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  • Carnegie Hall Presents
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CARNEGIE HALL PRESENTS

Michelangelo Quartet

Friday, November 9, 2018 7:30 PM Weill Recital Hall
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Michelangelo Quartet by Marco Borggreve
The Herald called the Michelangelo Quartet “one of the great string quartets of the era” and lauded the members' playing that’s “out of this world.” They perform a Haydn quartet that delights with its opening movement imitation of birdsong and concludes with a display of quicksilver virtuosity. After a dirge-like opening, Bartók’s quartet quickens in pace until it too culminates in a breathless finale. Smetana’s masterpiece is far more introverted, a poignant work that reflects on his life’s work, hopes, and tragedy.

Part of: Quartets Plus

Performers

Michelangelo Quartet
·· Mihaela Martin, Violin
·· Daniel Austrich, Violin
·· Nobuko Imai, Viola
·· Frans Helmerson, Cello

Program

HAYDN String Quartet in D Major, Op. 64, No. 5, "Lark"
SMETANA String Quartet No. 1 in E Minor, "From My Life"
BARTÓK String Quartet No. 1

Salon Encores

Get together with people who love music after this Weill Recital Hall concert for a free drink and discussion with the evening's musicians.
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At a Glance

HAYDN  String Quartet in D Major, Op. 64, No. 5, “The Lark”

In his 68 string quartets, Haydn virtually created the chamber music genre that would occupy a central place in 19th-century European music and musical life. “The Lark” and the other Op. 64 quartets date from 1790, shortly before he embarked on the first of two extended trips to London as the most celebrated composer in Europe. By the time Haydn composed his Op. 77 quartets nine years later, he was ready to pass the baton to his pupil Beethoven.

 

SMETANA  String Quartet No. 1 in E Minor, “From My Life”

“It was my intent to portray in music the course of my life,” Smetana explained to the friend who sponsored the first performance of his E-Minor Quartet in 1878. Having lost his hearing as a result of a syphilis infection, the Czech composer had necessarily turned inward for inspiration. The E-Minor Quartet combines high spirits with emotional intensity, climaxing in a chilling depiction of the buzzing in the deaf man’s ears, which Smetana shrugged off as a “little joke.”

 

BARTÓK  String Quartet No. 1, Op. 7

Like Beethoven and Shostakovich, Bartók repeatedly turned to the string quartet as a vehicle for his deepest and most personal musical thoughts. The Hungarian composer’s unrequited love for violinist Stefi Geyer partly inspired the first of his six quartets, one of several works that feature her four-note musical “signature.” The Op. 7 Quartet was first performed in 1910 by the Waldbauer-Kerpely Quartet, which would later introduce Bartók’s second and fourth quartets. 

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