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QUATUOR MOSAÏQUES Erich Höbarth, violin Andrea Bischof, violin Anita Mitterer, viola Christophe Coin, cello

String Quartet in C major, Op. 20, No. 2

Franz Josef HAYDN (1732-1809)

Moderato Capriccio: Adagio Minuet: Allegretto Fuga a quattro soggetti

String Quartet No. 10 in E-flat major, D. 87

Quatuor Mosaïques (credit: Wolfgang Krautzer)

HAYDN: StriNg QuArtet iN C mAjor, op. 20, No. 2 Franz SCHUBERT (1797-1828)

Allegro moderato Scherzo: Prestissimo Adagio Allegro

- I N TE R MI S SIO N String Quartet Ludwig van BEETHOVEN in G major, Op. 18, No. 2 (1770-1827) Allegro Adagio cantabile Scherzo: Allegro Allegro molto quasi presto

Quatuor Mosaïques recordings are available on the Paladino, Naïve, Laborie and L’Oiseau Lyre recording labels. NORTH AMERICAN REPRESENTATION: Kirshbaum Demler & Associates, Inc. 711 West End Avenue, Suite 5KN | New York, NY 10025 www.kirshdem.com

This concert is generously sponsored by Mr. Sam B. Ersan Exclusive Print Sponsor Photographing or recording this performance without permission is prohibited. Kindly disable pagers, cellular phones, and other audible devices. Although rare, all dates, times, artists, programs, and prices are subject to change.

The eminent British musicologist Donald Tovey (1875-1940) called Haydn’s Quartets Op. 20 “a sunrise over the domain of sonata style and quartets in particular.” The word “sunrise” is notable for a couple of reasons. First, the six quartets contained in Op. 20 are sometimes referred to as the “Sun Quartets” because of a drawing of the rising sun on the title page of the original printed edition. Also, “sunrise” is symbolic because, although Haydn wrote twelve quartets prior to this, the Op. 20 quartets lay the cornerstone for string quartet composition for centuries. Among Haydn’s innovations in these quartets are the independence and equality of the four instruments. Composed in 1772 at the age of forty, the Op. 20 quartets fall within Haydn’s Sturm und Drang period, notable for its agitated, tragic, and sometimes unpredictable melodies and events. In the second of the quartets, the cello, hitherto assigned an accompanying role almost exclusively in string quartets, is given the melody at the beginning of the first movement and shortly after is joined by the second violin, another instrument normally relegated to the background. Sturm and Drang elements become more obvious as the movement enters the development section. The movement ends softly, suddenly, and playfully.

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Thursday, October 30, 2014, 8pm Irvine Barclay Theatre

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