartets Warmly,
September 19 at 10am
String Quartet No. 13 in B-flat Major, Opus 130
Grosse Fugue for String Quartet in B-flat Major, Opus 133
18
Melanie Smith
September 26 at 10am President
String Quartet No. 15 in A Minor, Opus 132
String Quartet No. 16 in F Major, Opus 135
20
San Francisco Performances has been a leader in the Bay Area cultural scene since our founding in 1979. With a
strong curatorial vision and adventurous programming, we are the city’s premier presenter of intimate concerts and
solo performances.
We have introduced hundreds of established and emerging classical music, jazz and dance artists to audiences,
including Yo-Yo Ma, the Juilliard String Quartet, Philip Glass, Wendy Whelan, and the Paul Taylor Dance Company.
We also champion a new generation, committed to building a contemporary and equitable repertoire. Performers like
violinist Jennifer Koh, tenor Lawrence Brownlee, pianist/composer Vijay Iyer, and the Catalyst Quartet are moving
their art into the present and future, making it accessible to younger audiences while converting many traditionalists to
new possibilities. They represent the path forward.
Through our nationally recognized artist residencies, we provide opportunities for audiences—from those who
attend our concerts, to public school students who encounter music and dance for the very first time—to engage
personally with artists and gain a deeper understanding of their work. And we always aim to provide the culturally
curious with an insider’s look into the history, context and practice of an art form.
PHOTO CREDITS:
COVER: Alexander String Quartet: Terry Lorant
PAGE 3: Melanie Smith: Terry Lorant
Quality, intimacy, access and connection are the hallmarks of San Francisco Performances. We nurture unique
PAGE 5: Alexander String Quartet: Terry Lorant relationships with today’s best artists to create an accessible, warm, and engaging arts experience.
PAGE 6: Robert Greenberg: Terry Lorant; Paul Yarbrough: Terry Lorant
PAGE 7: Eli Eban: Jonathan Beckley; Eugene Sor: Courtesy of the artist
2 | For Tickets and More: sfperformances.org | 415.392.2545 For Tickets and More: sfperformances.org | 415.392.2545 | 3presents…
ALEXANDER
STRING QUARTET | Ensemble-in-Residence
Zakarias Grafilo | Violin David Samuel | Viola
Frederick Lifsitz | Violin Sandy Wilson | Cello
Paul Yarbrough | Guest Viola
Eli Eban | Guest Clarinet
Eugene Sor | Guest Cello
ROBERT GREENBERG | Music Historian-in-Residence
THE ART OF THE QUINTET ARTIST PROFILES tations of Beethoven, Mozart, and Shosta- Distinguished musicians with whom the
Sunday, September 5, 10am and 3pm kovich, the quartet’s recordings have won Alexander String Quartet has collaborated
The Alexander String Quartet celebrates its international critical acclaim. They have es- include pianists Joyce Yang, Roger
Saturday, September 11, 10am and 3pm 40th anniversary in 2016. The Quartet has been tablished themselves as important advocates Woodward, Menachem Pressler, Marc-
Sunday, September 12, 10am Ensemble-in-Residence since 1989 with San
Francisco Performances, the result of a unique
of new music, commissioning dozens of new
works from composers including Jake Heg-
André Hamelin, and Jeremy Menuhin;
clarinetists Joan Enric Lluna, Richard
partnership between SF Performances and gie, Cindy Cox, Augusta Read Thomas, Rob- Stoltzman, and Eli Eban; soprano Elly
The Morrison Chamber Music Center at San ert Greenberg, Cesar Cano, Tarik O’Regan, Ameling; mezzo-sopranos Joyce DiDonato
BEETHOVEN QUARTETS Francisco State University. Starting in 1994, the
Quartet joined with SF Performances’ Music
Paul Siskind, and Pulitzer Prize-winner
Wayne Peterson. Samuel Carl Adams’ new
and Kindra Scharich; violinist Midori;
violist Toby Appel; cellists Lynn Harrell,
Sunday, September 19, 10am Historian-in-Residence, Robert Greenberg, to Quintet with Pillars was premiered and has Sadao Harada, and David Requiro; and jazz
Sunday, September 26, 10am present the Saturday Morning Series exploring
string quartet literature.
been widely performed across the U.S. by the
Alexander with pianist Joyce Yang, and will
greats Branford Marsalis, David Sanchez,
and Andrew Speight. The quartet has
The Quartet has appeared on SF Perfor be introduced to European audiences in the worked with many composers including
mances’ mainstage Chamber Series many 2021–2022 season. Aaron Copland, George Crumb, and Elliott
Herbst Theatre times, collaborating with such artists as The Alexander String Quartet’s annual Carter, and enjoys a close relationship
soprano Elly Ameling and mezzo-soprano Joyce calendar includes engagements at major with composer-lecturer Robert Greenberg,
DiDonato; clarinetists Richard Stoltzman, halls throughout North America and Europe. performing numerous lecture-concerts
Joan Enric Lluna and Eli Eban; pianists James They have appeared at Lincoln Center, with him annually.
Tocco, Menahem Pressler, Jeremy Menuhin, the 92nd Street Y, and the Metropolitan Recording for the FoghornClassics
and Joyce Yang; and composer Jake Heggie. Museum; Jordan Hall; the Library of label, their 2020 release of the Mozart and
Robert Greenberg, in addition to his Congress; and chamber music societies and Brahms clarinet quintets (with Eli Eban)
The Saturday Morning Series is sponsored in part by the Mark D. Kaplanoff Lecture Fund of San programs with the Alexander String Quartet, universities across the North American has been praised by Fanfare as “clearly one
Francisco Performances’ Endowment. lectures frequently for SF Performances. continent including Yale, Princeton, of the Alexander Quartet’s finest releases.”
Stanford, Lewis and Clark, Pomona, UCLA, Their release in 2019 of Dvořák’s “American”
The Alexander String Quartet has per- the Krannert Center, Purdue and many quartet and piano quintet (with Joyce Yang)
The Alexander String Quartet is Ensemble-in-Residence with San Francisco Performances in association with formed in the major music capitals of five more. Recent overseas tours include the U.K., was selected by MusicWeb International as a
San Francisco State University and the May T. Morrison Chamber Music Center. continents, securing its standing among the the Czech Republic, the Netherlands, Italy, featured recording of the year, praising it for
world’s premier ensembles, and a major artis- Germany, Spain, Portugal, Switzerland, interpretations performed “with the bright-
The Alexander String Quartet is represented by Besen Arts, Tenafly, NJ besenarts.com tic presence in its home base of San Francisco, France, Greece, the Republic of Georgia, eyed brilliance of first acquaintance.”
serving since 1989 as Ensemble-in-Residence Argentina, Panamá, and the Philippines. Also released in 2019 was a recording of
of San Francisco Performances and Direc- Their visit to Poland’s Beethoven Easter the Late Quartets of Mozart, receiving
The Quartet frequently performs and records on a matched set of instruments by the San Francisco-based maker
tors of The Morrison Chamber Music Center Festival is beautifully captured in the 2017 critical acclaim. (“Exceptionally beautiful
Francis Kuttner, circa 1987.
Instructional Program at San Francisco State award-winning documentary, Con Moto: The performances of some extraordinarily
University. Widely admired for its interpre- Alexander String Quartet. beautiful music.” —Fanfare), as did their
4 | For Tickets and More: sfperformances.org | 415.392.2545 For Tickets and More: sfperformances.org | 415.392.2545 | 52018 release of Mozart’s piano quartets with With Distinction, from the University of World Presidents’ Organization, and the teaching and pursuing personal projects. ensembles. He has been guest artist with the Quartet, cellist Bonnie Hampton, and pia-
Joyce Yang. (“These are by far, hands down California, Berkeley in 1984. Commonwealth Club of San Francisco. Dr. His teachers have included Elaine Lee Alexander, Audubon, Orion, St. Petersburg, nist Jeff LaDeur.
and feet up, the most amazing performances Greenberg has composed more than 50 Greenberg has been profiled in The Wall Richey, Lillian Fuchs, Raymond Page, Tel Aviv and Ying quartets and was a A passionate music educator, Mr. Sor
of Mozart’s two piano quartets that have ever works for a variety of instrumental and Street Journal, Inc. Magazine, the Times of and Sally Peck. A frequent soloist with frequent participant of the famed Marlboro serves as Associate Artistic Director at
graced these ears” —Fanfare.) Other major vocal ensembles. Performances of his London, the Los Angeles Times, The Christian orchestras, he has also given numerous Music Festival. While at Marlboro, Eban Crowden Music Center in Berkeley and as
releases have included the combined string works have taken place across the United Science Monitor, and the San Francisco solo recitals throughout the United States was selected by legendary violinist Resident Conductor for Palo Alto Chamber
quartet cycles of Bartók and Kodály (“If ever States and Europe. Chronicle, among other publications. and was principal violist of the Chamber Sandor Vegh to be the first wind player Orchestra, two organizations rooted in the
an album had ‘Grammy nominee’ written Dr. Greenberg has received numerous For 15 years, Dr. Greenberg was the Orchestra of New England. In 1995, Mr. to perform at the prestigious IMS Prussia rich tradition of playing chamber music.
on its front cover, this is it.” —Audiophile honors, including commissions from resident composer and music historian Yarbrough and his Quartet colleagues Cove festival in England, drawing acclaim As a conductor, he has toured with The
Audition); the string quintets and sextets of the Koussevitzky Music Foundation in for NPR’s Weekend All Things Considered received Honorary Doctorates of Fine Arts from the London Guardian for his “high- Crowden School throughout the US and
Brahms with Toby Appel and David Requiro the Library of Congress, the Alexander and Weekend Edition, Sunday with Liane from Allegheny College for their service powered, electrifying performances.” abroad, including performances in Wash-
(“a uniquely detailed, transparent warmth” String Quartet, the San Francisco Hansen. His show Scandalous Overtures to the arts and education and a Honorary His subsequent recordings for Meridian ington DC, Chicago, Cleveland, Pittsburgh,
—Strings Magazine); the Schumann and Contemporary Music Players, San can be seen on www.ora.tv/shows. Degree from St. Lawrence University. Mr. Records, London, were cited by critics as Seattle, Vancouver, Toronto, Montreal,
Brahms piano quintets with Joyce Yang Francisco Performances, and the XTET In May 1993, Greenberg recorded a Yarbrough serves on the board of the San being “full of life and highly sensitive.” He Stockholm, and Copenhagen.
(“passionate, soulful readings of two ensemble. His music is published by Fallen 48-lecture course entitled “How to Listen Francisco Friends of Chamber Music. has also recorded for the Saphir, Crystal When he is not playing cello, Mr. Sor is an
pinnacles of the chamber repertory” — Leaf Press and CPP/Belwin and is recorded to and Understand Great Music” for The and Naxos labels. He was a member of avid sports fan and bridge player. Most of all,
The New York Times); and the Beethoven on the Innova label. Great Courses/The Teaching Company. “Myriad” (a chamber ensemble formed by he loves to spend time with his two favorite
cycle (“A landmark journey through the Greenberg is a Steinway Artist. (This course was named in the January members of the Cleveland Orchestra) and violinists, his wife Karen and son Kenji.
greatest of all quartet cycles” —Strings Dr. Greenberg is currently the Music 1996 edition of Inc. Magazine as one of “The has often traveled to Eastern Europe to
Magazine). Their catalog also includes the Historian-in-Residence with San Francisco Nine Leadership Classics You’ve Never perform and teach at the invitation of the
Shostakovich cycle, Mozart’s Ten Famous Performances, where he has lectured and Read.”) Dr. Greenberg has since recorded European Mozart Foundation.
Quartets, and the Mahler song cycles in new performed since 1994. He has served on the 30 additional courses. The most recent, Eli Eban was a visiting professor at the
transcriptions by Zakarias Grafilo. faculties of the University of California, “The Great Music of the 20th Century,” was Eastman School of Music for two years
The Alexander String Quartet formed Berkeley; California State University, East released in January 2018. before joining the faculty of the Jacobs
in New York City in 1981, capturing Bay; the Advanced Management Program In February 2003, Maine’s Bangor Daily School of Music at Indiana University,
international attention as the first at the University of Pennsylvania’s News referred to Dr. Greenberg as the where he holds a distinguished ranks’ Rudy
American quartet to win the London (now Wharton School of Business; and the San Elvis of music history and appreciation, an professorship. He divides his time between
Wigmore) International String Quartet Francisco Conservatory of Music, where he appraisal that has given him more pleasure teaching at the Jacobs School of Music,
Competition in 1985. The quartet has chaired the Department of Music History than any other. touring as a soloist and chamber musician,
received honorary degrees from Allegheny and Literature from 1989 to 2001. Dr. Greenberg is currently “blogging, and serving as the principal clarinetist
College and Saint Lawrence University, Dr. Greenberg has lectured for some vlogging, performing, Zooming, reviewing, of the Indianapolis Chamber Orchestra.
and Presidential medals from Baruch of the most prestigious musical and opining, and bloviating 4-6 times a week” His summers are spent performing and
College (CUNY). The Alexander plays on a arts organizations in the United States, on his subscription site at Patreon.com/ teaching at the Sarasota Music Festival
matched set of instruments made in San including the San Francisco Symphony RobertGreenbergMusic. and playing principal clarinet in the
Francisco by Francis Kuttner, known as the (where for 10 years he was host and Eli Eban was appointed principal Chautauqua Symphony Orchestra.
Ellen M. Egger quartet. lecturer for the symphony’s nationally clarinetist of the Jerusalem Symphony
acclaimed Discovery Series), the Orchestra under Lukas Foss immediately
Chautauqua Institution (where he was after graduating from the Curtis Institute
the Everett Scholar-in-Residence during of Music. Shortly thereafter he joined
the 2006 season), the Ravinia Festival, the Israel Philharmonic Orchestra at
Lincoln Center for the Performing Arts, the invitation of Zubin Mehta. During 13
the Van Cliburn Foundation, the Dallas seasons with the Israel Philharmonic,
Symphony Orchestra, the Hartford he performed and recorded all the major
Symphony Orchestra, Villa Montalvo, orchestral repertoire with the world’s
the Phoenix Orchestra, the University leading conductors, including Claudio
of British Columbia (where he was the Abbado, Leonard Bernstein, Christoph
Dal Grauer Lecturer in September 2006), von Dohnanyi, Charles Dutoit, Christoph
and Philadelphia’s College of Physicians Eschenbach, James Levine, Kurt Masur,
(where he has been the Behrend Lecturer Simon Rattle, Georg Solti, Kryzstof
since 2017). Penderecki, and Lorin Maazel.
In addition, Dr. Greenberg is a sought- Eban was the featured soloist with the
after lecturer for businesses and business Israel Philharmonic Orchestra on many
schools and has spoken for such diverse occasions, and he has also performed
organizations as S. C. Johnson, Deutsche Paul Yarbrough, violist, is a native of concertos with the English Chamber
Bank, the University of California/Haas Clearwater, Florida. A founding member Orchestra, the Salzburg Camerata Cellist Eugene Sor has been a familiar
Dr. Robert Greenberg was born in School of Business Executive Seminar of the Alexander String Quartet Mr. Academica, the City of London Sinfonia, face to Bay Area audiences and students for
Brooklyn, New York, in 1954 and has and the Goldman School of Public Policy, Yarbrough announced his retirement the Chamber Orchestra of Philadelphia, over 25 years. His background in the art of
lived in the San Francisco Bay Area since the University of Chicago Graduate from the ASQ in 2020. He will appear as Louisville Orchestra, and the Israel ensemble playing has led to collaborations
1978. He received a B.A. in Music, magna School of Business, Harvard Business a guest artist with the Quartet for two Camerata/Jerusalem, among others. He with esteemed artists such as the Alexan-
cum laude, from Princeton University in School Publishing, Kaiser Permanente, seasons of quintet repertory, and he will tours extensively as a chamber musician, der String Quartet, Baumer Quartet, Fry
1976 and a Ph.D. in music composition, the Young Presidents’ Organization, the continue to perform as a soloist, while collaborating with renowned artists and Street Quartet, Aizuri Quartet, Telegraph
6 | For Tickets and More: sfperformances.org | 415.392.2545 For Tickets and More: sfperformances.org | 415.392.2545 | 7PROGRAM NOTES and conflicted, but Mozart quickly relaxes quintets. The String Quintet in G Minor,
tensions, the warm mood of the opening K.516 is powerful and dark, while the
returns, and the movement winds down String Quintet in C Major, K.515 is marked by
String Quintet in B-flat slowly, concluding with a brief coda built breadth and grandeur. Both these quintets
Major, K.174 from the opening accompaniment figures. are also unusually long-spanned works: if
presents… The minuet is sturdy and flowing, but all its repeats are taken, the String Quintet
WOLFGANG AMADEUS MOZART the surprise comes in the trio section. This in C Major can stretch out to more than
ALEXANDER 1756–1791 is one of the parts that Mozart revised, and
here he replaced a fairly standard trio with
35 minutes, making it longer than any of
Mozart’s string quartets (and in fact longer
STRING QUARTET | Ensemble-in-Residence
Mozart wrote the Quintet in B-flat Major in one built on echo effects: the second violin than any of his symphonies).
March 1773 at the age of 17, just after he and and second viola trail behind the other The Quintet in C Major opens with
his father had returned from their third and instruments, repeating their phrases very something rare in Mozart’s music: a
final trip to Italy. Then Mozart did something quietly, as if heard from far away (Mozart’s leading theme played by the cello. This
Zakarias Grafilo | Violin David Samuel | Viola quite unusual for him—he returned to this biographer Alfred Einstein suggests, in powerful figure begins with a rasping
Frederick Lifsitz | Violin Sandy Wilson | Cello music the following December and revised fact, that the second violin part might be sound of the cello’s lowest note—the open
it, creating a new trio section for the third played offstage to produce the echo effects C-string—and rises sturdily, but then it
movement and completely rewriting the most effectively). will not stop. This simple chordal theme
Paul Yarbrough | Guest Viola finale. No one is sure why Mozart should The finale was also revised nine months recurs constantly, modulating through
suddenly, at age 17, have written a viola after the quintet’s original composition. a series of unexpected keys: G major, E
ROBERT GREENBERG | Music Historian-in-Residence
quintet. Perhaps he had heard quintets by This movement comes as something of a major, C minor, and finally D major. Mozart
Italian composers on his trip, though others surprise after the elegance that has preceded is opening up the widest possible tonal
have suggested that he may have been it—it is full of a slashing energy, polyphonic palette as he begins, and only after the
inspired by the example of Michael Haydn, complexity, and a melodic line that leaps initial figure has been repeated six times
Sunday, September 5, 2021 | 10am then also working in Salzburg. suddenly between the five instruments. does he allow the first violin to sing the long
One of the most remarkable things It makes a brilliant—and unexpected— and flowing second subject. It is a further
Herbst Theatre about Quintet in B-flat Major is the range conclusion to Mozart’s first string quintet. mark of this music’s breadth that there
of critical reaction it has provoked. is a third theme—a genial, syncopated
The abrasive Hans Keller dismisses it String Quintet little tune—just before the close of what is
as “uninteresting,” but in his study of one of Mozart’s longest and most focused
in C Major, K.515
THE ART OF THE QUINTET classical style Charles Rosen goes to the expositions. The development is brief,
other extreme, calling it an “astonishing” Many regard the string quartet as the and then Mozart plunges back into an
work, one whose “breadth of conception… summit of chamber music, and Haydn, extended recapitulation and an equally
goes far beyond any of the string quartets” Beethoven, and Bartók found it ideal for remarkable coda. After all the expansive
MOZART String Quintet in B-flat Major, K.174 Mozart had just completed. Others have some of their finest music. But that form power of this movement, the music winks
heard here the earliest flowering of the gave Mozart unusual problems, and he out on fragments of the second theme.
Allegro moderato
maturity and expressiveness that would struggled with all his mature quartets. Debate continues about the correct
Adagio shape Mozart’s first “great” symphonies, The addition of one extra instrument, sequence of the inner movements.
Menuetto ma allegretto No. 25 in G Minor and No. 29 in A Major, however—the instrument Mozart Apparently Mozart himself was unsure
Allegro composed the following year. preferred to play in chamber music— about their order, and the quintet has
The opening Allegro moderato is rich unlocked some of his greatest music, for been published and recorded with these
with thematic ideas (there are five separate chamber groups or any other ensemble. movements in alternate positions.
themes here), and the opening phrases Perhaps the richer instrumental texture The opening section of the Allegretto
INTERMISSION are noteworthy for the way that the first stirred his creative powers in unusual ways. brings a surprise: the opening idea spans ten
violin’s flowing melodic line is instantly Perhaps it was the distinctive sound of the measures rather than the expected eight,
repeated by the viola—this pattern will violas. Perhaps it was the new possibilities with the violins in pairs, answered by pairs
recur in later quintets. The development for playing combinations of instruments of lower instruments. At the trio, however,
is brief and extremely animated, deriving off against each other. Who knows? the music heads off in new directions
String Quintet in C Major, K.515
most of its energy from the triplet-based Mozart spent most of 1787 composing entirely. Mozart modulates into F major,
Allegro theme in the exposition, and a long Don Giovanni, which would be premiered and now begins an odd and haunting dance,
Menuetto: Allegretto recapitulation leads to the firm close. that October. During the spring of that a sort of wistful waltz on winding chromatic
Andante The Adagio is the most impressive year, he composed two string quintets— lines. This trio goes on for some length—
Allegro movement in the quintet, and it is here one in April and one in May. It has often Mozart clearly liked the possibilities he
that we hear intimations of the Mozart been noted that Mozart composed works found here—then winds its way back to
to come. He mutes the instruments for in groups and that specific key signatures order with the return of the minuet.
this movement, and over murmuring had particular expressive significance for The Andante is an extraordinary
accompaniment the first violin sings the him. His last two symphonies, composed movement—and not the sort of movement
gorgeous main idea, very much like an within a month of each other, are a perfect one expects in chamber music. In effect,
aria from an opera; this is then repeated by example: the symphony in G minor is dark, it belongs to just two instruments, the
various combinations of instruments. The intense, tragic; the other—in C major— first violin and the first viola, which sing
development section erupts in a stab of pain is spacious, noble, and heroic. One sees a duet that is more like a joint cadenza
as that floating opening melody turns sharp exactly the same pattern in these two continued on page 17
8 | For Tickets and More: sfperformances.org | 415.392.2545 For Tickets and More: sfperformances.org | 415.392.2545 | 9PROGRAM NOTES that marks most minuets is absent here, use of the husky timbre of the viola: the
and Mozart defeats expectations by placing Sinfonia Concertante for violin and viola
his strongest accents on the third beat of is unquestionably his best concerto for
String Quintet in some of his measures. The trio section, stringed instruments, and the cycle of
G Minor, K.516 in G major, seems to let in a brief flood of six viola quintets offer some of his finest
presents… sunlight, but Mozart further enforces the chamber music.
WOLFGANG AMADEUS MOZART sense of compression by basing this trio on The string quintet is a more complex
ALEXANDER 1756–1791 a theme taken from the minuet.
The Adagio ma non troppo plunges
form than the quartet, offering new
possibilities but at the same time creating
STRING QUARTET | Ensemble-in-Residence
In the spring of 1787, Mozart—then us into a different world entirely, so many new problems for a composer. The
31—was at the height of his powers. The unexpected is its sound. Mozart mutes addition of one extra instrument to the
previous year had seen the triumphant the five instruments throughout, and this string quartet changes many things.
premiere of The Marriage of Figaro, and movement is remarkable for both its rich It adds an extra voice to the harmony,
Zakarias Grafilo | Violin David Samuel | Viola now he was about to begin work on Don sonority and the variety of its moods. Each making for a richer harmonic language
Frederick Lifsitz | Violin Sandy Wilson | Cello Giovanni. But before he plunged into the of its three themes is radically different, than is possible with the quartet. It creates
opera, Mozart wrote two viola quintets. and each generates its own emotional a heavier texture and allows the composer
The Quintet in G Minor, completed on May world: the stately opening gives way to a to set groups of instruments against
Paul Yarbrough | Guest Viola 16, 1787, is one of his finest works and grieving second subject (once again based each other in a manner impossible in the
certainly one of the greatest pieces of on falling chromatic lines) which in turn quartet. Given these new complexities, it
ROBERT GREENBERG | Music Historian-in-Residence
chamber music ever written. Everyone is displaced by an oddly-dancing—almost is not surprising that so few viola quintets
who hears this music senses its intensity, carefree—third idea. Beneath its muted have been written. Nor is it surprising
and Mozart’s biographers have looked surface, this music wears many faces, that the greatest—those of Mozart and
for causes in the composer’s own life. moves through many moods. Dvořák—should have been written by
Sunday, September 5, 2021 | 3pm While this was the period of his father’s The final movement begins with composers who played the viola.
final illness (Leopold Mozart died on May another Adagio, now unmuted: the first Mozart wrote the String Quintet in D
Herbst Theatre 28), any connection between this and the violin arches high and falls back over the Major in December 1790, exactly one year
music must remain conjectural. What quietly-throbbing accompaniment. In a before his death. This is one of his finest
is clear is that into this quintet Mozart sense, this introduction is the emotional quintets, and it has been extravagantly
poured a depth of expression heard in very climax of the entire quintet, for it gives praised. Louis Biancolli calls it “full of
THE ART OF THE QUINTET little of his other music. In the darkness of way to a good-natured rondo-finale in noble sentiment and great feeling,” and
its character, the range of its moods, and G major. Many have found this cheerful Hans Keller goes so far as to say that the
the compression of the writing, it is often finale anticlimactic after the first three three viola quintets of K.515, K.516, and
compared to another of Mozart’s great movements and the introduction to the K.593 “are the greatest and most original
MOZART String Quintet in G Minor, K.516 works in G minor, the Symphony No. 40, last, and Mozart himself was aware of this symphonic structures of Mozart, chamber-
composed the following year. One of the problem: he made sketches for a finale that musical or otherwise.” This is glorious
Allegro
distinguishing technical features of the remained in G minor but discarded them. music, but—curiously—Mozart makes
Menuetto: Allegretto quintet is Mozart’s constant chromatic He was probably right to do so. The quintet very little use of the distinctive sound of
Adagio ma non troppo writing, and in particular the falling clearly needs some emotional release the violas in the present quintet: virtually
Adagio; Allegro chromatic lines of much of the melodic at this point, and this finale serves that all the thematic interest is in the violins,
material give the music extraordinary purpose well (it is worth noting, too, that with the violas employed to broaden and
emotional power. the main theme of this rondo bears some enrich textures.
The dark and grieving opening theme relation to the opening theme of the first The Quintet in D Major opens with a
of the Allegro, heard immediately in the movement, reinforcing one more time the 21-measure Larghetto introduction that
first violin and quickly repeated by the sense of compressed intensity that informs gives way to an Allegro. Mozart’s use of
INTERMISSION
first viola, climbs and then falls back, the entire quintet). material in this movement is extremely
and this same rising-and-falling melodic Long after the rondo has come dancing concentrated: the dotted quarter-note
motion recurs throughout the movement: home in sunny G major, however, it is trill of the Allegro gives melodic shape and
it gives shape to the second subject, also to the opening movements that one’s rhythmic energy to the entire movement,
String Quintet in D Major, K.593 introduced by the first violin and also— memory returns. And particularly to and it is a mark of this quintet’s sharp focus
Larghetto; Allegro curiously—in the home key of G minor. the quintet’s very beginning, where that that this motive itself grows out of the
Adagio Just as remarkable is the steady beat of painful, surging violin melody stays to Larghetto introduction. The development
Menuetto: Allegretto the accompanying voices: these constant haunt the mind. is long and varied, and at the close Mozart
eighth notes—always pulsing forward— brings the music to a stop and repeats the
Allegro give the music another dimension of String Quintet in Larghetto introduction complete, then
urgency. The development is relatively concludes with the first eight measures of
D Major, K.593
short, but Mozart then offers a long the Allegro. That fragment sounds abrupt,
recapitulation and a substantial coda that Mozart had a special fondness for the almost defiant, in such a role.
remains in G minor. viola. He was—like Beethoven, Schubert, The Adagio begins simply enough in
The minuet-and-trio comes second in this and Dvořák—a violinist who preferred to G major, but quickly the music assumes
quartet, rather than in the expected third play viola in chamber ensembles, and some a “pathetic” quality, full of dark shading
position. The cheerful rhythmic spring of his greatest music makes prominent continued on page 17
10 | For Tickets and More: sfperformances.org | 415.392.2545 For Tickets and More: sfperformances.org | 415.392.2545 | 11PROGRAM NOTES der Freude Tränen fliessen” from Die Ent- Serenade in D Major, K.361 in 1784, and the
führung aus dem Serail. Mozart does some two soon became friends and colleagues—
astonishing things with this gentle little they were both Freemasons in the same
String Quintet in E-flat theme. The development is a series of rep- lodge in Vienna and Mozart is known to
Major, K.614 etitions, each becoming more complex and have lent Stadler money during these years.
presents… more chromatic until strange dissonances Not surprisingly, Mozart began to write
WOLFGANG AMADEUS MOZART come stringing out of this music. The ef- for Stadler and for the clarinet. In the
ALEXANDER 1756–1791 fect, over two centuries later, is still sur-
prising, and it is a movement like this that
summer of 1786, shortly after the premiere
of Le Nozze de Figaro, Mozart wrote his Trio
STRING QUARTET | Ensemble-in-Residence
In the manuscript of the Quintet in E-flat helps us understand what a Viennese critic for Clarinet, Viola, and Piano, presumably
Major Mozart noted the location and date meant when he complained that Mozart’s for Stadler, and the instrument figures
of its completion—Vienna, April 12, 1791— music was “too highly spiced.” Spiced it prominently in his Symphony No. 39,
placing this quintet at the beginning of the may be, but it is also extraordinarily beau- composed two years later. It is a measure of
Zakarias Grafilo | Violin David Samuel | Viola final creative burst of his brief life. Over tiful and expressive. the composer’s respect for Stadler’s artistry
Frederick Lifsitz | Violin Sandy Wilson | Cello the next eight months he would write two The minuet is more conventional, that in the final year of his life Mozart
operas (Die Zauberflöte and La clemenza though the outer sections proceed on would compose the obbligato clarinet
di Tito) and the Clarinet Concerto. He also canonic phrases, while the trio is a ländler parts in La clemenza di Tito and the Clarinet
Paul Yarbrough | Guest Viola would begin the Requiem, left unfinished that dances comfortably along its easy Concerto specifically for Stadler, and he
Eli Eban | Guest Clarinet at his death on December 5. Though he did swing. The final movement, a rondo revised his Symphony No. 40 to include
not know it as he set aside the manuscript marked Allegro, is built entirely on one clarinet parts, almost certainly for Stadler.
on that spring day, this quintet would be theme, announced immediately by the Two years earlier, during the summer
ROBERT GREENBERG | Music Historian-in-Residence his final chamber work.
This is an unusual composition, in many
first violin. Building an entire movement
on one theme was nothing new—Haydn
of 1789, Mozart composed his Clarinet
Quintet, completing it on September 29.
ways representative of the increasingly had written many such movements—but The premiere had to wait until December
Saturday, September 11, 2021 | 10am rarefied musical language of Mozart’s final
years. Unlike his earlier viola quintets, the
what makes this movement remarkable
is the concentrated polyphonic writing.
22, when it was performed at a concert of
the Tonkünstler Societät in Vienna. On
Herbst Theatre Quintet in E-flat Major does not play groups Mozart treats his amiable opening theme that occasion Stadler was the clarinetist,
of different instruments off against each to some complex fugal development, and— and Mozart played the viola. Mozart made
other, nor does it exploit the characteristic pushed along by more brilliant writing for clear the connection between this music
“middle” sonority of the viola quintet. the first violin—his final piece of chamber and the artist for whom it was written the
THE ART OF THE QUINTET Rather, this music is remarkable for the
brilliance of the first violin part in its
music flies to its energetic close. following year when he referred to it as
“Stadler’s quintet.”
outer movements, where that instrument Quintet in A Major for Stadler played the basset clarinet, an
sails above the other four with a concerto- instrument of his own invention, which
Clarinet and Strings, K.581
like virtuosity. And, as we shall see, it could play four semitones lower than
MOZART String Quintet in E-flat Major, K.614 incorporates some unusual formal features. Mozart first heard an early version of the standard clarinet of that era. This
Allegro di molto The Allegro di molto opens with a passage the clarinet at age eight while on a visit to unfortunately resulted in a number of
Andante for the two violas that sounds exactly London, and he first composed for it when corrupt editions of Mozart’s works for
Menuetto: Allegretto like a pair of hunting horns. That effect he wrote the Divertimento in D Major, K.113 Stadler, as editors re-wrote them to suit
was clearly intentional, and that fanfare at age 15. Seven years later, after hearing the range of the contemporary clarinet.
Allegro returns throughout the movement, giving the excellent orchestra in Mannheim, Subsequent modifications have given
the music a somewhat festive air and which included clarinets, he wrote home the A clarinet those four low pitches, and
thrusting it forward on the energy of its to his father lamenting that they did not today we hear these works in the keys for
trills. These “horn-calls” dominate the have clarinets in the Salzburg orchestra. which Mozart originally wrote them.
INTERMISSION opening measures, but quickly the first His fascination with the clarinet’s mellow Simple verbal description cannot begin
violin breaks free with a series of runs, sonority and wide range stayed with him to suggest the glories of Mozart’s Clarinet
difficult string-crossings, and writing throughout his life (what Mozart heard Quintet—this is truly sovereign music,
high in the instrument’s register (at one in Mannheim was probably the basset full of the complete technical mastery of
Quintet in A Major for Clarinet and Strings, K.581 point Mozart sends the first violin up to a horn, an early form of the clarinet as it Mozart’s final years and replete with the
Allegro high D, almost at the upper extreme of its was developing late in the 18th century). emotional depth that marks his music
Larghetto fingerboard). At the end, the horn fanfare Mozart was one of the first composers from that period. The strings present the
and its trills drive this movement to its to use the clarinet in a symphony, and as chorale-like first theme of the sonata-form
Menuetto energetic close. he moved into his 30s Mozart began to opening Allegro, and the clarinet quickly
Allegretto con variazioni The real glory of this quintet is the An- compose more often for that instrument. enters to embellish this noble opening
dante. Its form is simple enough on the sur- Much of Mozart’s growing interest in the statement. The expressive second subject,
face—a theme with variations—but what clarinet came from his friendship with the sung by the first violin, flows with a long-
is unusual here is what Mozart does in Austrian clarinet virtuoso Anton Stadler breathed smoothness that itself seems
the course of varying his opening melody. (1753–1812). Mozart apparently met Stadler shaped for the fluid sound of the clarinet.
That melody, sung initially by the first vio- soon after arriving in Vienna in 1781. The Larghetto, in D major, belongs very
lin, sounds like an aria, and in fact it has Stadler was part of the ensemble that gave much to the clarinet, which weaves a long
been compared to Belmonte’s aria “Wenn the first performance of Mozart’s great continued on page 22
12 | For Tickets and More: sfperformances.org | 415.392.2545 For Tickets and More: sfperformances.org | 415.392.2545 | 13PROGRAM NOTES cello sounds the movement’s main theme music’s genial atmosphere and thinking
far below. Brahms’ friend and biographer of Brahms’ love for Vienna’s main park,
Max Kalbeck claimed that this beginning, nudged the composer and suggested:
String Quintet in G Major, with its soaring, dramatic cello melody, “Brahms in the Prater?” And the composer
Opus 111 was originally going to be the opening of replied: “You’ve hit it! And all the pretty
presents… Brahms’ Fifth Symphony. Certainly, this girls there, eh?”
JOHANNES BRAHMS impassioned opening sounds orchestral, The Quintet in G Major also figured in
ALEXANDER (1833–1897) and it has presented problems of balance
ever since, for the cellist must cut
one of the final concerts Brahms heard. In
January 1897 the Joachim Quartet played it
STRING QUARTET | Ensemble-in-Residence
On a vacation trip to his much-loved through the busy accompaniment of the on successive days in Vienna, and Brahms,
Italy in the spring of 1890, the 57-year-old hyperactive upper voices (when early suffering from the liver cancer that would
Brahms decided to retire. He had made performers pointed this out to Brahms, kill him three months later, made the
preliminary sketches of a Fifth Symphony he experimented with lightening that effort to attend the second performance.
Zakarias Grafilo | Violin David Samuel | Viola and several other works but found that accompaniment and then gave up and left It was a huge success, and Brahms—
Frederick Lifsitz | Violin Sandy Wilson | Cello he could not make them come to life in it as it was). The second theme-group— who had listened offstage—was finally
satisfactory ways. To his friend Eusebius invariably described as “Viennese”— compelled to come out and acknowledge
Mandyczewski, Brahms confessed “…I waltzes with an attractive lilt; one of the that applause. Shocked by Brahms’
Paul Yarbrough | Guest Viola was always used to everything being clear surprises of this movement is the sharp shrunken appearance and the yellow tint
Eli Eban | Guest Clarinet to me. It seems to me that it’s not going contrast between the “symphonic” power of his skin, the audience responded with
the way it used to. I’m just not going to do of its first theme and the gentleness of its even more vociferous applause. Recalling
any more. My whole life I’ve been a hard second. Brahms extends the waltz with a that occasion after the composer’s death,
ROBERT GREENBERG | Music Historian-in-Residence worker; now for once I’m going to be good
and lazy...” But before he quit, Brahms
lovely second violin melody marked dolce.
The development begins in a whispering
Joachim made a poignant observation:
“I often think sadly of the last pleasure it
wanted to complete one last work. That haze of sound, but Brahms quickly brings was in our power to give him…I have never
Saturday, September 11, 2021 | 3pm summer at Bad Ischl he composed a viola
quintet, and when he sent a final correction
back the energy of the opening—this
theme dominates the development and
heard him express his gratitude so warmly
as after listening to his G Major Quintet; he
Herbst Theatre of it to his publisher in December Brahms finally drives the movement to its full- seemed almost satisfied with his work.”
proclaimed: “With this note you can take throated conclusion.
leave of my music because it is high time The mood changes sharply in the two Quintet in B Minor for
to stop.” middle movements. The Adagio takes much Clarinet and Strings, Opus 115
THE ART OF THE QUINTET Brahms, of course, would come out of
retirement the following year when he
of its character from the dark sound of the
movement’s dominant instrument, the Brahms intended that his String
was inspired by the playing of clarinetist first viola, which introduces the opening Quintet in G Major of 1890 should be his
Richard Mühlfeld, but at this point he melody with its characteristic turn. last work. But it was not to be. In March
wanted to go out on a cheerful note—his The movement rises to an impassioned 1891 Brahms traveled to Meiningen to
BRAHMS String Quintet in G Major, Opus 111 Quintet in G Major, written by a man just extension of the opening melody before a hear that orchestra under the direction
Allegro non troppo, ma con brio back from a relaxing trip to Italy, is one cadenza-like outburst from the first viola of Fritz Steinbach, one of the leading
Adagio of his sunniest and most relaxed scores. leads the music to its quiet close. The third interpreters of Brahms’ music. And then
Un poco allegretto Brahms’ longtime friend Elizabeth von movement, Un poco allegretto, is a wistful something entirely unexpected happened:
Herzogenberg, now seriously in decline little waltz, enlivened by its syncopated Brahms heard the orchestra’s principal
Vivace ma non troppo presto with heart disease, saw the score and accompaniment. One of the glories of the clarinetist Richard Mühlfeld perform
gauged this music perfectly: “Reading it quintet is the G-major trio, where the dolce Mozart’s Clarinet Quintet and Weber’s
was like feeling spring breezes,” she wrote melody slides smoothly between duets for Clarinet Concerto. He was so impressed
the composer, “He who can invent all this the violins and violas. The cadences of this by Mühlfeld’s playing that he came out
INTERMISSION must be in a happy frame of mind. It is the movement are especially interesting: the of retirement and wrote four works for
work of a man of thirty.” trio simply trails off into nothing before Mühlfeld that have become the heart of the
Despite its youthful surface, however, the opening section resumes, and at the clarinet literature.
the Quintet in G Major is very much the work very end Brahms brings back a bit of the Mühlfeld (1856–1907) was an interesting
Quintet in B Minor for Clarinet and Strings, Opus 115 of an experienced composer, particularly trio to close out the movement. The Vivace musician. He joined the Meiningen
Allegro in Brahms’ subtle extension of his themes ma non troppo presto finale rips along on a orchestra at age 17 as a violinist but taught
Adagio and in the music’s harmonic freedom. main theme that has been compared to the himself to play clarinet and became the
Curiously, this quintet has also struck csárdás. The movement is in sonata-rondo orchestra’s principal clarinetist at age 23,
Andantino; Presto non assai, con sentimento many as Brahms’ most cosmopolitan work, form, with a second theme-group built on later serving as principal of the Bayreuth
Con moto and various critics have heard Italian, flowing triplets, and the dazzling coda is orchestra. So impressed was Brahms by
Hungarian, Viennese, and Slavic influences full of gypsy fire. his playing that he sat for hours listening
here. There are those, too, who think that it The first performance of the Quintet in to him practice and gave Mühlfeld several
sounds like Brahms in every measure. G Major was given in Vienna on November pet nicknames, including “Fraulein Klar
The quintet gets off to a surprising 11, 1890, by the augmented Rosé Quartet, inette,” “my dear nightingale,” and “my
start. This opening is music of a slashing which would—13 years later—give the primadonna…” In the summer of 1891, six
brilliance: the four upper voices hammer premiere of Schoenberg’s Verklaerte Nacht. months after he had officially announced
out a thick weave of accompaniment as the At the rehearsal Max Kalbeck, noting the continued on page 22
14 | For Tickets and More: sfperformances.org | 415.392.2545 For Tickets and More: sfperformances.org | 415.392.2545 | 15PROGRAM NOTES tune that dominates the development Sept 5 AM Notes continued from page 9
section; the recapitulation is a fairly literal
repeat of the opening section, and a brief by two virtuoso soloists than chamber
String Quintet in coda brings the movement to its close. music, and it recalls—in sound, spirit,
C Major, D.956 Longest of the four movements, the and instrumentation—Mozart’s Sinfonia
presents… Adagio is in ABA form. The opening is Concertante for Violin and Viola, composed
FRANZ SCHUBERT remarkable. The three middle voices— eight years earlier in Salzburg. There is
ALEXANDER (1797–1828) second violin, viola, and first cello—sing a
gentle melody that stretches easily over 28
something almost jarring about the range
of expression here, for this music is by
STRING QUARTET | Ensemble-in-Residence
Universally acknowledged as one of bars; the second cello accompanies them turns consoling, fiery, gentle, furious,
the finest creations in all chamber music, with pizzicato notes, while high above brilliant, as Mozart ranges easily between
Schubert’s String Quintet in C Major dates the first violin decorates the melody with the high, silvery sound of the violin and
from the miraculous final year of that quiet interjections of its own. The middle the darker sound of the viola.
Zakarias Grafilo | Violin David Samuel | Viola composer’s brief life, 1828. That year saw section, in F minor, feels agitated and dark. The concluding Allegro takes wing as the
Frederick Lifsitz | Violin Sandy Wilson | Cello the revision of the “Great” Symphony in C A trill leads back to the opening material, first violin soars off with a cheerful eight-
Major and the composition of the three but now the two outer voices accompany bar theme that will clearly be the basis of a
final piano sonatas, the songs of the the melody with runs and swirls that have rondo. Yet Mozart is Mozart, and quickly the
Eugene Sor | Guest Cello Schwanengesang collection, this quintet, suddenly grown complex. unexpected begins to happen: this cheerful
and the song “Der Hirt auf Dem Felsen,” The third movement is a scherzo- tune develops, grows more complex, and is
ROBERT GREENBERG | Music Historian-in-Residence
completed in the weeks just prior to and-trio, marked Presto. The bounding treated in some rich counterpoint—what
Schubert’s death on November 19. The date scherzo, with its hunting horn calls, is had seemed a simple rondo in the opening
of the Quintet is difficult to pin down, but fairly straightforward, but the trio is quite measures now edges toward sonata form,
it was probably composed at the end of the unusual, in some surprising ways the particularly with the arrival of a second
Sunday, September 12, 2021 | 10am summer: on October 2 Schubert wrote to emotional center of the entire Quintet. subject, announced by the pair of violins.
one of his publishers that he had “finally One normally expects a trio section to The writing for the first violin in this
Herbst Theatre turned out a Quintet for 2 violins, 1 viola, be gentle in mood, sometimes even a movement is quite extroverted: much of the
and 2 violoncellos.” thematic extension of the scherzo. But this part is high and difficult, and it is on that
Some have been quick to hear trio, marked Andante sostenuto and in the concerto-like brilliance that the Quintet in
premonitions of death in this quintet, as if unexpected key of D-flat major, is spare, C Major—some of the most striking and
THE ART OF THE QUINTET this music—Schubert’s last instrumental grave, haunting. Schubert sets it in 4/4 powerful chamber music Mozart ever
work—must represent a summing-up of his instead of the expected 3/4, and its lean lines wrote—sails to its conclusion.
life. But it is dangerous to read intimations and harmonic surprises give it a grieving
of mortality into music written shortly quality quite different from the scherzo— Program notes by Eric Bromberger
SCHUBERT String Quintet in C Major, D.956 before any composer’s death, and there and from the rest of the Quintet. The lament
is little basis for such a conclusion here— concludes, and the music plunges back into Sept 5 PM Notes continued from page 11
Allegro ma non troppo
although he was ill during the summer, sunlight as the scherzo resumes.
Adagio Schubert did not know that he was fatally Many have heard Hungarian folk music and long, expressive lines spun out over
Scherzo: Presto ill. Rather than being death-haunted, in the opening of the Allegretto, with its steady accompaniment from the lower
Allegretto the Quintet in C Major is music of great evocation of wild gypsy fiddling. The voices. The development is intensified by
richness, music that suffuses a golden second theme is one of those graceful little the polyphonic writing, and the movement
glow. Some of this is due to its unusual tunes that only Schubert could write; both extends over a generous span. After two
sonority: the additional cello brings themes figure throughout the movement, such powerful movements, the Allegretto
weight to the instrumental texture and until finally another cello duet leads to feels straightforward, even conventional:
allows one cello to become a full partner in a fiery coda ingeniously employing both a sturdy minuet frames a trio in which
the thematic material, a freedom Schubert main themes. spiccato violins sing above ringing
fully exploits. Of unusual length (over 50 The Quintet in C Major is one of the glories pizzicato accompaniment.
minutes long), the Quintet also shows the of the chamber music repertory and one The main theme of the Allegro finale
incredible harmonic freedom of Schubert’s of Schubert’s finest works. Yet he never comes flashing downward like a streak of
final years—someone once commented heard a performance of it. The Quintet lightning. Its chromatic tension is typically
that this music seems to change keys every may have been rehearsed at a gathering Mozartean, but so too is what he does with
two bars. of Schubert’s friends in October—the it: by reordering that sequence of notes,
The opening Allegro ma non troppo is evidence is unclear—and Schubert died Mozart dissolves the tension and lets the
built on three theme groups: the quiet a few weeks later. The music then slipped music sing with unexpected gentleness.
violin theme heard at the very beginning, from memory: it lay in manuscript for The flying 6/8 meter gives this movement
an extended duet for the two cellos, and a years and was not officially premiered an almost breathless quality, and along the
little march figure for all five instruments. until 1850, 22 years after Schubert’s death. way Mozart spins off some terrific fugal
The cello duet is unbelievably beautiful, so writing before the Quintet rushes to its close
beautiful that many musicians (certainly Program notes by Eric Bromberger on a cadence built of the opening sequence,
many cellists!) have said that they would now back in its original form.
like nothing on their tombstone except the
music for this passage. But it is the march Program notes by Eric Bromberger
16 | For Tickets and More: sfperformances.org | 415.392.2545 For Tickets and More: sfperformances.org | 415.392.2545 | 17PROGRAM NOTES modified sonata form Beethoven used in are many who regret Beethoven’s decision.
his final years, is built on two contrasting Beethoven began this rondo finale
tempos: a reverent Adagio and a quick in Gneixendorf in September 1826 and
String Quartet in Allegro that flies along on a steady rush of mailed the manuscript off to his publisher
B-flat Major, Opus 130 sixteenth notes. These tempos alternate, on November 22. He returned to Vienna
presents… sometimes in sections only one measure the following week, took to bed, and died
LUDWIG VAN BEETHOVEN long—there is some extraordinarily the following March. This dancing, high-
ALEXANDER (1770–1827) beautiful music here, full of soaring themes
and unexpected shifts of key. By contrast,
spirited music is the last that he completed.
STRING QUARTET | Ensemble-in-Residence
Beethoven composed the Quartet in B-flat the Presto—flickering and shadowy—flits Grosse Fuge in B-flat Major,
Major between July and December of 1825, past in less than two minutes; in ABA Opus 133
and the music had its premiere in Vienna form, it offers a long center section and a
on March 21, 1826, almost exactly a year sudden close on the return of the opening This concert offers the Grosse Fuge as
Zakarias Grafilo | Violin David Samuel | Viola to the day before the composer’s death. material. The solemn opening of the an independent work. Let it be said right
Frederick Lifsitz | Violin Sandy Wilson | Cello This massive quartet, consisting of six Andante is a false direction, for it quickly from the start: the Grosse Fuge is a brilliant
movements that span a total of nearly 50 gives way to a rather elegant movement in piece of music and a very tough one, and
ROBERT GREENBERG | Music Historian-in-Residence
minutes, concluded with a complex and sonata form, full of poised, flowing, and it should come as no surprise that it has
extremely difficult fugue that left the first calm music. Beethoven titled the fourth excited quite different responses. Though
audience stunned. Beethoven, by this time movement Alla danza tedesca, which he was no particular admirer of Beethoven,
totally deaf, did not attend the premiere, means “Dance in the German Style.” In 3/8 Stravinsky near the end of his long life
Sunday, September 19, 2021 | 10am but when told that the fourth and fifth
movements had been so enthusiastically
meter, it is based on the rocking, haunting
little tune that opens the movement.
came to know and respect the late quartets,
and his admiration for the Grosse Fuge led
Herbst Theatre applauded that they had to be repeated, The Cavatina has become one of the most him to call it an “absolutely contemporary
he erupted with anger at the audience: famous movements in all Beethoven’s piece of music that will be contemporary
“Yes, these delicacies! Why not the Fugue? quartets. Everyone is struck by the intensity forever.” At the other extreme, the late
Cattle! Asses!” of its feeling, though few agree as to what it American critic B.H. Haggin was adamant
BEETHOVEN QUARTETS But it was not just the audience at the
premiere that found the concluding
expresses—some feel it tragic, others view
it as serene; Beethoven himself confessed
that the Grosse Fuge was to be considered
“inaccessible—except for a quiet and
fugue difficult. With some trepidation, that even thinking about this movement lovely episode—by some music lovers who
Beethoven’s publisher asked the crusty old moved him to tears. Near the end comes have listened to it repeatedly.”
composer to write a substitute finale and to an extraordinary passage that Beethoven The Grosse Fuge is in fact not one fugue,
BEETHOVEN String Quartet in B-flat Major, Opus 130
publish the fugue separately. To everyone’s marks Beklemmt (“Oppressive”): the music but three different fugal sections, each in
Adagio, ma non troppo; Allegro astonishment, Beethoven agreed to that seems to stumble and then makes its way to a contrasting tempo: Beethoven described
Presto request and wrote a new finale—a good- the close over halting, uncertain rhythms. it as a “Grand Fugue, freely treated in
Andante con moto ma non troppo natured rondo—in the fall of 1826. Since The concluding rondo has troubled some places, fugally elaborated in others.”
Alla danza tedesca: Allegro assai that time, critics have debated which ending many listeners precisely because it is so The brief Overtura suggests the shape
makes better sense artistically, and this different from the fugue it replaces. Where of the fugue subject in three different
Cavatina: Adagio molto espressivo is one of those debates that will probably the fugue had provided a violent—and permutations (all of which will reappear)
Finale: Allegro continue forever. At this concert the Quartet disruptive—conclusion, the substitute and then proceeds directly into the first
in B-flat Major is performed with Beethoven’s finale has seemed to some to go too far fugue, an extremely abrasive Allegro in
substitute rondo-finale as the last movement, in the other direction. After the abrasive B-flat major that demands a great deal from
followed by a performance of the original furies of the Grosse Fuge, the rondo will both performers and audiences. Much of
INTERMISSION finale, the Grosse Fuge. inevitably sound a little sugar-coated, the complexity here is rhythmic: not only
In either version, this music presents and those who disagree with Beethoven’s does the fugue subject leap across a span
problems of unity, for the six movements decision to change finales note that the of several octaves, but its progress is often
are quite different from each other. The replacement rounds off too smoothly obscured by its overlapping triple, duple,
Grosse Fuge in B-flat Major, Opus 133 issue is intensified when the Grosse Fuge a quartet whose whole thrust has been and dotted rhythms. The lyric, flowing
is used as the finale, for this movement dislocation. Does this new finale, pleasing central section, a Meno mosso e moderato in
is so individual that it does seem an as it is, represent artistic capitulation—or G-flat major, is fugal in character rather than
independent statement. In its present a tacit admission by Beethoven that the taking the form of a strict fugue. It gives
form, the quartet consists of a huge first fugue had been wrong as a conclusion to way to the Allegro molto e con brio, which
movement, four short inner movements the quartet? What we can say is that it was is derived from the second appearance of
(two scherzos and two slow movements), Beethoven himself who decided to detach the fugue subject in the Overtura; here it
and the concluding rondo. The music the fugue, to write this new (and more bristles with trills and sudden pauses. Near
encompasses a wide range of emotion, congenial) finale, and to regard the Grosse the close, Beethoven recalls fragments of
from the frankly playful to some of the Fuge as an independent work. It need not the different sections, then offers a full-
most deeply-felt Beethoven ever wrote. follow that every decision a composer throated restatement of the fugue theme
The first movement, cast in the highly- makes about his music is correct, and there before the rush to the close.
—Program notes by Eric Bromberger
18 | For Tickets and More: sfperformances.org | 415.392.2545 For Tickets and More: sfperformances.org | 415.392.2545 | 19You can also read
