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  • Carnegie Hall Presents
  • ZH Zankel Hall
  • SA/PS Stern Auditorium / Perelman Stage
  • REW Resnick Education Wing
  • WRH Weill Recital Hall

Artemis Quartet

Tuesday, April 10, 2018 7:30 PM Zankel Hall
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Artemis Quartet by Nikolaj Lund
Beethoven’s quartet smiles, Schumann’s recalls past masters, and Bartók’s mourns. Beethoven’s string quartet is a genial work that’s especially witty in its quicksilver finale. Schumann revered Bach and Beethoven, evidenced in his String Quartet No. 1, with its involved counterpoint and gravitas juxtaposed with its quicksilver, daredevil finale. There is little peace in Bartók’s String Quartet No. 2, a stark work that reflects the composer’s inner turmoil in response to the horrors of World War I.

Part of: Chamber Sessions I


Artemis Quartet
·· Vineta Sareika, Violin
·· Anthea Kreston, Violin
·· Gregor Sigl, Viola
·· Eckart Runge, Cello


BEETHOVEN String Quartet in D Major, Op. 18, No. 3
BARTÓK String Quartet No. 2
SCHUMANN String Quartet in A Minor, Op. 41, No. 1

This concert is made possible, in part, by an endowment fund for young artists established by Mr. and Mrs. Anthony B. Evnin and the AE Charitable Foundation.

At a Glance

LUDWIG VAN BEETHOVEN  String Quartet in D Major, Op. 18, No. 3

In his six Op. 18 quartets, written between 1798 and 1800, Beethoven staked his claim to the title of Haydn’s and Mozart’s successor in the rarefied realm of the string quartet. The D-Major Quartet came first in order of composition and set a high bar for his initial foray into the genre. After the set was complete, the young composer told his friend Carl Amenda, “Only now do I know how to write quartets properly.”

BÉLA BARTÓK  String Quartet No. 2, Op. 17

Like Beethoven, Bartók used the string quartet as a vehicle for expressing his deepest musical thoughts. The six quartets he composed at intervals between 1908 and 1939 are a microcosm of the Hungarian composer’s richly imaginative and highly distinctive sound world. The three movements of the Second Quartet form a kind of triptych whose center panel is an energetic Allegro characterized by constantly shifting dancelike meters.


ROBERT SCHUMANN  String Quartet in A Minor, Op. 41, No. 1

Schumann—not unlike Beethoven—took pride in being a loner. “I feel that my path is fairly solitary,” he once wrote. “No acclaiming crowd inspires me to fresh effort, but I keep my eyes fixed on my great examples, Bach and Beethoven, whose far-off images give unfailing help and encouragement.” The influence of both composers can be heard in Schumann’s A-Minor Quartet, which tempers muscular Romanticism with Classical restraint.

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