Melbourne Recital Centre presents

Brodsky Quartet

Monday 6 May 2019 Great Chamber Ensembles 2019

The Art of Fugue

DurationOne hour & 45-minutes including a 20-minute interval

Artists Brodsky QuartetIan Belton violin Gina McCormack violinPaul Cassidy violaJacqueline Thomas cello

Brodsky Quartet The Art of Fugue

Monday 6 May 7.30pm Elisabeth Murdoch Hall

Melbourne Recital Centre

6.45pm Free pre-concert talk with Zoe Knighton

Johann Sebastian Bach (1685-1750)The Art of Fugue, BWV 1080 Contrapunctus I Contrapunctus VI, a 4 in Stylo Francese

Wolfgang Amadeus Mozart (1756-1791)Adagio & Fugue, K.546

Felix Mendelssohn (1809-1847)4 Pieces for String Quartet, Op.81 Fuga. A tempo ordinario

Ludwig van Beethoven (1770-1827)Grosse Fuge, Op.133

Interval 20-minutes

Johann Sebastian Bach (arr. for string quartet by Paul Cassidy) Sonata No.3 in C, BWV 1005 Fuga

Dmitri Shostakovich (1906-1975)String Quartet in C minor, Op.110, No.8 Largo – Allegro molto – Allegretto – Largo – Largo

Program

Melbourne Recital Centre proudly stands on the land of the Boon Wurrung people of the Kulin Nation and we pay our respects to Melbourne’s First People, to their Elders past and present, and to our shared future.

Johann Sebastian Bach

J.S. Bach is still the go-to person for students of counterpoint, as he was for all serious composers during his lifetime and after it. Counterpoint is the skill of musical Sudoku: individual lines which work as melodies, but which can be layered on top of each other and still work as harmonies (chords).

The Art of Fugue is a collection of such puzzles, perhaps the greatest ever; and together it embodies a still greater mystery. Almost everything we know about it is subject to argument. Bach’s own son called it his father’s last work, and claimed the composer died whilst writing part of it. Some scholars now lean towards an earlier date, though agreeing it was certainly in preparation for publication when Bach died, and is most probably not quite complete. Musicologists would love to find ‘Fragment X’: what is thought to be a missing page which would conclude the set, and complete the puzzle, with a fugue on four subjects, not the mere three that were published.

Because of its breathtaking complexity, The Art of Fugue is sometimes treated as an intellectual exercise, though this idea ignores the acknowledged emotional grip of Bach’s other contrapuntal works. Each movement is based on the same theme, heard in elegant simplicity in the opening Contrapunctus. (Although the theme itself doesn’t appear in the ‘Three Subjects’ movement, it can be successfully played against the existing lines.) Played in the usual order, the sections become harder as you go. Was it perhaps intended as the ultimate teaching tool?

Other theories have been proposed as the impetus for this extraordinary masterpiece, linking it with Pythagorean theory and numerical mysticism. Because its instrumentation is unspecified, it has been transcribed for everything from recorder consort to symphony orchestra; always proving endlessly fascinating, and endlessly satisfying. © K.P. Kemp, Musica Viva 2013

About the music

The Art of Fugue, BWV 1080 Contrapunctus I Contrapunctus VI, a 4 in Stylo Francese

During the summer of 1788, Mozart was working feverishly to complete what would be his final trilogy of symphonies. His need for money was dire, and very likely he would have put aside work on the symphonies to satisfy a publisher’s request, which normally involved a fee. We know that F.A. Hoffmeister did publish Mozart’s Adagio & Fugue in C minor, so quite probably he requested the music at that time.

Rather than compose something entirely new, Mozart chose to arrange his two-piano fugue, K.426, adding to it an Adagio introduction. The result was a remarkable contribution to string literature. Music of the Baroque era was still echoing in people’s ears at that time, and this work pays homage to the grandeur and intellectual prowess of that period.

The Adagio is made up of alternating sections in two quite different moods. One features forceful and grandiose rhythms derived from the French Ouverture (such as the opening of Handel’s Messiah). The other is a tender plaint, at times displaying an unearthly character.

This dualism is Mozart’s way of introducing a similar dualism in the theme of the following fugue. Biographer Alfred Einstein summarises: ‘It is a strict four-voiced fugue with a deeply serious ‘dualistic’ theme – half imperious and half complaining; and it contains all the devices of inversion (the theme presented upside down) and stretto (overlapping statements of the theme). Thus, the Adagio & Fugue in C minor stands, in one respect, as Mozart’s tribute to a bygone era. In another respect, it is his tribute to all he had learned from Handel and J.S. Bach.’ © Dr. Michael Fink 2016

Wolfgang Amadeus Mozart

Adagio & Fugue, K.546

4 Pieces for String Quartet, Op.81 Fuga. A tempo ordinario

Mendelssohn was a not your typical ‘Romantic-era’ composer. The polished grace of his melodies and clear formal outlines of his musical structures show him to have had one foot in the Classical era of Mozart and Haydn, while his penchant for counterpoint and fugal writing shows that even that foot had at least a big toe in the Baroque era of Bach and Handel, as well.

The 4 Pieces for String Quartet comprise both youthful and late works, published posthumously as the composer’s Op.81 (all of the composer’s opus numbers after 72 are posthumous publications).

The fourth movement, Fuga, is a much earlier work, composed in 1827 when Mendelssohn was still establishing himself as the most learned teenage composer in Berlin – admittedly, not a crowded field. Much more introverted in tone than the Capriccio, it unfolds placidly and demurely with a distinctly un-boyish gravitas unperturbed even by the dramatic upward leap of a minor 7th in the fugue subject.

It is not long, though, before a second exposition supervenes to let us know that we have, in fact, a double fugue on our hands here. The new second theme, in faster note values, glides serenely up and down the scale, soon combining with the first in a spirit of inter-thematic chummy-ness that promises all will be well.

Despite its scholarly construction, the extreme warmth of tone colour in this fugue, especially at the end, places it closer in spirit to the warm ‘hot-milk-and-cookies’ domesticity of Biedermeyer Berlin than to the severe rigour of Bach’s Lutheran Leipzig of the previous century.© Zoran Minderovic © Donald G. Gíslason 2014

Felix Mendelssohn

Grosse Fuge, Op.133

Beethoven’s Grosse Fuge is one of the great artistic testaments to the human capacity for meaning in the face of the threat of chaos. Abiding faith in the relevance of visionary struggle in our lives powerfully informs the structure and character of the music; this is surely one of the composer’s most inspiring achievements.

The Grosse Fuge was originally conceived as the final movement of the Quartet in B-flat, Op.130. In that work it followed the Cavatina, one of the most intimate embodiments of the frailty and vulnerability of love ever made audible to human ears. This juxtaposition with the most touching lyricism makes the opening of the fugue shocking, as Beethoven takes the final G of that movement and explodes it into a stark octave passage for the whole quartet.

During the private premiere of the original version of Op.130, given by the Schuppanzigh Quartet, Beethoven absented himself, choosing to drink in a local pub instead. It fell to the second violinist

of that group, Holz, to go to the pub to report to the composer. He declared the occasion a big success, and recounted how those present asked to have two of the inner movements repeated. Beethoven immediately asked about the fugue, and when he was told that there was no request for a repeat of that he remarked that the audience had been made up of ‘cattle and asses’. The audience as well as the players had in fact had great difficulties with the movement, finding it nearly incomprehensible. It was suggested to the composer that he replace the last movement of the quartet with one which would be more accessible. Certainly Beethoven himself never doubted that the fugue was a masterpiece of great potency. One of the great mysteries of musical history is what could have convinced Beethoven, a quintessentially headstrong man, to agree to remove the fugue from Op.130 and publish it separately (as Op.133), writing an alternate finale for the quartet. © Mark Steinberg

Ludwig van Beethoven

Though J.S. Bach was best known as a keyboard virtuoso, he was also a highly skilled violinist. He grew up listening to his father play the violin, and it was as a violinist that he obtained his first public appointment, playing in the Weimar Court Orchestra. Carl Philipp Emanuel Bach, responding to a biographical query in 1774, recalled of his father: ‘From his youth up to fairly old age he played the violin purely and penetratingly and thus kept the orchestra in best order, much better than he could have done from the harpsichord. He understood completely the possibilities of all stringed instruments.’

Bach supplied violinists with great masterpieces to play, including nine sonatas for violin and harpsichord, a handful of concertos, and featured obbligato roles in his cantatas and passions.

But the unquestioned pinnacle of his writing for the violin is the set of six unaccompanied works – three called sonatas, three called partitas – which he completed in 1720, midway through his six-year tenure as Capellmeister to Prince Leopold of Anhalt-Cöthen. This was a period rich in masterworks; during that span, Bach also produced his suites for unaccompanied cello, his Brandenburg Concertos, and Book One of The Well-Tempered Clavier.

Bach’s Sonata in C is striking for its sparseness. It features a remarkable fugue based on the opening of the chorale ‘Komm, heiliger Geist, Herre Gott’. The chorale tune is harmonized with one of Bach’s favourite devices, a descending chromatic countersubject. The fugue challenges the realm of possibility, requiring the player to articulate several lines simultaneously. © James M. Keller,

Michael Steinberg & Steven Ziegler

Johann Sebastian Bach

(arr. for string quartet by Paul Cassidy) Sonata No.3 in C, BWV 1005 Fuga

Shostakovich’s Eighth Quartet became one of the most widely recognised musical statements of the 20th century, and maintains its ability to move listeners with its deep emotional power. It is dedicated to the ‘Victims of Fascism and War’, a declaration that seems direct enough, but which has been turned to a variety of readings by differing musicological protagonists. The statement of the Eighth Quartet is complicated and layered, as happens a lot with Shostakovich.

The quartet came almost out of nowhere. In 1960, Shostakovich had agreed to provide music for a movie project, to be directed by his friend Leo Arnshtam as a Soviet–East German co-production, based on the Allies’ 1945 bombing of Dresden.

Shostakovich absorbed himself in the detail of this horrifying, controversial incident by visiting the city and watching graphic documentary footage of the event, in which 25,000 people were killed and an entire city, rich in historical and cultural value, was almost annihilated.

Out of this mélange of morbid anxiety and exposure to greater human sufferings sprang a musical idea that inspired Shostakovich to write one of his most immediate and striking compositions. The work has etched itself into social memory, both in its original string quartet form and in Rudolf Barshai’s expanded string orchestra form (as the Chamber Symphony, Op.110a). Constituted in five movements, these are linked together to form a continuous unveiling of forceful expression and cumulative emotion. © James Kohne 2014

Dmitri Shostakovich

String Quartet in C minor, Op.110, No.8

Since its formation in 1972 Brodsky Quartet has performed over 3000 concerts on the major stages of the world and released more than 60 recordings.

A natural curiosity and insatiable desire to explore has propelled the group in many artistic directions and continues to ensure it not only a place at the very forefront of the international chamber music scene but also a rich and varied musical existence.

Its energy and craftsmanship have attracted numerous awards and accolades worldwide, while ongoing educational work provides a vehicle for passing on experience and staying in touch with the next generation.

About the artists

Throughout its career of over 45 years, Brodsky Quartet has enjoyed a busy international performing schedule, and has extensively toured the major festivals and venues throughout Australasia, North and South America, Asia, South Africa and Europe, as well as in the U.K., where the quartet is based. The Quartet is also regularly recorded for television and radio with its performances broadcast worldwide.

Over the years, Brodsky Quartet has undertaken numerous performances of the complete cycles of quartets by Schubert, Beethoven, Tchaikovsky, Britten, Schoenberg, Zemlinsky, Webern and Bartók. It is, however, the complete Shostakovich cycle that has now become synonymous with its name; the Quartet’s 2012 London performance of the cycle resulted in it taking the prestigious title ‘Artistic Associate’ at London’s Kings Place and, in October 2016, releasing its second recording of the cycle, this time live from the Muziekgebouw, Amsterdam.

Brodsky Quartet has always had a busy recording career and it currently enjoys an exclusive and fruitful relationship with Chandos Records. Releases on the label include Petits Fours, a celebratory album of ‘Encore’ pieces arranged

exclusively by the Quartet for its 40th anniversary; a Debussy compilation; In the South, featuring works by Verdi, Paganini, Wolf and Puccini; New World Quartets, comprising works by Dvořák, Copland, Gershwin and Brubeck; the quartets of Zemlinsky, including the world premiere recording of his unpublished early quartet; two Brahms discs, featuring the iconic Piano and Clarinet Quintets; the Shostakovich Complete Quartets.

As well as partnering with many top classical artists for its performances and recordings, the Quartet has made musical history with ground-breaking collaborations with some of the world’s leading artists across many genres and has commissioned and championed many of the world’s most respected composers.

Awards for recordings include the Diapason D’Or and the CHOC du Monde de la Musique, and Brodsky Quartet has received a Royal Philharmonic Society Award for its outstanding contribution to innovation in programming.

The Quartet took its name from the great Russian violinist Adolf Brodsky, the dedicatee of Tchaikovsky’s violin concerto and a passionate chamber musician.

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