au s t r a l i a n s t r i n g q u a r t e t

s u n r i s e

Concert 11 – 19 sept 2012

n at i o n a l p r e s e n t i n g pa r t n e r s – a n z ’ s w e a lt h s p e c i a l i s t s

Left to right: Kristian Winther, Anne Horton, Stephen King, Rachel Johnston

W e L C O M e

welcome to our last national tour for 2012. it’s been an extraordinary year full of incredible and unforgettable musical experiences. our program’s title work is haydn’s Sunrise quartet, a piece we’ve been looking forward to playing for many months. it’s been much loved by audiences and players for over two centuries, written at the height of haydn’s brilliantly successful career.

wilfred lehmann has had an exceptional career in australia as a distinctly original violinist and composer, and we’re very proud to be performing his beautiful clarinet quintet with internationally renowned australian soloist paul Dean, with whom we will also be presenting the musical fireworks of weber’s clarinet quintet.

we conclude our program with Barto’k’s Fourth quartet, an hypnotic journey through pretty well everything a string quartet is capable of doing within the space of twenty odd minutes. From its strident opening and haunting slow movement to the exhilarating last movement rodeo, it’s as wild and entertaining as music gets. there’s even a whole movement where we turn our quartet into a giant guitar...

enjoy! and we hope to see you all again next year.

australian string quartet

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p rO g r a M

Haydn string quartet no 78 in B flat major, op 76, no 4 Sunrise

Wilfred Lehmann clarinet quintet in B flat major, op 34 with paul Dean, clarinet

interval

Weber clarinet quintet with paul Dean, clarinet

Bartók string quartet no 4

this concert runs for approximately two hours, including interval. please turn your mobile phone off before the performance begins, thank you.

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dat e s

Sydneytuesday 11 septembercity recital hall angel place

Adelaidewednesday 12 septemberadelaide town hall

PerthFriday 14 septemberperth concert hall

BrisbaneMonday 17 septemberconservatorium theatre, southbank

Melbournewednesday 19 septemberMelbourne recital centre

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EldEr CONSErVATOrIUM OF MUSIC

www.adelaide.edu.au Life Impact | The University of Adelaide

Cellist Jack Ward moved from Sydney to study a Music degree in Classical Performance at the University of Adelaide.

Jack played with the Sydney Sinfonia and the Adelaide Symphony Orchestra and has also led the cello section for the Elder Conservatorium Symphony and Chamber Orchestras.

“The Elder Conservatorium provides a supportive environment, enabling students to develop a musical career which is both emotionally and intellectually satisfying,” Jack says.

See where a Music degree from the University of Adelaide can take you.

Go to music.adelaide.edu.au for more information.

Kristian Winther – ViolinAnne Horton – ViolinStephen King – ViolaRachel Johnston – cello

the australian string quartet (asq) was established in 1985 and is quartet in residence at the university of adelaide. the quartet has had a major impact on the musical life of australia, touring widely to capital centres and regional communities and commissioning many works by leading australian composers. one of australia’s finest music exports, the quartet has appeared at international music festivals and toured extensively throughout the united Kingdom, europe, new zealand and asia in recent years. the quartet is broadcast frequently on aBc classic FM and regularly record for commercial release.

Featuring four of the most sought after musicians in australia, the asq’s membership comprises Kristian winther and anne horton – violins, stephen King – viola and rachel Johnston – cello. new to the quartet in 2012, Kristian and stephen join long-standing members, anne and rachel as the quartet launches its next exciting era of music making.

the quartet’s performance calendar for 2012 comprises national subscription tours in five australian capital cities, regional music festivals

au s t r a L i a n s t r i n g Qua r t e t

including Dunkeld, port Fairy and huntington festivals and a host of intimate performances in regional communities across australia. a recent highlight was an international tour, which saw the quartet perform at the trasimeno Music Festival in italy. they will also perform at the automne Musical d’ollon in switzerland, among other prestigious concert halls across europe and the united Kingdom.

the members of the australian string quartet are privileged be the only string quartet in australia playing 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 have been loaned to the quartet through the generosity of ulrike Klein, Maria Myers and the ngeringa Farm arts Foundation.

Kristian Winther plays a 1784 Guadagnini Violin, Turin

Anne Horton plays a 1748-49 Guadagnini Violin, Piacenza

Stephen King play a 1783 Guadagnini Viola, Turin

Rachel Johnston plays a c.1743 Guadagnini Violoncello, Piacenza, ‘Ngeringa’

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paul Dean is the artistic Director of the australian national academy of Music and has made a name for himself as a soloist, recitalist and chamber musician. he is also the artistic Director laureate of the Bangalow Music Festival and the sunwater and stanwell winter Music school. he has commissioned and premiered over 100 works, including his brother Brett Dean’s clarinet concerto Ariel’s Music and andrew schultz’s Clarinet Quintet.

Between 1987 and 2000 he was principal clarinet with the queensland symphony orchestra and appeared as soloist with the orchestra on over thirty occasions. throughout the years, paul has performed with the australian chamber orchestra, the Melbourne chamber orchestra, the australian string quartet, the goldner quartet, the Flinders quartet, the tin alley quartet, and many of the major orchestras in australia and new zealand.

paul’s recording of the Mozart clarinet works for the Melba label and the clarinet music of english composer Benjamin Frankel for german label cpo have won high praise from critics around the world. performances and recordings of Ariel’s Music have also gained

g u e s t a r t i s t pau l D e a n – Clarinet

international acclaim for both performer and composer. Ariel’s Music with the Melbourne symphony orchestra conducted by Markus stenz was released on aBc classics. a recording of paul performing this work was a finalist in the aria awards in 1999, and the piece was the selected work at the 1999 paris rostrum of composers.

String Quartet No 78 in B flat major, Op 76, No 4 Sunrise Allegro con spiritoAdagioMenuetto: Allegro – TrioFinale: Allegro, ma non troppo

haydn’s life took an unexpected turn in 1790 with the death of his employer, prince nikolaus esterházy. with responsibilities for an orchestra, opera house and chapel, life in the prince’s service at the palace of eszterháza had kept haydn busy, and the enforced isolation, as he once quipped, ‘forced me to be original’. prince anton, who succeeded nikolaus, effectively disbanded the court orchestra. haydn was kept on, receiving a nominal retainer, but his new found freedom meant he could at last accept invitations to travel – while he had been working in the seclusion of eszterháza his music had become renowned throughout europe. his travels to london in the early 1790s established him as the most sought-after composer in europe. in one tour he is said to have earned 20 times his annual salary. apart from his ‘london’ symphonies, haydn composed an amount of chamber music for the london audience, including his op 71 and 74 quartets.

in 1795 haydn settled in Vienna, and devoted himself largely to choral and vocal music, of which the greatest example is, of course, his oratorio The Creation written in 1796. the only kind of instrumental music that seems to have interested him at this time is the string quartet. op 76 was completed in 1797 and is dedicated to the hungarian count erd”ody (a

J O s e p H H ay d n ( 1 7 3 2 - 1 8 0 9 )

member of the same family which supported Beethoven some years later). op 76 is the work of someone in full control of his technique. in op 71 we hear him writing for the large, appreciative middle class audience of london, and in op 76 the same sense of popular idiom and expansive scale is evident. the Sunrise quartet has these qualities in spades. it is nicknamed for the opening rising gesture in the first violin, but haydn, characteristically, uses the theme in reverse almost immediately. unusually for haydn, his nobly restrained slow movement is a true adagio (rather than the more common, and faster, andante. the menuetto has a deliberately bucolic roughness, especially in the trio with its hint of a bagpipe drone, reminding us of the rural roots of which haydn remained proud. the finale, marked ‘not too fast’, also evokes the dance (specifically the contredanse) and makes its point by witty discursiveness, rather than extravagant technical display. as charles rosen has pointed out, haydn’s late music ‘became not less, but more learned, as it became more popular.’

gordon Kerry © 2007

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Theme and Variations for Clarinet Quintet

one of australia’s most versatile musicians, wilfred lehmann has had a distinguished career as an internationally acclaimed violinist, violinmaker, conductor and composer. after his solo debut in london in 1952, he gave recitals throughout england, appeared frequently for BBc radio and television, and became a member of the royal philharmonic orchestra under sir thomas Beecham. in 1958 he won first prize at the carl Flesch international Violin competition in london. concerts in europe, Japan and australia followed, and at the invitation of David oistrakh he performed throughout the ussr. his conducting and composition career began in Japan, where he was resident for ten years, taking the tokyo philharmonic and the tokyo Metropolitan symphony on tour throughout Japan. During this time he returned to australia periodically to play and conduct for the aBc. in 1972 he became concertmaster and assistant conductor of the queensland symphony orchestra, has made frequent guest conducting appearances and recorded with all the state symphony orchestras.

From 1976 to 1979 he lived in the united states, where he was concertmaster and associate concertmaster of the nashville symphony orchestra. he formed the nashville chamber orchestra, was twice conductor in residence at the sewannee summer Music Festival (at tennessee’s university of the south) and participated in the Marlboro Music Festival at the invitation of rudolf serkin.

W i L f r e d L e H M a n n(born 1 9 2 9 )

his compositions include music for the film The Hunchback of Notre Dame, ballet music for the queensland Ballet company and set pieces for the adelaide Violin competition 1986-66 and the nsw Brass Band championships 1988. his Bacchanals was chosen to represent australian compositions at the paris rostrum of 1988.

his theme and Variations for clarinet quintet (1995) was written for paul Dean and members of the queensland symphony chamber players and received its first performance on aBc classic FM’s sunday live at the Brisbane aBc studios. starting with a simple limpid solo clarinet playing the theme, the piece ebbs and flows from stunning virtuosity to moments of inspirational tranquillity. Variation 6 is an homage to the famous clarinet solo in tchaikovsky’s Francesca da Rimini. the epilogue is written with all parts completely independent, transporting the listener transformed to an extremely peaceful place, a strong contrast after the ferocity of variations 2,4 and 6. lehmann’s musical language all at once combines the extremes of shostakovich, Messiaen and lutosławski while maintaining its own unique voice and focus.

wilfred lehmann © 2002/12

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Clarinet Quintet in B flat major, Op 34AllegroFantasia: Adagio ma non troppoMenuetto: Capriccio prestoRondo: Allegro giocoso

in 1811 the 25-year old weber made an extensive tour of various german cities, giving concerts and networking. By March he was in Munich where one of his first concerts included a concertino for the court clarinettist heinrich Baermann (or Barmann). it would be prove to be one of the more important collaborations of weber’s career: he was immediately commissioned to compose two concertos for clarinet, and, in one of his relatively rare forays into chamber music, he began work on this clarinet quintet at around the same time.

the clarinet was still a relative newcomer when Mozart had written his great concerto and quintet some twenty years earlier; nevertheless, weber’s pieces are among its ‘founding documents’, as he worked extensively with Baermann to ensure that they were tailored to the technical capabilities of the instrument. Moreover, the clarinet’s agility, large compass and range of colour suited the emerging language of german romanticism to which weber contributed so much.

the overall design of the quintet conforms to classical models: it is in four movements, beginning with an Allegro that explores strikingly contrasting material. the opening is deliberately ambiguous in mood, before the soloist takes things in hand with a sudden gesture. the movement is full of virtuosic feats, with the rapid arpeggios and wide leaps

C a r L M a r i a vO n W e B e r ( 1 7 8 6 - 1 8 2 6 )

characteristic of weber and so idiomatic to the instrument. the Fantasia slow movement reminds us of weber’s skill as an opera composer, with long cantabile lines and sudden shifts in register (not unlike some of Mozart’s writing for the soprano voice) that end in a passionate, though somehow unresolved manner.

the third movement’s marking, Capriccio presto, makes it immediately clear that this is no stately menuetto, but a pyrotechnic display of that liquid agility of which the clarinet is uniquely capable – with a suitably contrasting trio section at the centre. again, following the classical models, weber concludes with a Rondo movement in which the clarinet is called upon to demonstrate a full range of technical prowess; reflecting again his operatic bent, weber effectively treats this movement, as roger covell has noted, as a kind of cabaletta.

weber only completed the quintet in 1815 on a return visit to Munich while on leave from his conducting position at the opera in prague. it was a momentous time: 1815 saw the final defeat of napoleon at waterloo, and weber’s musical response saw his career burgeon.

gordon Kerry © 2012

String Quartet No 4, (1928)I AllegroII Prestissimo, con sordinoIII Non troppo lentoIV Allegretto pizzicatoV Allegro molto

the division of Bartók’s career into three periods is often likened to an arch, in that the third period re-engages with some of the stylistic concerns of the first. put simply, his first period was characterised by the assimilation of late romanticism, of Debussy and early stravinsky, and his ethnomusicological research. the music of the second period is much less concerned with diatonic (or major/minor) harmony than before; the focus is now on the manipulation of rhythmic motives in a more actively contrapuntal texture.

australian scholar Malcolm gillies has noted that around 1926 Bartók rediscovered an interest in the keyboard music of the baroque – notably that of italian composers – and that this fired his interest in composing keyboard works of his own. it might be that a rediscovery of the baroque, particularly its concern with the elaboration of strongly profiled motives in counterpoint, also influenced Bartók’s new approach to the string quartet.

the metaphor of the arch can also be applied to a number of specific works, notably the Fourth (1928) and Fifth quartets (1934) and the concerto for orchestra (1943) all of which fall into a symmetrical pattern of five movements.

B é L a Ba r t ó k ( 1 8 8 1 - 1 9 4 5 )

Bartók wrote his Fourth quartet after returning from the usa early in 1928, so its idiom is, unsurprisingly, based on that of the third of the previous year. the symmetry of the movement’s design is simple and elegant: the outer movements are both allegros of some five minutes’ duration, the first a sonata design and the finale a dance-like transformation of some of its themes. the second and fourth are both scherzos, the first of which is played muted throughout. the keystone of the arch is the central Non troppo lento (not too slow), which presages some of Bartók’s ‘night music’ style with its eerie textures and motives recalling insect sounds.

the work once attracted a much quoted piece of British philistine criticism likening its sound world to farm-yard noises, flushing cisterns and zulu villages, but as in the third quartet, here Bartók’s imaginative use of unconventional sound, of dissonance and wild rhythm are all in the service of a supremely integrated work. a review of his First piano concerto says much about Bartók’s music of this period:

the more lucid and classical Bartók becomes the more complex and individualistic he is. and the more complex he is in his pellucid classicism the more elemental, ‘barbaric’ and ‘asiatic’ he becomes...

gordon Kerry © 2004

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the hon christopher legoe q.c. & Jenny legoe Kevin long patricia h reid Jeanette sandford-Morgan oaM patrick & Kathie Moore Dr robert MarinJenny perry anita poddar & peter hoffmann trish & richard ryan ao paul & Margarita schneider Vivienne sharpe andrew sisson Keith & Dianne smith Dr nigel & Mrs chris steele scott oaM elizabeth syme gary & Janet tilsley Marjorie white lyn williams aMJanet worth pamela Yule

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rae De teliga Jiri & pamela Fiala philip griffiths architects hon Diana laidlaw aM Keith & sue langley helen lynch rosemary Mcglashan Don & Jacquelyn Munro David nelson Ken nielsenJonathon nicholson John & etelka richards lesley russell Jill russell eng seng toh carl Vine ian wallace and Kay Freedmanpamela Yule

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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 2006 onwards.

all donations to the asq are tax deductible and can be made by phoning the asq on 1800 040 444.

d O n O r s

philip & Barbara Fargher Dieter grant-Frost professor Keith hancock graeme harvey Mary haydock Dr eh & Mrs a hirschDr anthony & emily horton Dr greg Jaunay stephen and Kylie Kingwayne & Victoria laubscher edwina lehmann David & anne Marshall he & rJ Mcglashanalison Mcintyre James Mcleod susan & Frank Morgan Mrs Frances Morrell Victor & Barbara Mulder Mimi Murphy Derrick nicholas edward nuffield John overton leon & Moira pericles sabine pfuhl colin a physick ian & gabrielle reece susan M renouf Mr. J. standring James syme Brian & robyn waghorn Jenny wily & adrian hawkes Fay zaikos

$100+ Bill anderson Julie almond Marion r allen David & elaine annearMerrawyn BagshawJoy Barrett-lennardMrs J Beare Mrs Jillian Beare Mr & Mrs peter & alison Beer

iain Berriman helen Biar Mrs Joyce Billings wendy Birman Michael Bland John Blattman stephen & caroline Brain Max & elizabeth Bull pip BurnettMr gary Byron Don carroll Mrs ann caston stephanie charlesworth Brian & Barbara crisp Mary rose & tim cooney greg coulter & carolyn polson Mrs Margaret Daniel oaM susan Davidson graham Dudley ron & Dorothy Dyer Dr h eastwell Mrs alexandra elliott susan Fallaw Mrs Judy Flower helen Forrester pamela Foulkes richard Frolich christopher Fyfe ross & Jen gallerythe allen g garrett trust prof. robert gilbert Margrette glynn Dr Joan godfrey John & carole grace ross graingerJan granth.p. greenbergroz greenwood & Marg philllipsMs Margaret gregory angela grutzner

tony grybowski Des gurry Dr & Mrs gc hall geoff hashimoto geoffrey F hayes Mrs helen healy laurie & philippa hegvold Mr trevor henry Mr Dennis henschke Dr p a herbert David hilyard emily hunt anthony ingersent Vernon irelandJim & Freda irenic robin isaacs Ms nola Jennings sarah Jewell Merle Jones Joan Jones Mr Martin Keith angus & gloria Kennedy rod & elizabeth Kingnicholas Korner David leeceida llewellyn-smith grant luxtonMargaret & cameron MacKenzie greg Mackie oaM sheelagh Mahon Mrs rose Mcaleer helen McBryde Duncan McKay Mrs inese Medianik Mrs Janice Menz Dr colin e Moore Ms elizabeth Morris hughbert Murphy June nichols lyn nossal Mrs Mary o’haralee palmerJosie penna

the rev Dr philipBasil phillips Mr william pick Janice pleydell J & M poll Mr Franz pribil Dr Barbara radcliffe william & elizabeth riedel Dr James robinson Ms chloe roe Mrs clare rogers peter rush Jenny salmon Meredyth sarah aM Miss Judith schroder adrienne shaw antony & Mary lou simpson Mrs angela skinner Judy sloggett elizabeth smith Derek smith Marilyn smith Barbara stodart terrie stoyel sandra stuart natalie sugden Dr g straznickyrobyn tamke JJ & al tate patricia thorpe Michael tingay Brian Vogt professor ray wales eric wegman Jeffrey whitford Jenny wilson peter wilkinson Mr David Young silvana zerella

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paul clitheroe aM (chair)nicholas callinanJanet hayesulrike Kleinpaul MurnaneMaria Myers aoJeanette sandford-Morgan oaMangelina zucco – executive Director

quartet-in-residencethe university of adelaidesa 5005 australia

t +61 8 8313 3748 or1800 040 444 (Freecall)F +61 8 8313 4389e asq@asq.com.auw asq.com.au

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