duke performances 2014/15 chamber arts series brochure

2014/2015 CON C ER T SEASO N

THE CHAMBER ARTS SOCIETY OF DURH A M AT D U KE U NIV E RSITY

THE CHAMBER ARTS SERIESAT DUKE PERFORMANCES

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CHAMBER ARTS SERIES

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What a gift we have received — this stunning new Baldwin Auditorium! We heard our wonderful season last year more clearly than any of the previous seasons. You will see from this brochure what superb performances are in store for us in the coming year. Having received such a gift last year, I hope you will consider reciprocating with a gift this year — a donation to the Chamber Arts Society — that will help us continue our eight-concert series that equals the best this country has to offer. It is obvious that we need substantial funds to bring outstanding talent here from several countries — which this year include England, Germany, Israel, and The Netherlands. It may be less obvious what other opportunities are supported by gifts from you:

Master classes by some of our ensembles offered for Duke students, to

which the public is invited for free;Q

A special ticket price of $10for all Duke students; and

QA special ticket price of $15

for all those aged 30 and under.

As symphony orchestras — long the dominant force in the public performance of classical music — have become harder and harder to sustain, the number of top quality chamber groups has soared. With our highly respected, sixty-nine-year-old Chamber Arts Society Series, we are in the enviable position of being able to attract the best of the best to our shining new gift of an auditorium in Durham. Please help keep this exquisite music flowing here by supporting it with your gift. Best wishes for a wonderful year of music,

George D. Gopen, Director

A N E W Y E A R | A N E W H O M E

C H A M B E R A R T S S E R I E S

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Founded four decades ago in Hungary, the Takács Quartet brings drama, humor, and warmth to their definitive interpretations of the string quartet repertoire. Renowned as a “benchmark ensemble among today’s string quartets” (Guardian), the Takács return to Duke Performances to inaugurate the sixty-ninth season of the Chamber Arts Series.

“arguably the greatest quartet before the public today.” London Sunday Times

The program begins with Schubert’s Quartettsatz (“Quartet Movement”), the only finished movement from the composer’s 12th string quartet. This is followed by Beethoven’s monumental String Quartet in B-flat Major, played here with the Finale, which Beethoven was persuaded to substitute for the original last movement. Violist Erika Eckert joins the Takács for Mozart’s Viola Quintet in G Minor, among the finest of Mozart’s chamber works, in which a mood of sorrow gives way to joyous ebullience.

P R O G R A M :

Schubert: String Quartet No. 12 inC Minor, D. 703 Quartettsatz

Beethoven: String Quartet in B-flat Major, op. 130 with Finale

Mozart: Viola Quintet in G Minor, K. 516featuring Erika Eckert, Viola

Romanian violinist Corina Belcea founded her quartet while still a student at the Royal College of Music in London. Twenty years on, the Belcea still play like a “young quartet, seizing the music’s energy, shocking us out of our seats with every fortissimo” (Guardian).

The Belcea returns to Durham with Mozart’s last quartet, No. 23, which Alfred Einstein observed “seems to mingle the bliss and sorrow of a farewell to life.” From this classical beginning, the Belcea turn to the early romantic “Rosamunde” Quartet of Schubert, written during the turmoil of the composer’s final illness. The evening culminates with Brahms’ late romantic quartet op. 51, no. 1, the first he was willing to publish after destroying his first twenty attempts, and a masterful evocation of lush orchestral sound.

P R O G R A M :

Mozart: String Quartet No. 23in F Major, K. 590 (“Prussian”)

Schubert: String Quartet No. 13 inA Minor, D. 804 (“Rosamunde”)

Brahms: String Quartet No. 1in C Minor, op. 51, no. 1

TAKÁCS QUARTETO O O

SATURDAY, OCTOBER 4 | 8 PMBALD WI N AUDITORIUM

Tickets: $42 • $36 • $15 Age 30 & Under$10 Duke Students

BELCEA QUARTETO O O

S ATURDAY, OCTOBER 25 | 8 PMBALDW I N AUDI TORI UM



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SUBSCR I B E TO TH E CHAMBER ARTS S ERIES AN D GET ALL 8 CO NC ERTS FO R $180.

A vital young New York ensemble, the Horszowski Piano Trio was founded in 2011, whereupon the New Yorker declared it “destined for great things.” Named for legendary teacher Mieczysław Horszowski, under whom pianist Rieko Aizawa studied as the master’s last pupil, the Trio have been praised for their “big, bold, dug-in tone” (Los Angeles Times).

The Horszowski guides us on an internal spiritual journey, which opens with the reverie of Haydn’s 21st quartet, and then turns to the elegiac For Daniel, a memorial for a young nephew by the contemporary American composer Joan Tower. The pain of loss becomes a struggle for resolution with the Piano Trio in A Minor of Tchaikovsky, which includes what is possibly the most challenging piano part the composer ever wrote.

P R O G R A M :

Haydn: Piano Trio in C Major, Hob. XV:21

Joan Tower: For Daniel

Tchaikovsky: Piano Trio in A Minor, op. 50

HORSZOWSKI TRIOO O O

SATURDAY, NOVEMBER 8 | 8 PMBALDWIN AUDITORI UM



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CALEFAX REED QUINTETO O O

SATURDAY, JANUARY 24 | 8 PM | BALDW I N AUDI TORI UM

Tickets: $38 • $32 • $15 Age 30 & Under • $10 Duke Students

The Calefax Reed Quintet, a rare woodwind ensemble from Amsterdam, has distinguished itself with its imaginative transcriptions that reach back to the middle ages, its “spectacular sound that draws in the audience” (El País), and its energetic standing performances.

Spanning 400 years, the program begins with a transcription of J.S. Bach’s Prelude & Fugue in E-flat Major from The Well Tempered

Clavier. The ensemble then reaches back to the 15th century for the lamentations of Johannes Ockeghem’s motet-chanson Mort tu as navré, and the 16th century consort music of Christopher Tye, which once reverberated in the cathedrals of Elizabethan England. The shimmering Prelude, Chorale, and Fugue of César Franck is followed by selections from Shostakovich’s Preludes & Fugues, the Russian composer’s tribute to J.S. Bach.


ST. LAWRENCE STRING QUARTETO O O

SATURDAY, DECEMBER 13 | 8 PM | BALDW I N AUDI TORI UM

Tickets: $42 • $36 • $15 Age 30 & Under • $10 Duke Students

The Canadian-Californian St. Lawrence String Quartet returns to Duke Performances with its trademark combination of incisive playing and “irresistible exuberance” (Boston Globe). This quartet is “remarkable not simply for the quality of their music making, exalted as it is, but for the joy they take in the act of connection” (New Yorker).

The evening opens with Haydn’s comic String Quartet in E-flat Major, a surprise-filled work that turns audience expectations upside down. This is followed by the third quartet

of Erich Korngold, a composer who fled Nazi tyranny for Hollywood in 1938. After writing a series of successful film scores, Korngold fell silent until the waning days of the war, when he wrote this work. The program ends with Bartók’s fourth quartet, inspired by folk music, but with a modern sound that includes muted strings, pizzicati, and long held notes.

“visceral and passionate, yet rooted in a ferocious attention to the details of the score.” Globe and Mail

P R O G R A M :

Haydn: String Quartet in E-flat Major, op. 33, no. 2 (“Joke”)

Erich Korngold: String Quartet No. 3 in D Major, op. 34 Bartók: String Quartet No. 4 in C Major, Sz. 91

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P R O G R A M :

J.S. Bach: Prelude & Fugue No. 7 in E-flat Major, The Well-Tempered Clavier Book II, BWV 876

Johannes Ockeghem: Mort tu as navré Christopher Tye: Consort Music

César Franck: Prelude, Chorale, and Fugue Shostakovich: 24 Preludes and Fugues, op. 87


P R O G R A M :

Haydn: String Quartet in G Minor, op. 74, no. 3 (“Rider”)

Erwin Shulhoff: Five Pieces for String Quartet

Schubert: String Quartet No. 14 in D Minor, D.810 (“Death and the Maiden”)

The Jerusalem Quartet, warmly received at Duke Performances in 2012, returns to Durham with its unique combination of confident energy and exquisite sensitivity. The New York Times hailed the Jerusalem for playing with “passion and a tender sense of ownership.”

“Long stretches of immaculate ensemble work and a general flair of execution wedding elegance and wit.” Boston Globe

Haydn’s op. 74, no. 3, is a work filled with surprises, and is known as the “Rider” for the galloping theme of its final movement. Czech modernist composer Erwin Schulhoff, whose charming Five Pieces for String Quartet draws on a range of dance forms, was one of the first classical composers influenced by jazz and popular dance music. Although he perished in the Holocaust, he has only recently become known. The concert concludes with Schubert’s anguished masterpiece, “Death and the Maiden.”

JERUSALEM QUARTETO O O

SATURDAY, FEBRUARY 14 | 8 PMBALDWIN AUDITORI UM



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ARTEMIS QUARTETO O O

FRI DAY, APRI L 17 | 8 PMBALDW I N AUDI TORI UM



Formed at Manchester’s Royal Northern College of Music and nurtured in Cologne, Germany, the Elias String Quartet is attracting notice for playing with “a beautiful sound, burnished yet translucent” (Sunday Times). Joining the Elias is pianist Benjamin Hochman, whose playing has been called “stylish and lucid, with patrician authority and touches of elegant wit” (Vancouver Sun).

The opening piece is Mozart’s best known string quartet, known as the “Dissonance” for its bold departure from the standard rules of harmony. At the program’s center is Benjamin Britten’s third and last quartet, a deathbed farewell in which the composer echoes the themes of his gripping opera Death in Venice. Hochman joins the Elias for Schumann’s Piano Quintet, op. 44, the composer’s finest chamber work and a favorite of the romantic repertoire.

P R O G R A M :

Mozart: String Quartet No. 19 inC Major, K. 465 (“Dissonance”)

Britten: String Quartet No. 3, op. 94

Schumann: Piano Quintet in E-flat Major, op. 44

featuring Benjamin Hochman, Piano

EL IAS STRING QUARTETW I T H

BENJAMIN HOCHMANP I A N O

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S ATURDAY, MARCH 21 | 8 PMBALDWI N AUDITORIUM


The founding members of the Artemis Quartet developed their skills for a full ten years before offering their first concert. This dedication to excellence has not wavered, and their playing is known for its “apparently effortless grace and effervescent athleticism” (BBC). The Artemis returns to Duke Performances for the third time.

“The group plays with refined vitality and a sound that has the lithe glow of a copper wire.” New York Times

The Artemis program opens with the first of Tchaikovsky’s string quartets, with a folk-song-based second movement that has become famous on its own. Dvorák’s tribute to the American Midwest follows, evoking his experience of 19th century pioneer life with a decidedly Czech accent. Shostakovich’s fifth quartet concludes the evening. Played in three movements without pause, this spacious and elegiac quartet reflects the loss of one of the composer’s great loves.

P R O G R A M :

Tchaikovsky: String Quartet No. 1 in D Major, op. 11 (“Accordion”)

Dvořák: String Quartet No. 12 inF Major, op. 96 (“American”)

Shostakovich: String Quartet No. 5 in B-flat Major, op. 92

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BALDWIN AUD ITORIUM B OX OFFI C E

Located in the lobby of the hall, the Baldwin Box Office will serve patrons on the evening of the concert and open one hour before show time to distribute will call and to sell any available tickets for the performance.

Tickets can be purchased Monday through Friday from 11 am to 6 pm via phone at 919-684-4444 or in person at the University Box Office on the top level of the Bryan Center on Duke University’s West Campus. Tickets are also available any time online at dukeperformances.org.

SEATING

Baldwin is equipped with plush, modern, and comfortable seating throughout the hall. Wheelchair accessible seating is also available at all levels, including the balcony via elevator. Please contact the University Box Office at 919-684-4444 if you have questions about accessibility.

Please allow enough time to park and be seated before the start time of the concert. Late seating is at the discretion of the House Manager with respect to the musicians and other patrons.

PLEASE NOTE: RESERVED SEATING IN BALDWIN

Chamber Arts concerts in Baldwin offer reserved seating only. Please select your preferred seating area on the order form; the University Box Office will assign specific seats. Season subscribers will be assigned the same seats for the entire season with the option to renew those seats for future seasons.

I N F O R M A T I O N

BALDWIN AUDITORIUMT I C K E T I N G , S E A T I N G & PA R K I N G

LOC AT I ON

Baldwin Auditorium is located on Duke University’s East Campusat the intersection of Onslow Street and West Markham Avenue.

TO SECU RE P REFERRED S EATING, P LEASE RETURN BY JUNE 15.M AI L TO DUKE PERFORM ANCES, B OX 90940, DU RHAM, NC 27708 OR CALL 919-684-4444

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PARKING

Parking for Chamber Arts concerts is now FREE in parking lots on Duke’s East Campus and in the adjacent neighborhood. Golf carts will no longer be available to transport patrons from parking lots to and from Baldwin Auditorium.

Parking #1 & #2 (Bivins/Pegram) are accessible via the campus entrance located at the intersection of West Markham Avenue and Sedgefield Street.

Parking #3 (Asbury Church) is located at the intersection of West Markham Avenue and Sedgefield Street.

Parking #4 (Epworth/Aycock) is located at the intersection of North Buchanan Boulevard and Epworth Dorm Lane.

Accessible parking is located in the accessible parking lot (Brown/Bishops). The lot is accessible via the campus entrance located at the intersection of North Buchanan Boulevard and Dacian Avenue. Guests with accessibility or mobility issues only please.

Cars may drop off patrons with accessibility or mobility issues at the rear traffic circle behind Baldwin Auditorium at the intersection of West Markham Avenue and Onslow Street prior to parking. For driving directions, visit dukeperformances.org.

SUPPORT THE CHAMBER ARTS SOCIETY

Since 2007, the Chamber Arts Society of Durham has expanded its annual series from six concerts to eight while keeping the average ticket price for subscribers a mere $22.50. Our goal is to continue to grow as we bring chamber music concerts of the highest caliber to Durham. Your donations make that possible.

We ask that you consider making a gift this season. Even $100 helps us support one of our world-class ensembles, and a larger donation moves us toward that goal even more quickly. But any amount, however modest, helps the

Chamber Arts Society of Durham sustain its vital tradition of artistry. We know that as patrons of the musical arts, you share our conviction that artists need advocates. Join us in ensuring that they find them here in Durham.

Checks can be made payable to “Duke Performances: Chamber Arts Society General Fund.” All gifts will be acknowledged with a receipt, are fully tax-deductible, and are accepted in any amount. You may indicate your gift on the attached order form. If you have questions about making a contribution, please contact Duke Performances at either 919-660-3356 or [email protected].

THANK YOU FOR YOUR S UPPORT.

I N F O R M A T I O N

TICKE TS

The 2014/2015 series is available at a subscription fee of $180 and $80 for Duke students. To secure preferred seating, please return by June 15. Single tickets will be available for the general public beginning July 15 by calling 919-684-4444 or visiting dukeperformances.org. Note: There is a new 7.5% North Carolina sales tax that is included in the price of your subsrciption.

ACCESSIBIL ITY

Duke University encourages patrons with disabilities to participate in its programs and activities. If you anticipate needing any type of accommodation or have questions about physical access please contact the University Box Office at 919-684-4444 in advance of the concert.

W EBSITE & EMAIL

Visit dukeperformances.org for updates on the series. We also encourage you to join Duke Performances’ email list which can be accessed through the website. We will use this list to inform you of any changes to the schedule.

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duke performances 2014/15 chamber arts series brochure

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