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CARNEGIE HALL PRESENTS

Hagen Quartet

Thursday, March 28, 2019 8:30 PM Zankel Hall
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Hagan Quartet by Harald Hoffmann
Great string quartets engage in many different ways, from the brief, tightly connected motifs of Webern, to the epic scale of Beethoven, to the lyrical expressiveness of Schubert. There's a melancholy mood throughout much of Schubert's quartet—a work that features the famous songlike second movement. Beethoven’s quartet is a stupendous display of craftsmanship, with each of the work’s seven sections flowing one to the other without pause. The epic journey leads the listener to new tonalities, fugal writing to rival Bach’s, and Beethoven’s quintessential shifts from fury, to tenderness, to jollity.

Please note the updated start time of this performance.

Part of: Chamber Sessions II

Performers

Hagen Quartet
·· Lukas Hagen, Violin
·· Rainer Schmidt, Violin
·· Veronika Hagen, Viola
·· Clemens Hagen, Cello

Program

SCHUBERT String Quartet in A Minor, "Rosamunde"

WEBERN Five Movements, Op. 5

BEETHOVEN String Quartet in C-sharp Minor, Op. 131

Event Duration

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

At a Glance

SCHUBERT  String Quartet in A Minor, D. 804, “Rosamunde”

Schubert completed a total of 15 quartets—the first when he was barely 13, the last some two years before his untimely death. In the mid-1820s, he became fixated on the idea of writing a “grand symphony” on the order of Beethoven’s Ninth. Although that ambitious project never came to fruition, his last three quartets—including the “Rosamunde”—were clearly conceived on a symphonic scale.

 

WEBERN  Five Movements, Op. 5

These delicate, highly condensed miniatures date from 1909, when Webern was refining the spare, “aphoristic” style that would distinguish him from his teacher, Arnold Schoenberg, and fellow student Alban Berg. The haunting quietude, pointillistic textures, and kaleidoscopic colors of the Five Movements influenced a host of later composers.  

 

BEETHOVEN  String Quartet in C-sharp Minor, Op. 131

Beethoven’s late-period string quartets pose special challenges—and offer commensurate rewards—for listeners and performers alike. The composer himself considered Op. 131 the greatest of his 16 quartets. Although much has been written about its unconventional seven-part structure and abstruse tonal relationships, the music’s robust lyricism and emotional intensity have never failed to draw audiences into its unforgettable sound world.

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