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CARNEGIE HALL PRESENTS

Tetzlaff Quartet

Thursday, November 16, 2017 7:30 PM Zankel Hall
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Tetzlaff Quartet by Georgia Bertazzi
Three Viennese composers put their personal stamp on the string quartet. Mozart’s is one of six he dedicated to Haydn, paying homage to the master while also looking ahead to the dramatic and harmonically daring quartets of Schubert. Schubert’s grandly scaled string quartet is a work of profound depth and a vast range of emotions. If much of the power of Schubert’s quartet is found in its great breadth, Berg’s compels with late-Romantic luxury.

Part of: Chamber Sessions I

Performers

Tetzlaff Quartet
·· Christian Tetzlaff, Violin
·· Elisabeth Kufferath, Violin
·· Hanna Weinmeister, Viola
·· Tanja Tetzlaff, Cello

Program

MOZART String Quartet in E-flat Major, K. 428
BERG String Quartet, Op. 3
SCHUBERT String Quartet in G Major, D. 887

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.

Pre-Concert Talk

Pre-concert talk starts at 6:30 PM in Zankel Hall with members of the Tetzlaff Quartet, in conversation with Jeremy Geffen, Senior Director and Artistic Adviser, Carnegie Hall.

At a Glance

WOLFGANG AMADEUS MOZART  String Quartet in E-flat Major, K. 428

Mozart’s masterful String Quartet in E-flat Major is one of the six “Haydn” quartets dedicated to his beloved mentor, written between late 1782 and early 1785. The music looks both backward and forward, paying homage to Haydn’s Classical poise and wit even as it anticipates the more overtly dramatic string quartets of Beethoven and Schubert.


ALBAN BERG  String Quartet, Op. 3

Composed in 1910 but not performed in public until 1923, Berg’s first quartet was a turning point in his career. Although he acknowledged how much he had learned from his teacher, Arnold Schoenberg, he credited his wife as the primary inspiration for his Op. 3 String Quartet. In a letter Berg wrote to her after a performance of the work in Salzburg in 1923, he declared that it was she “to whom the quartet belongs and who brought it into being.”


FRANZ SCHUBERT  String Quartet in G Major, D. 887

In the mid-1820s, as illness and financial trouble started to interfere in his life, Schubert found compositional motivation in the idea of writing a “grand symphony” on the scale of Beethoven’s Ninth. Although that ambitious project never came to fruition, his last three quartets—the G-Major Quartet of 1826 and the quartets in A minor (“Rosamunde”) and D minor (“Death and the Maiden”), both written in 1824—were clearly conceived on a symphonic scale.

Bios

Tetzlaff Quartet

The Tetzlaff Quartet is one of today’s leading string quartets. It was formed in 1994 by Christian Tetzlaff, Elisabeth Kufferath, Hanna Weinmeister, and Tanja Tetzlaff, who take time from their successful individual careers to tour as an ensemble several times each season, performing concerts for which they have received great critical acclaim.

Highlights of the quartet’s 2017–2018 season include its fourth North American tour, with performances on the West Coast at the Segerstrom Center for the Arts; University of California, Berkeley; and Green Music Center in Sonoma. The tour will also include concerts at the Cleveland Chamber Music Society, Chamber Music Cincinnati, Spivey Hall in greater Atlanta, and Shriver Hall in Baltimore. In Europe, the quartet appears in London, Cologne, Hamburg, and Hannover. Additional recent European engagements include performances at Berlin’s Konzerthaus, Paris’s Auditorium du Louvre, Brussels’s BOZAR, Vienna’s Musikverein, Munich’s Herkulessaal, Amsterdam’s Concertgebouw, and London’s Queen Elizabeth Hall.

The quartet’s first recording, featuring music by Schoenberg and Sibelius, was released by the CAvi-music label in 2010. Subsequent recordings include Berg’s Lyric Suite and Mendelssohn’s String Quartet No. 2, Op. 13, in 2014, and, most recently, a program of Schubert and Haydn quartets, released this year on the Ondine label.

Christian Tetzlaff is a regular guest with the world’s leading orchestras and festivals. He also enjoys collaborations with the most distinguished chamber musicians, including recital partners Leif Ove Andsnes and Lars Vogt. He plays a violin by German violinmaker Peter Greiner.

Elisabeth Kufferath performs at international music festivals, including Lucerne, Schleswig-Holstein, Rheingau, Ravinia, and Aspen. Her regular chamber music partners include Lars Vogt, Antje Weithaas, Isabelle Faust, and Jens Peter Maintz. Ms. Kufferath is professor of violin at the Hochschule für Musik, Theater und Medien Hannover. She plays a violin by Peter Greiner.

Currently first concertmaster of the Zürich Opera House,
Hanna Weinmeister has collaborated with distinguished artists, including Leonidas Kavakos, Heinz Holliger, Gidon Kremer, and Benjamin Schmid. She plays a viola by Peter Greiner.

Tanja Tetzlaff has appeared with many of Europe’s major international orchestras under conductors such as Daniel Harding, Lorin Maazel, and Paavo Järvi. She is especially dedicated to chamber music and regularly performs with Lars Vogt, Martin Fröst, and Carolin Widmann. She plays a 1776 cello by Giovanni Battista Guadagnini.

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