C O N C E R T T W O 21 – 30 May 2014

Speechless

Welcome

Hello again! Since we last saw you we’ve performed at our annual festival in Dunkeld, Victoria, at the foot of the Grampians. We celebrated the tenth anniversary of ASQ’s performances there, with the works of Brahms, Mendelssohn, Bartók and even a set of Happy Birthday variations (amongst other things). You can catch those performances on ABC radio in the not too distant future.

Our program tonight has a “Songs Without Words” theme. Mozart’s Requiem retains its majesterial power when performed without voices and pared down to a mere four players; Berg’s Lyric Suite contains a hidden setting of a Baudelaire poem; and song is always the soul of any work of Franz Schubert.

Schubert was at a peak in his musical development and maturity when he composed the Quartettsatz in 1820. The movement is thought to be the beginning of the composer’s twelfth quartet of which Schubert also wrote a brief opening for a second movement. The Quartettsatz survives as a single-movement masterpiece and a tantalizing glimpse at what could have been another four-movement classic.

Alban Berg wrote his Lyric Suite between the years 1925 and 1926. The six-movement work is romantic and lyrical, as the title suggests, but also frustrated and despairing, with a unique expression of sadness. Berg’s intention was that the detailed,

extra-musical elements behind the piece would remain secret; and they did, until 1977, when scholars gained access to a score of the Lyric Suite annotated by the composer. It revealed an unconsummated love affair between Berg and Hanna Fuchs-Robettin, both of whom were married. The piece describes their relationship in different stages, from its innocent beginnings to the couple’s declaration of love, and finally an acceptance that the relationship could never be permanent.

We conclude this evening’s concert with a rarity in string quartet performance. Wolfgang Amadeus Mozart wrote his unfinished Requiem Mass in D Minor in 1791, before his death that year. Franz Xaver Sussmayr completed the work one hundred days after Mozart’s death, based on the composer’s sketches given to him by Constanze Mozart. In the 18th and 19th centuries, quartet versions of grand masses and symphonies were common and Peter Lichtenthal created his perfect arrangement of this requiem in 1802.

Thank you for joining us and enjoy!

Kristian, Ioana, Stephen and Sharon

(L TO R): KRISTIAN WINTHER, IOANA TACHE, STEPHEN KING, SHARON DRAPER.

1620

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The Elder Conservatorium of Music is one of Australia’s oldest and most distinguished tertiary music schools. For more than a century, staff at the Conservatorium have educated and inspired generations of performers, composers, teachers and leaders in the arts.

Home to the ASQ—our quartet in residence, the Conservatorium hosts a vibrant community of talented musicians and provides a supportive environment that encourages creativity, independence and excellence in music.

Staff and students of the Conservatorium are committed to the artistic, educational and community experience of music, and they share their passion and expression with the public through regular performances and concerts.

Visit our website to learn more about the program of events, and comprehensive range of undergraduate and postgraduate degrees available in a wide variety of specialisations.

music.adelaide.edu.au

Elder Conservatorium of Music

Delivering over 130 years of music excellence

Program

Dates

S C H U B E R T String Quartet no 12 in C minor, Quartettsatz D703 B E R G Lyric Suite IntervalM O Z A R T Requiem, K626 (quartet version arr. Peter Lichtenthal)

B R I S B A N E Conservatorium Theatre, South Bank Wednesday 21 May

P E R T H Perth Concert Hall Friday 23 May

A D E L A I D E Adelaide Town Hall Monday 26 May

M E L B O U R N E Melbourne Recital Centre, Southbank Tuesday 27 May

S Y D N E Y City Recital Hall Angel Place Friday 30 May

Don’t miss our next National tour Boundless 11 – 21 August 2014

The members of the Australian String Quartet are privileged to perform on a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743-1784 in Turin and Piacenza, Italy, these exquisite instruments were brought together through the vision of Ulrike Klein, founder of Ngeringa Arts. The instruments are currently on loan to the Australian String Quartet from Ulrike Klein, Maria Myers and Ngeringa Arts.

In order to secure the instruments for future generations, Ngeringa Arts has launched the Guadagnini Quartet Project. Its aim is to acquire all four instruments for future generations of Australian musicians and music lovers. Once complete it will be the only matched set of Guadagnini instruments in the world and Ngeringa Arts will hold it in perpetuity.

Already through the generosity of the Klein Family and other donors, Ngeringa Arts has acquired the viola. Its next priority is the cello, which is the most valuable of the set. Crafted in 1743 it is one of his finest and was featured in an international exhibition in Parma, Italy to celebrate the 300th anniversary of Guadagnini’s birth.

The Klein Family Foundation has pledged $640,000 and the James and Diana Ramsay Foundation a further $510,000 over three years and a group of donors have so far contributed $87,000. This leaves a further $593,000 to be raised in order to reach the purchase price of $1.83M. History-making endeavors like this are born from passion. To succeed, Ngeringa Arts needs the involvement of visionaries who understand the significant cultural value in a collection of this calibre. The Board of Ngeringa Arts recognizes and thanks the following patrons who have each made a significant contribution to this project

Klein Family Foundation

James and Diana Ramsay Foundation

Diana McLaurin

Joan Lyons

Mrs F.T. MacLachlan OAM

Mr H.G. MacLachlan

Hartley Higgins

David and Pam McKee

Ian and Pamela Wall

Richard Harvey

Jill Russell

Mrs S.T. McGregor

Lyndsey and Peter Hawkins

Jari and Bobbie Hryckow

Anonymous (1)

Please join Ngeringa Arts in building this extraordinary musical legacy. To donate go to www.ngeringaarts.com

For more information contactAlison BeareGeneral Manager, Ngeringa ArtsP (08) 8227 1277E Alison@ngeringaarts.com

Guadagnini Quartet Project

With a rich history spanning 29 years, the Australian String Quartet (ASQ) has established a strong national profile as an Australian chamber music group of excellence, performing at the highest international level. From its home base at the University of Adelaide, Elder Conservatorium of Music, the ASQ delivers a vibrant annual artistic program encompassing performances, workshops, commissions and education projects across Australia and abroad.

One of Australia’s finest music exports, the ASQ has appeared at international music festivals and toured extensively throughout the United Kingdom, Europe, New Zealand and Asia in recent years. The Quartet is frequently broadcast on ABC Classic FM and records regularly for public release.

The Quartet’s performance calendar for 2014 comprises its National Season featuring four unique concert programs presented in Adelaide, Brisbane, Melbourne, Perth and Sydney; its own flagship festivals in the Southern Grampians and Margaret River; regional touring and prestigious invitations to collaborate with leading artists and organisations including their performance earlier this year with the Sydney Symphony Orchestra premiering John Adams’ Absolute Jest at the Sydney Opera House.

Australian String Quartet

As advocates for Australian music, the Quartet delivers an annual forum for emerging composers and regularly commissions, showcases and records new Australian work. Its education program extends beyond workshops and masterclasses to include the Quartet Project – a national mentoring program for emerging quartets.

The members of the ASQ are privileged to perform on a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743-1784 in Turin and Piacenza, Italy, these exquisite Italian instruments were brought together through the vision of Ulrike Klein. The instruments are on loan to the ASQ for their exclusive use through the generosity of Ulrike Klein, Maria Myers and a group of donors who have supported Ngeringa Arts to acquire the viola.

Kristian Winther plays a 1784 Guadagnini Violin, Turin.

Ioana Tache plays a 1748-49 Guadagnini Violin, Piacenza.

Stephen King plays a 1783 Guadagnini Viola, Turin.

Sharon Draper plays a c.1743 Guadagnini Violoncello, Piacenza, ‘Ngeringa’.

Franz Schubert (1797-1828) String Quartet no 12 in C minor, Quartettsatz D703

Allegro assai

The teenage Schubert wrote some eleven string quartets. These were played during school holidays by an ensemble consisting of his brothers Ignaz and Ferdinand on violin, Franz on viola and their father on cello. In 1816, however, Schubert broke temporarily with his family, possibly to avoid having to continue as an assistant schoolmaster to his father, and moved into the household of his aristocratic friend Franz von Schober. He briefly returned to live with his family the following year but wrote no music for string quartet between 1816 and 1820, pouring his energies into travel, song, symphony and music for the stage.

One of a number of Schubert’s ‘unfinished’ masterpieces, the C minor Quartet movement is a world away from the classically oriented works written for the family string quartet (and indeed, assumes much greater technical mastery on the part of performers). Despite being the first movement of a projected work, it is much shorter and more concentrated than we might expect, yet it shows for the first time an understanding of the implications of Beethoven’s radical innovations in his middle period quartets. On the occasion of his teacher Salieri’s 50th anniversary celebrations in 1816, Schubert had criticised the ‘eccentricity which confuses and confounds…tragic and comic, sacred

Franz Schubert

and profane, pleasant and unpleasant, heroic strains and mere noise’, which he felt Beethoven had unleashed on younger composers. (He didn’t, of course, name Beethoven.)

In this work, however, Schubert creates a dramatic structure of extreme contrasts worthy of Beethoven himself. This is effected partly by a new sensitivity to colour, the restless semi-quavers of the opening, for instance, underline the unstable nature of the musical material, and provide a marvellous foil to the more lyrical episodes. It is, in other words, very much a work from the composer of those later masterpieces such as the Death and the Maiden quartet, in which Schubert’s native lyricism, is allowed to unfold on the scale made possible by Beethoven in his Razumovsky Quartets, and at the same time, achieving the kind of concentration also pioneered by Beethoven in his late quartets.

Schubert’s later masterpieces earned scorn from Ignaz Schuppanzigh – who had worked with Beethoven on many of his works – who warned Schubert to ‘stick to his songs’. Sadly, it is unlikely that the composer heard a performance of this Quartettsatz or quartet movement; it was Brahms as late as 1870, who organised the work’s publication.

© Gordon Kerry 2014

Alban Berg (1885-1935) Lyric Suite I Allegretto gioviale II Andante amoroso III Allegro misterioso - Trio estatico IV Adagio appassionato V Presto delirando - Tenebroso VI Largo desolato

In Wagner’s Tristan und Isolde, unrequited erotic passion on an epic scale brought forth music which maintains unresolved tension for hours. It avoided traditional points of tonal repose and freely used a high number of chromatic notes – those foreign to the prevailing key. For Arnold Schoenberg and his pupils Alban Berg and Anton Webern, atonality – music with no reference to traditional keys – was a logical step but potentially chaotic; Schoenberg developed the twelve-note serial method, which aims to keep all twelve notes in equal circulation, as a way of systematising it.

For Berg, atonality and serialism were far from cool, cerebral ways of ordering sound, though his Lyric Suite of 1926 is a work of great intricacy. In the outer movements, as well as in significant sections of the inner ones, Berg uses the twelve-note method rigorously. Moreover, the six movements are arranged such that each of the odd-numbered ones is faster than its predecessor by a precise ratio; similarly, each of the even-numbered movements is proportionally slower than the last.

Alban Berg

Philosopher Theodor Adorno famously called the piece a ‘latent opera’ and the adjectives in the movement headings alone make it clear that the work has a serious program. But this was confirmed when, in the 1970s, composer George Perle discovered a score of the work annotated by Berg which indicated that the piece does indeed dramatise an intense but unrequited love affair that the composer had with Hanna Fuchs. This explains the use of the numbers 23 (Berg’s mystical number) and 10 (Fuchs’s) for metronome markings and groupings of bars, and the pervasive use of the notes A, B flat (‘B’ in German), B natural (‘H’ in German) and F. It explains the use of certain timbres, such as the paradoxically loud but muted strings in the third movement, and two musical quotations: in the fourth movement a line from the Lyric Symphony of Alexander Zemlinsky and in the sixth, the unmistakeable ‘Tristan’ chord from Wagner’s opera.

The love affair is ultimately hopeless. The annotated score of the last movement contains a ‘secret’ vocal line setting a German translation of Baudelaire’s De profundis clamavi – a cry from the heart in a gulf of loneliness begging for oblivion. Berg’s image of this is the viola left alone at the end ‘not even allowed to die’ as Adorno notes, ‘it must play for ever; except that we can no longer hear it.’

Gordon Kerry © 2007

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Wolfgang Amadeus Mozart (1756-1791) Requiem, K626 arr Peter Lichtenthal (1790-1853) Requiem and Kyrie Dies irae Tuba mirum Rex tremendae Recordare Confutatis Lacrimosa Domine Jesu Christe Hostias Sanctus Benedictus Agnus Dei Communio

In July 1791, Mozart was commissioned to write a setting of the Mass for the Dead. According to folklore, a mysterious figure arrives with a large purse of gold, asks for a requiem but insists that the identity of his patron remain a secret. The patron, Count Walsegg, was in the habit of commissioning music, copying it out in his own handwriting and claiming it as his own. His wife had died in February and he wanted to honour her with a requiem.

Mozart commenced work, and set it aside only because he needed to meet the tight deadlines for two operas. The myth that he worked feverishly but reluctantly on the Requiem contains only a grain of truth. He enjoyed working on church music after a long break from the genre, but during his final illness, which began in mid-November, Mozart almost certainly experienced kidney failure, which may account for the delusions that he had been poisoned and was writing the Requiem for himself. When

Wolfgang Amadeus Mozart

Mozart died, his wife Constanze realised that it had to be completed, soon and as secretly as possible. She eventually gave the job to Mozart’s sometime student Franz Xaver Süssmayr, in which version the work is most often performed.

The consensus is that Mozart did not compose the Sanctus or Benedictus movements and most scholars doubt that he wrote any of the Agnus Dei. In the Lacrimosa, just over halfway through the piece, Mozart’s manuscript breaks off after merely eight bars. It could be the last music he wrote.

Transcription of large-scale works for ‘domestic’ use had always been common. Composer, critic and doctor Peter Lichtenthal, born in Pressburg (modern-day Bratislava), made this version of the Requiem early in the 19th century as a means of introducing the music in various Italian cities where he lived in adult life.

Apart from some minor excisions – a bar or two here and there – Lichtenthal follows the published Mozart-Süssmayer score, using, principally, the vocal parts, but evoking an orchestral texture where appropriate. In the Baroque-inspired polyphonic sections, such as the opening Kyrie, the purity of the vocal texture sounds radiant on strings, whereas in the more operatic sections, such as the Dies irae and Rex tremendae which depict the terrors and joys of the day of judgement and the afterlife, they are called on to produce sounds and textures that are much more Romantic in character.

© Gordon Kerry 2014

ibis Perth334 Murray Street, PerthTel (08) 9322 2844

Mercure Perth10 Irwin Street, Perth Tel (08) 9326 7000

PROUD SPONSORS OF THE AUSTRALIAN STRING QUARTET

Experience the exceptional comfort of the Mercure Perth and ibis Perth hotels, both conveniently located within Perth’s vibrant city centre.Turn your evening into an occasion with great value rates at accorhotels.com

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D I N E & S L E E P

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I N H A R M O N YAN INTIMATE, BOUTIQUE STYLE, FIVE-STAR HOTEL HOUSED WITHIN A STUNNING

HERITAGE-LISTED BUILDING LOCATED IN THE HEART OF SYDNEY

STAYS FROM$239*

*Rate is based on room only, per night, subject to availability - free-wifi for all guests

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W E E K E N D O F M U S I C

MARGARET RIVER

3rd to 5th October, 2014

Tailored packages and concert tickets for this exclusive weekend event are limited. For more information and to book, go to www.asq.com.au or call 1800 080 444.

Australian String Quartet

Sara Macliver soprano

Slava Grigoryan guitar

Anna Goldsworthy piano

Join the Australian String Quartet for a weekend of intimate performances featuring exceptional guest artists and indulgent gourmet experiences at

leading wineries in the beautiful Margaret River region.

A U S T R A L I A N S T R I N G Q U A R T E T ’ S

$350,000+ Allan Myers AO & Maria Myers AO$250,000+ Klein Family Foundation$50,000+ Clitheroe FoundationLyndsey & Peter HawkinsHunt Family FoundationMichael LishmanThe Ian Potter Foundation$30,000+ Nicholas & Elizabeth CallinanRichard & Tess Harvey AMJanet & Michael HayesNorma LeslieDavid & Pam McKeeThyne Reid Foundation$20,000+ Peter & Pamela McKee$15,000+ Mr Philip Bacon$10,000+ Josephine DundonJoan LyonsMacquarie Group FoundationMrs Diana McLaurinP. M. MenzRobert Salzer Foundation$5,000+ Berg Family FoundationJohn ClaytonAngela FlanneryHilmer Family FoundationM & F Katz Family FoundationMr Robert KenrickKevin LongSkye McGregor

The Late Elisabeth Murdoch AC DBEJohn O’HalloranMrs Jane PorterTony & Joan SeymourPeter & Melissa Slattery$2,000+ Don & Veronica AldridgeBernard & Jackie BarnwellGraham & Charlene BradleyAlexandra & Julian BurtHillier Carter PropertiesRic Chaney and Chris HairJohn & Libby ClappGeoff ClarkDr Peter CliftonDavid Constable AMMaurice & Tess CrottiDr Neo DouvartzidisMichael J DrewMargaret FlatmanJohn Funder & Val DiamondDr E.H & Mrs A. HirschAnita Poddar & Peter HoffmannJanet Holmes à Court ACKeith Holt & Anne FullerMr S JohnsRenata & Andrew KaldorKevin & Barbara KaneMichael & Susan KiernanThe Hon Christopher Legoe QC & Jenny LegoeDr Robert MarinSimon Marks-IsaacsHelen and Phil MeddingsSusan & Frank MorganMrs Frances MorrellMrs Jenny Perry (in

memory of John)Patricia H ReidSusan M RenoufTrish & Richard Ryan AOPaul & Margarita SchneiderVivienne SharpeAndrew SissonKeith & Dianne SmithDr Nigel & Mrs Chris Steele Scott OAMElizabeth SymeGary & Janet TilsleyMr Eng Seng TohIan Wallace & Kay FreedmanMarjorie WhiteLyn Williams AMJanet WorthAnnie & Philip Young$1,000+ David & Liz AdamsPeter AllanJohn & Angela ArthurJohn & Mary BarlowPhilip BarronDianne Barron-DavisSimon BathgateJean & Geoff BaulchAlison BeareCandy BennettMs Baiba BerzinsBHP Billiton’s Matched Giving ProgramHeather Bonnin OAMStephen & Caroline BrainThomas BreenDavid & Kate BullenPam CaldwellCaptain & Mrs D P ClarkePeter Clemenger AO & Joan Clemenger

David CookeColin & Robyn CowanRobin Crawford & Judy JoyeMarie DalzielJiri & Pamela FialaPhilip Griffiths ArchitectsProfessor Keith HancockDr Penny Herbert in memory of Dunstan HerbertHiggins Coatings Pty LtdJim & Freda IrenicKevin & Barbara JarryLynette and Gregory JaunayBrian L Jones OAMRod & Elizabeth KingHon Diana Laidlaw AMKeith & Sue LangleyDavid & Anne MarshallHE & RJ McGlashanMrs Inese MedianikVictor & Barbara MulderDonald Munro AM & Jacquelyn MunroJonathan Nicholson & Jennifer StaffordKen NielsenEllen & Marietta ResekJohn & Etelka RichardsChris & Fran RobertsJill RussellJeanette Sandford-Morgan OAMMichael & Chris ScobieDick and Caroline SimpsonPamela and Tony SlaterCarl VineTed & Robyn WatersPamela YuleFay Zaikos

The Australian String Quartet would like to acknowledge and sincerely thank the following donors for their ongoing support along with those donors whose very important contribution remains anonymous. The following donations reflect cumulative donations made from 2008 onwards.

The ASQ is registered as a tax deductible recipient. Donations can be made by phoning the ASQ on 1800 040 444.

Donors

$500+David & Elaine AnnearTerrey & Anne ArcusProf. Margaret ArstallDr Reiko AtsumiMrs J BeareGC Bishop & CM MoronyStephen BlockJohn & Christine ChamberlainCaroline & Robert ClementeMary Rose & Tim CooneyAlan Fraser CooperRae De TeligaRon DyerMartin DykstraDr & Mrs G C HallTim & Irena HarringtonGraeme HarveyMary HaydockMr Hartley HigginsDr Anthony & Emily HortonAndrew & Fiona JohnstonPeter JoplingRose KempStephen & Kylie KingDavid LeeceEdwina LehmannMs Rose McAleerAlison McIntyreJohn McKay and Claire BrittainJames McLeodIan & Margaret MeakinDr Colin E MooreJenny NicolTerry & Pauline O’BrienLeon & Moira PericlesBasil PhillipsGraham & Robyn ReaneyPeter RushDeborah SchultzAntony & Mary Lou SimpsonSandra StuartJames SymeSimond & Rosita TrincaNicholas WardenPeter WilkinsonJenny Wily & Adrian HawkesPat & Rosslyn Zito

$100+ Marion R AllenJulie AlmondBill AndersonSusan ArmitageSylvia BacheMerrawyn BagshawJohn BaldockPatricia BarkerJoy Barrett-LennardMrs Jillian BeareMr & Mrs Peter & Alison BeerWendy BirmanMichael BlandProfessor John BradleyDavid BrightMax & Elizabeth BullPip BurnettChris & Margaret BurrellAlastair & Sue CampbellTim & Lyndie CarracherDon CarrollMrs Ann CastonRichard and Lina CavillMax and Stephanie CharlesworthGreg Coulter & Carolyn PolsonMrs Margaret Daniel OAMSusan DavidsonMrs Daphne DaviesBruce DebelleMary DraperGraham DudleyDr H EastwellMrs Alexandra ElliottMrs Charlotte EnglandSusan FallawPhilip & Barbara FargherMrs Judy FlowerHelen ForresterMr John ForsythPamela FoulkesBill & Penny FowlerRichard FrolichChristopher FyfeProf. Robert GilbertMargrette GlynnJan GrantDieter Grant-FrostH.P. GreenbergMrs Helen GreensladeMargaret Gregory

Angela GrutznerDes GurryJean HadgesAlison HarcourtCharlie HarrisonGeoff HashimotoAnn HawkerMrs Helen HealyLaurie & Philippa HegvoldMr Dennis HenschkeDudley and Julie HillDavid HilyardEmily HuntAnthony IngersentVernon IrelandRobin IsaacsMs Nola JenningsJoan JonesMr Martin KeithAngus & Gloria KennedyWayne & Victoria LaubscherAnne LevySusan LitchfieldGrant LuxtonMargaret & Cameron MacKenzieGreg Mackie OAMJean MatthewsHelen McBrydeJohn & Jill McEwinDuncan McKayMrs Janice E MenzRichard & Frances MichellMr & Mrs I MillMs Elizabeth MorrisFlorence MorrowRobert & Heather MotteramHughbert MurphyJohn & Gay NaffineDerrick NicholasMrs Mary O’HaraJohn OvertonLee PalmerJosie PennaSabine PfuhlColin A PhysickMr William PickJ & P PincusJanice PleydellJ & M PollMr Franz Pribil

The Rev’d Dr Philip RaymontIan & Gabrielle ReeceDr James RobinsonMs Chloe RoeMrs Clare RogersLesley RussellJenny SalmonMeredyth Sarah AMThe Late Judith SchroderAdrienne ShawMrs Angela SkinnerJudy SloggettMr Michael SteeleBarbara StodartDavid & Jo TamblynRobyn TamkeJolanta TargownikJJ & AL TateMrs A.N.Robinson & Dr M.G.TingayRoger & Cherry TrengoveSue TweddellMs Jill UhrMr Ian UnderwoodBrian & Robyn WaghornProfessor Ray WalesMr David YoungSarah YuSilvana Zerella

MUSIC LIBRARY FUNDThe ASQ greatly appreciates the support of the following patrons who have generously contributed to the acquisition of musical works to establish and build the ASQ’s own music library.Prof Richard Divall AO OBECarole & John GraceRoz Greenwood & Marg Phillips Janet & Michael HayesMrs Diana McLaurin Gary & Janet Tilsley

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PHOTOGRAPHY BY JACQUI WAY & ARTWORK BY SUE NINHAM COURTESY OF BMG ART

A S Q B O A R D

Paul Clitheroe AM (Chair) Alexandra Burt Nicholas Callinan Angela Flannery Janet Hayes Ulrike Klein Paul Murnane Maria Myers AO Susan Renouf Jeanette Sandford-Morgan OAM Angelina Zucco – Executive Director

Quartet-in-Residence The University of Adelaide SA 5005 Australia

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