uston friends of .sic, inc. - connecting repositories · quartet in b flat major, opus 130 ........
TRANSCRIPT
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lWENTY-SECOND SEASON FOURTH CONCERT
.uston Friends of .sic, Inc.
and
IJ.epherd lchool of IJiusic
Hamman Hall
PRESENT THE
Robert Mann - violin Earl Carlyss - violin
Samuel Rhodes - viola Joel Krosnick - cello
Tuesday, February 9, 1982 8:00P.M.
Rice University
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PROGRAM
Quartet in F Major, Opus 59, no. 1. ........... BEETHOVEN
(Rasumovsky) (1770-1827)
Allegro
Allegretto vivace e sempre scherzando
Adagio molto e mesto
Theme russe: Allegro
INTERMISSION
Quartet in B flat Major, Opus 130 ............ . BEETHOVEN
Adagio, rna non troppo: Allegro
Presto: L'istesso tempo
Andante con moto, rna non troppo
Allegro assai: Alia danza tedesca
Adagio molto espressivo: Cavatina
Finale: Grosse Fuge
Represented by Colben Artists Management, Inc. 111 West 57th Street. New York, New York
Photographing and sound recording are prohibited. We funher request that audible paging devices not be used during performances.
Paging arrangements may be made with ushers.
If it is anticipated that tickets wtll not be used. subscribers are encouraged to turn them in for resale
This is a lax-deductible donation.
HOUSTON FRIENDS OF MUSIC is a non-profit organization dedicated to the presenta-tion of chamber ensembles with national and international reputations and the development of n~w audiences for chamber music through concerts available to everyone.
HOUSTON FRIENDS OF MUSIC lWENTY-SECOND SEASON HOUSTON FRIENDS OF MUSIC/ SHEPHERD SCHOOL OF MUSIC FIFTH SEASON
October 16, 1981. .... . ..... .. ...... . ........ . .... BEAUX ARTS TRIO November 30, 1981. .......... .. ..... .. .......... FOLGER CONSORT January 19, 1982 . . ....... . .......... .. ..... DORIAN WIND QUINTET February 9, 1982 . . . ....... . .... . .. . ... JUILLIARD STRING QUARTET March 8, 1982 ... . .. • .. ....... . . .... . .. CONCORD STRING QUARTET April 20, 1982 .... .. . .. . . ... ........ . . .... TOKYO STRING QUARTET
BENEFACTORS Susan & Dennis Carlyle George E. Coughlin Harold & Nancy Sternlicht
Cultural Arts Council of Houston Shell Companies Foundation
Ralph A. Anderson. Jr. J . K. Arbenz
Mr. & Mrs. E. T. Carl Carter D. Crawford J. Michael Duncan
Alex & Ann Goldstein Harvey L. Gordon
Ervin Adam Jnmes & Carolyn Alexander lutz & Mariel Btrnbaumer Chester & Jalmie Cochran
Jan Karon
Dr. Francisco Aviles Bernice Beckerman Dr. James J . Butler
Edward Doughtie James N. Dully
Mr. & Mrs. IJoyd E. EDiott, Jr. Ann Fairbanks
Dr. & Mrs. DaWI A. Freedman
John Hill, 1960-1967 Alfred Neumann, 1967-1968 Stratton Hill. 1968-1973
National Endowment for the Arts
PATRONS Grady L. Hallman
Mr. & Mrs. C. H. Hewitt Robert A. Hettig
William Ward Jones Barbara Kauffman
Harold & Hineko Klebanoff Tomas & Mnrcella Klima Franklin & Beatrice LevJn
SPONSORS
W.H. & l.H. Mannheimer Richard & Heather Mayor
Julia Mazow Meyer L. Proler
Tom & Barbara Solis Samuel & Angela Weiss
Seymore & Shirley Wexler Mr. & Mrs. Robert L. Zinn
J. P. Lauzon Dr. & Mrs. A. A. Mintz Tom & Frnnces Leland Mark & Amandn Schnee
Howard & Cnro1e Marmell Dr. & Mrs. Malcolm F. Sher Ron Masters
CONTRIBUTORS Lila Gene George
Fred & Eva Haufrect Bev~rly I. Hawkins
Robert Hill Alfred J . Kahn
Mr. & Mrs. Walter R. Kaye Mrs. Leo E. Linbeck, Sr.
Robert W. Marwin Daniel & Karol Musher
P. Van Mears Ronald & Margrlt Young
Mr. & Mrs. Nathan M. Pryzant Richard & Eva Rosencranz
David Saletan Marga H. Sinclair Holina D. Turner
Irving Wadler linda Walsh
Iris & Bill Wiley Herbert H. Yuan
PAST PRESIDENTS Harvey l. Gordon, 1973-1977
Nancy Sternlicht, 1977-1979 J . Kaspar Arbenz, 1979-1980
1981- 1982 OFFICERS President. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel Musher First Vice President (Program Chairman). . Jack B. Mazow Second Vice President (Subscriptions Manager) . . . . . . .. . . Tomas Klima Third Vice President (Concert Arrangements Chairman) ... . Barbara Kauffman Fourth Vice President (Publicity Chairman). . . . . . . . .. Jan Fischer Secretary.. .. .. .. . , .. . .. .. .. .. . • . .. . .. .. . .. Ira J . Black Treasurer ... . . .. . ..... . .. ... ... ... ... . ... . .. ... . . . . .. Edward Doughtie Grants Officer . .. . . ... ..... .. ... ... ... ............ . ..... Robert Colligan
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THE JUILLIARD STRING QUARTET
This unique American ensemble of four ideally matched virtuosi has set a standard of excellence for an entire generation and has been acclaimed as the "first family of chamber music." In addition to serving as Quartet-in-Residence both at the Juilliard School of Music (where its members have trained some of the most successful up-and-coming chamber music groups) and at the Library of Congress, the Juilliard String Quartet has played more than 3000 sold out concerts in aU the major cities of the world.
PROGRAM NOTES
" How am we have a group like the Juilliard Quartet without asking them to play Beethoven?" is the type of question often asked at planning meetings of the Houston Friends of Music I Shepherd School of Music Series. The choice of nul one. but two. Beethoven quartets, as welt as thE:! Grosse Fuge, on tonight's program is based on two guiding principles of natural and human affairs . The first is that of all the things In the world that hi'lve a sweetiasle, a little pi~ce of sugar is the sweetest. The second is known as Sutton's law. When Willie Sutton, a well known bank robber , was asked why he persisted In robbing banks, he replied , "Because that's where the money is." Whatever illustration one uses. it is clear that in the string quartet liter~ture the Beethoven quartets are the sweetest and the dearest.
The period tluring which Beethoven composed the Opus 18 quartets has been designated his "early period." These works are innovative and subtle and bear Beethoven's stylistic stamp even though they show more Influence of Haydn and Mozart than do his later quartets. The five quartets of his " middle period." of which the Opus 59. no. 1 is first, were composed when increasing deafness. financial problems and inner turmoil were compounding his already bitter Jife. _ J.n these quartets he does not abandon ba hmce. However , form is now more subservient to musical idea and feeling then in the earlier period . The new Intensity and freedom in these compositions. so baffling and irritating to his Viennese audience, seem to us a logical extension of the musical ideas of his earlier period. The listener smiles Jess and thinks more when hearing these works.
If the Opus 59 quartets confused his musical contemporaries. the quartets of the ''late period" (from 18 18 on) completely confounded and angered most of them. His evolving independence from conventional patterns of composition resulted in shorter melodies, more abrupt rhythmic changes, and greater complexity in the development of themes and fragments of them~s. We know from h~aring Beethoven's other music that nothing is wasted: every passage is necessary to the work as a whole. Yet there are measures in-the-quartets of the late period, especially In transitional positions. which defy analysis -- they can be interoreted in different ways by different people. Thus, in these late quartets the listener is drawn more into the music as an active psychological participant than in anythiny he had written earlier.
The Opus 59, no . 1 Quartet begins without intr
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