Takács QuartetJanuary 13, 2015

As we celebrate a new year, I am inspired by your

support for the UW World Series and for the

leading artists we bring to Seattle.

We begin 2015 with one of my favorite

international string quartets, the Takács Quartet—

founded in Hungary—in a program of Haydn,

Schubert and late Beethoven. As the first Quartet

ever to be inducted into the Gramophone Hall

of Fame, they are known for their seminal

performances of this repertoire.

The Nile Project is an international collaboration

comprising musicians from eleven countries

bordering the Nile Basin. This unique performance

explores shared musical identities and the power

of music to raise awareness of the cultural and

environmental challenges along the world’s longest

river. Please join us for a pre-performance panel

discussion with local and international water

activists and scholars from the UW and Puget

Sound community.

Ukranian pianist Vadym Kholodenko is the 2013

Van Cliburn Gold Medalist, and a fiery young artist

known both for his amazing technical virtuosity

and profound musical depth that belies his 27 years.

He will be playing a program of Beethoven and

Scriabin.

Enjoy these and many other remarkable artists to

come this year.

Warm regards,

Michelle Witt

Executive Director of Meany Hall &

Artistic Director of UW World Series

DIRECTOR'S WELCOME

UW WORLD SERIES ADVISORY BOARD

Kathleen Wright, PresidentDave Stone, Vice PresidentKurt Kolb, StrategistLinda Linford AllenLinda ArmstrongRobert Babs, Student Board MemberCathryn Booth-LaForceRoss Boozikee, ArtsFund Board InternLuis Fernando EstebanDavis B. FoxBrian GrantCathy Hughes Yumi IwasakiSonja Myklebust, Student Board MemberMina PersonDonald RupchockDonald SwisherDavid VaskevitchGregory WallaceMark Worthington

Ex-Officio MembersElizabeth Cooper, Divisional Dean of Arts, College of Arts & SciencesRobert C. Stacey, Dean, College of Arts & SciencesAna Mari Cauce, Provost

EMERITUS BOARD

Cynthia Bayley Thomas Bayley JC Cannon Gail Erickson Ruth Gerberding Ernest Henley Randy Kerr Susan Knox Matt Krashan, Emeritus Artistic Director Sheila Edwards Lange Frank Lau Lois Rathvon Dick Roth Eric Rothchild Jeff Seely K. Freya Skarin Rich Stillman Lee Talner Thomas Taylor Ellen Wallach

Ellsworth C. "Buster" Alvord, In honorarium Betty Balcom, In honorarium 206-543-4880

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Thanks the following donors for their

support of this evening’s program

Nancy D. Alvord

Warren and Anne Anderson

Katharyn Alvord Gerlich

Lynn and Brian Grant

Dr. Martin L. Greene

Cecilia Paul and Harry Reinert

Mina B. Person

Eric and Margaret Rothchild

Dave and Marcie Stone

Lee and Judy Talner

Special thanks

to our media partner

Thanks to the following contributors for

their support of the 2014-15 Season

Peg & Rick Young Foundation

International Chamber Music Series

January 13, 2015 Takács Quartet

Haydn QuartetNo.50inB-flatMajor,Op.64,No.3

Vivace assai Adagio Menuetto: Allegretto Finale: Allegro con spirit

Schubert StringQuartetNo.13inAMinor,D.804,Op.29

Allegro ma non troppo Andante Menuetto: Allegretto Allegro moderato

Intermission

Beethoven StringQuartetNo.13inB-flatMajor,Op.130

Adagio ma non troppo—Allegro Presto

Andante con moto, ma non troppo—Poco scherzoso Alla danza tedesca. Allegro assai Cavatina. Adagio molto espressivo Finale: Allegro

Daniel Ching, violinWilliam Fedkenheuer, violin

John Largess, violaJoshua Gindele, cello

encoreartsseattle.com A-3

About the Program

Quartet No. 50 in B-flat Major,Op. 64, No. 3Franz Joseph Haydn (1732–1809)

Often called the father of the symphony and string quartet, Haydn did not, in fact, create those two forms, but greatly expanded their structural and emotional richness, bequeathing them to Mozart, Beethoven and virtually all subsequent composers. Born in the flowering years of the late Baroque era he quickly tired of what he considered Rococo triviality. By the 1760s he had developed a more serious style reflecting his thorough absorption of polyphony—the “learned” style of Bach, Handel and their contemporaries. His music also anticipated Romanticism as suggested by his use of new musical terminology, e.g., affettuoso, zingarese, scherzando and cantabile, descriptors that added “feeling” language to movement headings.

Haydn’s six Op. 64 quartets date from 1790. The opening Vivace assai leaps forward with a few introductory measures before the cello launches the galloping primary theme answered by the upper strings. A sweet second theme, switching from major to minor and back soon gains in energy prodded forward by the cello’s urging and obsessively reiterated rhythms. Furious arpeggios in the minor add considerable fervor to the almost breathless movement.

Cast in E-flat major, the beginning of the Adagio is a model of contemplative repose, rendered all the more so

by virtue of contrast with the first movement. After a pause, however, Haydn detours into the minor mode with the first violin intoning a quietly insistent sad theme. After an even sadder transition in which the music moves through different keys the major finally re-establishes itself just before the final measures.

A quirky upbeat Menuetto: Allegretto follows, replete with repeated horn fifths redolent of the hunt. The brusque nature of the music is far afield from the grace of the court. The central Trio offers added syncopation and a few well-chosen silences that enhance the movement’s off-beat qualities.

Allegro con spirit is the heading to the concluding movement, yet Haydn takes time to balance energy with episodes on minor-key sensibility. Overall, the wonderful interplay of independent instrumental voicing, sudden mood shifts and more syncopation demonstrate Haydn’s wide-ranging affective range.

Quartet No. 13 in A minorFranz schubert (1797–1828)

The first 11 of Schubert’s 15 string quartets show a growing mastery of the genre. The final four examples of the genre demonstrate a quantum leap in maturity and emotional depth. He began work on the Quartet No. 13 in A minor in 1824 while still recovering emotionally and physically from his near-fatal bout of syphilis in 1822. The opening Allegro ma non troppo begins with a restless theme in the minor, intensified by an anxious

accompanying figure from the second violin. That supplemental phrase recalls the right-hand piano part of his great early song, “Gretchen am Spinnrade” written ten years earlier. In a letter to his friend Leopold Kupwieser the still-ailing composer quotes Goethe thusly, “My peace is gone, my heart is heavy. I’ll find it never, never again.” Clearly, Schubert was still wrestling with the emotional and physical scars attending his recent illness and its widely used “treatment”—mercury.

The first violin sings the sad main theme before Schubert lightens the mood with a simple but magical gesture: recasting the forlorn tune in the major. Throughout the movement, he adds more thematic material, much of it as melancholic as the opening theme. Again he reprises the major-key variant but falls back into the minor in the coda.

What follows is the familiar Andante drawn from the incidental music to Wilhelm von Chezy’s failed play, known in that context as the entr’acte preceding Act IV, written a year before the Quartet. The lovely innocence and lyric charm of this movement has ensured it a life separate from both the Quartet and the play’s orchestral version. It often appears as an encore.

The following Menuetto also yields to historical examination, referring to the composer’s 1819 song, “Die Götter Griechenlands” (“The Greek Gods”), text by Schiller. As in the first movement, Schubert creates an unsettling yet appropriate sense of

ambiguity by fluctuating between the major and minor, though the minor has the dominant voice. The cello’s low register sets the darkened stage for continued sadness and somber reflection. The central Trio, based on fragments from the opening, provides a sweet and dance-like respite, gently swaying in the major in the manner of a rustic Ländler before descending into the melancholy minor-mode resignation of the cello-led opening section.

Still using material from the Schiller song found in the preceding movement, the concluding Allegro moderato begins fetchingly in the major, the rustic gypsy-like theme’s upward leaps conveying optimism. Though recalled sadness interrupts the flow, Schubert makes sure that the sun shines through, ending the movement in rousing A major.

String Quartet in B-flat Major,Op. 130Ludwig van beethoven (1770–1827)

Many of Beethoven’s early works confounded his contemporaries, be they musicians or concertgoers. His late string quartets continued to confuse music-lovers far into the future. Even Tchaikovsky and other musicians thought these works were the product of an unhinged mind. A graduate student in musicology at UC Berkeley in the 1960s presumably misidentified the Grosse fuge as “probably by Bartók.”

We pat our collective shoulder for our great sagacity in appreciating the intellectual greatness, emotional

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About the Program

Quartet No. 50 in B-flat Major,Op. 64, No. 3Franz Joseph Haydn (1732–1809)

Often called the father of the symphony and string quartet, Haydn did not, in fact, create those two forms, but greatly expanded their structural and emotional richness, bequeathing them to Mozart, Beethoven and virtually all subsequent composers. Born in the flowering years of the late Baroque era he quickly tired of what he considered Rococo triviality. By the 1760s he had developed a more serious style reflecting his thorough absorption of polyphony—the “learned” style of Bach, Handel and their contemporaries. His music also anticipated Romanticism as suggested by his use of new musical terminology, e.g., affettuoso, zingarese, scherzando and cantabile, descriptors that added “feeling” language to movement headings.

Haydn’s six Op. 64 quartets date from 1790. The opening Vivace assai leaps forward with a few introductory measures before the cello launches the galloping primary theme answered by the upper strings. A sweet second theme, switching from major to minor and back soon gains in energy prodded forward by the cello’s urging and obsessively reiterated rhythms. Furious arpeggios in the minor add considerable fervor to the almost breathless movement.

Cast in E-flat major, the beginning of the Adagio is a model of contemplative repose, rendered all the more so

by virtue of contrast with the first movement. After a pause, however, Haydn detours into the minor mode with the first violin intoning a quietly insistent sad theme. After an even sadder transition in which the music moves through different keys the major finally re-establishes itself just before the final measures.

A quirky upbeat Menuetto: Allegretto follows, replete with repeated horn fifths redolent of the hunt. The brusque nature of the music is far afield from the grace of the court. The central Trio offers added syncopation and a few well-chosen silences that enhance the movement’s off-beat qualities.

Allegro con spirit is the heading to the concluding movement, yet Haydn takes time to balance energy with episodes on minor-key sensibility. Overall, the wonderful interplay of independent instrumental voicing, sudden mood shifts and more syncopation demonstrate Haydn’s wide-ranging affective range.

Quartet No. 13 in A minorFranz schubert (1797–1828)

The first 11 of Schubert’s 15 string quartets show a growing mastery of the genre. The final four examples of the genre demonstrate a quantum leap in maturity and emotional depth. He began work on the Quartet No. 13 in A minor in 1824 while still recovering emotionally and physically from his near-fatal bout of syphilis in 1822. The opening Allegro ma non troppo begins with a restless theme in the minor, intensified by an anxious

accompanying figure from the second violin. That supplemental phrase recalls the right-hand piano part of his great early song, “Gretchen am Spinnrade” written ten years earlier. In a letter to his friend Leopold Kupwieser the still-ailing composer quotes Goethe thusly, “My peace is gone, my heart is heavy. I’ll find it never, never again.” Clearly, Schubert was still wrestling with the emotional and physical scars attending his recent illness and its widely used “treatment”—mercury.

The first violin sings the sad main theme before Schubert lightens the mood with a simple but magical gesture: recasting the forlorn tune in the major. Throughout the movement, he adds more thematic material, much of it as melancholic as the opening theme. Again he reprises the major-key variant but falls back into the minor in the coda.

What follows is the familiar Andante drawn from the incidental music to Wilhelm von Chezy’s failed play, known in that context as the entr’acte preceding Act IV, written a year before the Quartet. The lovely innocence and lyric charm of this movement has ensured it a life separate from both the Quartet and the play’s orchestral version. It often appears as an encore.

The following Menuetto also yields to historical examination, referring to the composer’s 1819 song, “Die Götter Griechenlands” (“The Greek Gods”), text by Schiller. As in the first movement, Schubert creates an unsettling yet appropriate sense of

ambiguity by fluctuating between the major and minor, though the minor has the dominant voice. The cello’s low register sets the darkened stage for continued sadness and somber reflection. The central Trio, based on fragments from the opening, provides a sweet and dance-like respite, gently swaying in the major in the manner of a rustic Ländler before descending into the melancholy minor-mode resignation of the cello-led opening section.

Still using material from the Schiller song found in the preceding movement, the concluding Allegro moderato begins fetchingly in the major, the rustic gypsy-like theme’s upward leaps conveying optimism. Though recalled sadness interrupts the flow, Schubert makes sure that the sun shines through, ending the movement in rousing A major.

String Quartet in B-flat Major,Op. 130Ludwig van beethoven (1770–1827)

Many of Beethoven’s early works confounded his contemporaries, be they musicians or concertgoers. His late string quartets continued to confuse music-lovers far into the future. Even Tchaikovsky and other musicians thought these works were the product of an unhinged mind. A graduate student in musicology at UC Berkeley in the 1960s presumably misidentified the Grosse fuge as “probably by Bartók.”

We pat our collective shoulder for our great sagacity in appreciating the intellectual greatness, emotional

encoreartsseattle.com A-5

depth and prescience of these self-same works, including the String Quartet No. 13 in B-flat Major, Op. 130 with its original finale, the above-mentioned Grosse fuge. As with other late-Beethoven music, the number of movements—six in this case—broke with tradition, but even more challenging was inventive polyphony offset by startling unison phrases and other textural departures from “sound” classical style.

Late in life Beethoven was increasingly interested in polyphony; the string quartet was the ideal medium in which to expound on musical ideas contrapuntally. As a child Beethoven had been tutored by Christian-Gottlob Neefe, musical director of the national theater in Bonn and a pedagogue with strong ties to the Baroque style of J.S. Bach. Before reaching adolescence, Beethoven had already memorized the two sets of preludes and fugues known as the Well-tempered Claiver, which helped shape his contrapuntal thinking. In 1783, when Beethoven was 12 years of age, Neefe wrote of his student, “This young genius deserves to be supported in his artistic endeavors. If he continues in the same manner he started, he is sure to become a second Wolfgang Amadeus Mozart.” Prophetic words, to be sure.

Beethoven completed the Op. 130 Quartet in 1825, a year after the premiere of the Ninth Symphony and but two years before his death. The Quartet received its premiere on March 21, 1826 by the Schuppanzigh Quartet. The date—March 21—was J.S. Bach’s birthday, an apt coincidence

given the new piece’s contrapuntal complexities.

A slow introduction marked Adagio, unmistakably serious in its descending theme in the lower strings, soon yields to a rapid Allegro whose impulsively forward motion is enhanced by a rising figure played in contrapuntal mode. Hairpin turns in the musical flow heighten the drama. A second and comparatively reserved theme enters courtesy of the cello. The central development continues a process of re-fashioning already underway in the exposition of the Allegro. Fragments from the Adagio re-appear in a coda appended to the busy recapitulation.

Beginning in duple meter, the brief Presto serves as the Scherzo, cast in B-flat minor. A change of meter to 6/4 and a move to the major takes place in the energetic mid-movement Trio. The Presto section is twice interrupted by a demonic descending scale.

The third movement, Andante con moto, ma non troppo—Poco scherzoso—is introduced by a theme from the viola. Textural changes abound, often highlighted by quietly articulated pizzicato passages. Episodes of beguiling lyricism alternate with forceful counter-statements.

Marked Alla danza tedesca, the fourth movement is, as its title states, a German dance of delectable charm that provides a breather from the often hectic music that has preceded it. It is also another veritable scherzo, this time with two contrasting Trios. Higher energy and linear independence offers

contrast; the second Trio varies the movement’s primary theme, creating a sense of near ecstasy.

The slow and rapturously beautiful Cavatina that follows is known to have meant a great deal to the composer. Here is music that is heartfelt yet utterly free of mere sentimentality. The music herein suggests a journey from anguish to profound resignation, all of which may well reflect the emotional difficulties attending Beethoven’s troublesome (self-induced, sadly) venture dealing with his nephew Karl. A spare and forlorn theme heard well into the movement evokes grief.

After the work's first performance, mixed reactions and his publisher's suggestion convinced Beethoven to substitute a different final movement, one much shorter and lighter than the enormous Grosse fuge. Beethoven replaced the concluding movement with a less demanding paragraph that seems to hearken back to his erstwhile mentor Joseph Haydn. This new finale was written between September and November 1826—and is thus the last substantial piece of composition Beethoven completed before his death.

© 2015 Steven Lowe

About the Takács Quartet

Recognized as one of the world's great ensembles, the Takács Quartet plays with a unique blend of drama, warmth and humor, combining four distinct musical personalities to bring fresh insights to the string quartet repertoire.

The Takács became the first string quartet to win the Wigmore Hall Medal on May 10, 2014. The Medal, inaugurated in 2007, recognizes major international artists who have a strong association with the Hall. Recipients so far include Andras Schiff, Thomas Quasthoff, Menachem Pressler and Dame Felicity Lott. Appointed in 2012 as the first-ever Associate Artists at Wigmore, the Takacs present six concerts every season there. Other European engagements in 2014-15 include the Edinburgh and Bath Festivals, the Louvre in Paris, Amsterdam’s Concertgebouw, Vienna’s Musikverein, London’s Queen Elizabeth Hall, and in Geneva, Florence, Cremona and Budapest.

In 2012, Gramophone announced that the Takács was the only string quartet to be inducted into its first Hall of Fame, along with such legendary artists as Jascha Heifetz, Leonard Bernstein and Dame Janet Baker. The ensemble also won the 2011 Award for Chamber Music and Song presented by the Royal Philharmonic Society in London. Based in Boulder at the University of Colorado, the Takács Quartet performs ninety concerts a year worldwide.

The Quartet's award-winning recordings include the complete Beethoven Cycle on the Decca label. In 2005 the Late Beethoven Quartets won Disc of the Year and Chamber Award from BBC Music Magazine, a Gramophone Award, Album of the Year at the Brit Awards and a

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Sat. Feb. 21, 2015 7:30 pm Meany Theater

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depth and prescience of these self-same works, including the String Quartet No. 13 in B-flat Major, Op. 130 with its original finale, the above-mentioned Grosse fuge. As with other late-Beethoven music, the number of movements—six in this case—broke with tradition, but even more challenging was inventive polyphony offset by startling unison phrases and other textural departures from “sound” classical style.

Late in life Beethoven was increasingly interested in polyphony; the string quartet was the ideal medium in which to expound on musical ideas contrapuntally. As a child Beethoven had been tutored by Christian-Gottlob Neefe, musical director of the national theater in Bonn and a pedagogue with strong ties to the Baroque style of J.S. Bach. Before reaching adolescence, Beethoven had already memorized the two sets of preludes and fugues known as the Well-tempered Claiver, which helped shape his contrapuntal thinking. In 1783, when Beethoven was 12 years of age, Neefe wrote of his student, “This young genius deserves to be supported in his artistic endeavors. If he continues in the same manner he started, he is sure to become a second Wolfgang Amadeus Mozart.” Prophetic words, to be sure.

Beethoven completed the Op. 130 Quartet in 1825, a year after the premiere of the Ninth Symphony and but two years before his death. The Quartet received its premiere on March 21, 1826 by the Schuppanzigh Quartet. The date—March 21—was J.S. Bach’s birthday, an apt coincidence

given the new piece’s contrapuntal complexities.

A slow introduction marked Adagio, unmistakably serious in its descending theme in the lower strings, soon yields to a rapid Allegro whose impulsively forward motion is enhanced by a rising figure played in contrapuntal mode. Hairpin turns in the musical flow heighten the drama. A second and comparatively reserved theme enters courtesy of the cello. The central development continues a process of re-fashioning already underway in the exposition of the Allegro. Fragments from the Adagio re-appear in a coda appended to the busy recapitulation.

Beginning in duple meter, the brief Presto serves as the Scherzo, cast in B-flat minor. A change of meter to 6/4 and a move to the major takes place in the energetic mid-movement Trio. The Presto section is twice interrupted by a demonic descending scale.

The third movement, Andante con moto, ma non troppo—Poco scherzoso—is introduced by a theme from the viola. Textural changes abound, often highlighted by quietly articulated pizzicato passages. Episodes of beguiling lyricism alternate with forceful counter-statements.

Marked Alla danza tedesca, the fourth movement is, as its title states, a German dance of delectable charm that provides a breather from the often hectic music that has preceded it. It is also another veritable scherzo, this time with two contrasting Trios. Higher energy and linear independence offers

contrast; the second Trio varies the movement’s primary theme, creating a sense of near ecstasy.

The slow and rapturously beautiful Cavatina that follows is known to have meant a great deal to the composer. Here is music that is heartfelt yet utterly free of mere sentimentality. The music herein suggests a journey from anguish to profound resignation, all of which may well reflect the emotional difficulties attending Beethoven’s troublesome (self-induced, sadly) venture dealing with his nephew Karl. A spare and forlorn theme heard well into the movement evokes grief.

After the work's first performance, mixed reactions and his publisher's suggestion convinced Beethoven to substitute a different final movement, one much shorter and lighter than the enormous Grosse fuge. Beethoven replaced the concluding movement with a less demanding paragraph that seems to hearken back to his erstwhile mentor Joseph Haydn. This new finale was written between September and November 1826—and is thus the last substantial piece of composition Beethoven completed before his death.

© 2015 Steven Lowe

About the Takács Quartet

Recognized as one of the world's great ensembles, the Takács Quartet plays with a unique blend of drama, warmth and humor, combining four distinct musical personalities to bring fresh insights to the string quartet repertoire.

The Takács became the first string quartet to win the Wigmore Hall Medal on May 10, 2014. The Medal, inaugurated in 2007, recognizes major international artists who have a strong association with the Hall. Recipients so far include Andras Schiff, Thomas Quasthoff, Menachem Pressler and Dame Felicity Lott. Appointed in 2012 as the first-ever Associate Artists at Wigmore, the Takacs present six concerts every season there. Other European engagements in 2014-15 include the Edinburgh and Bath Festivals, the Louvre in Paris, Amsterdam’s Concertgebouw, Vienna’s Musikverein, London’s Queen Elizabeth Hall, and in Geneva, Florence, Cremona and Budapest.

In 2012, Gramophone announced that the Takács was the only string quartet to be inducted into its first Hall of Fame, along with such legendary artists as Jascha Heifetz, Leonard Bernstein and Dame Janet Baker. The ensemble also won the 2011 Award for Chamber Music and Song presented by the Royal Philharmonic Society in London. Based in Boulder at the University of Colorado, the Takács Quartet performs ninety concerts a year worldwide.

The Quartet's award-winning recordings include the complete Beethoven Cycle on the Decca label. In 2005 the Late Beethoven Quartets won Disc of the Year and Chamber Award from BBC Music Magazine, a Gramophone Award, Album of the Year at the Brit Awards and a

encoreartsseattle.com A-7

UW Symphony at Benaroya HallLudovic Morlot, David Alexander Rahbee, conductorsWith Robin McCabe, Craig Sheppard, pianoWorks by Poulenc, Tchaikovsky, and a world premiere by Joël-François Durand7:30 pm Benaroya Hall Tickets: Benaroya Hall Box Office: 206.215.4747

JAN29

JAN31

Modern Music Ensemble/Inverted SpaceWorks by George Crumb, Alfred Schnittke, and UW student composers7:30 pm Jones Playhouse

Trio AndromedaWinners of the 2014 UW Strings and Piano Chamber Ensemble Competition4:30 pm Brechemin Auditorium206.685.8384

MoRE AT: WWW.MUSiC.WAShinGTon.EDU ArtsUW TiCkET oFFiCE: 206.543.4880

JAN23

Japanese Record Academy Award. Their recordings of the early and middle Beethoven quartets collected a Grammy, another Gramophone Award, a Chamber Music America Award and two further awards from the Japanese Recording Academy.

Their collaboration with Hyperion Records in 2006 started with a recording of Schubert's “Death and the Maiden” and “Rosamunde” quartets. A disc featuring Brahms' Piano Quintet with Stephen Hough was released to great acclaim in November 2007 and was subsequently nominated for a Grammy. Other recordings for Hyperion include Brahms' Quartets Op. 51 and Op. 67; a disc featuring the Schumann Piano Quintet with Marc-Andre Hamelin; the complete Haydn "Apponyi" Quartets, Op. 71 and 74; the Schubert Quintet CD with Ralph Kirshbaum; the three Britten Quartets and the Brahms Viola Quintets with Lawrence Power, viola.

Upcoming Hyperion recordings include the two Janacek Quartets and Smetana's From My Life, the Debussy Quartet and the Franck Piano Quintet with Marc-Andre Hamelin, and Dvorak's Op. 105 Quartet and his Viola Quintet Op. 97 with Lawrence Power, viola.

The Takács Quartet was formed in 1975 at the Franz Liszt Academy in Budapest by Gabor Takács-Nagy, Károly Schranz, Gabor Ormai and András Fejér, while all four were students. It first

received international attention in 1977, winning First Prize and the Critics' Prize at the International String Quartet Competition in Evian, France. The Quartet also won the Gold Medal at the 1978 Portsmouth and Bordeaux Competitions and First Prizes at the Budapest International String Quartet Competition in 1978 and the Bratislava Competition in 1981. The Quartet made its North American debut tour in 1982. Violinist Edward Dusinberre joined the Quartet in 1993 and violist Roger Tapping in 1995. Violist Geraldine Walther replaced Mr. Tapping in 2005. In 2001 ensemble was awarded the Order of Merit of the Knight's Cross of the Republic of Hungary, and in March of 2011 each member of the Quartet was awarded the Order of Merit Commander's Cross by the President of the Republic of Hungary.

The members of the Takács Quartet are Christoffersen Faculty Fellows at the University of Colorado Boulder. The Quartet has helped to develop a string program with a special emphasis on chamber music, where students work in a nurturing environment designed to help them develop their artistry. The Quartet's commitment to teaching is enhanced by summer residencies at the Aspen Festival and at the Music Academy of the West, Santa Barbara. They are also Visiting Fellows at the Guildhall School of Music and Drama, London.

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World Music & Theatre Series

January 30, 2015

Special thanks

to our media partner

Tonight's program runs approximately 120 minutes with one intermission.

Thanks the following donors for their

support of this evening’s program

Nancy D. Alvord

Katharyn Alvord Gerlich

Eric and Margaret Rothchild

THE NILEPROJECT

Support for this event comes from

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