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CARNEGIE HALL PRESENTS

Castalian String Quartet

Friday, March 13, 2020 7:30 PM Weill Recital Hall
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Castalian String Quartet by Kaupo Kikkas
The award-winning Castalian String Quartet has wowed audiences around the world, including performances at the Konzerthaus in Vienna and Wigmore Hall in London. Now hear the quartet at Carnegie Hall. The musicians display their boundless versatility when they perform an innovative quartet by Haydn, Dutilleux’s dreamlike Ainsi la nuit, and a Bach- and Beethoven-inspired quartet of Schumann.

Part of: Distinctive Debuts

Performers

Castalian String Quartet
·· Sini Simonen, Violin
·· Daniel Roberts, Violin
·· Charlotte Bonneton, Viola
·· Christopher Graves, Cello

Program

HAYDN String Quartet in F Major, Op. 77, No. 2

DUTILLEUX Ainsi la nuit

SCHUMANN String Quartet in A Minor, Op. 41, 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.
Learn More

Distinctive Debuts is supported by endowment gifts from The Lizabeth and Frank Newman Charitable Foundation and the Stavros Niarchos Foundation (SNF).

In honor of the centenary of his birth, Carnegie Hall’s 2019–2020 season is dedicated to the memory of Isaac Stern in recognition of his extraordinary contributions to Carnegie Hall, arts advocacy, and the field of music.

At a Glance

HAYDN  String Quartet in F Major, Op. 77, No. 2, “Lobkowitz”

Prolific and endlessly imaginative, Haydn virtually created the string quartet as we know it. The second of his two Op. 77 quartets—contemporary with Beethoven’s early Op. 18 quartets—demonstrates his mature mastery of the medium that Beethoven would develop in new and unforeseen ways. Indeed, many people regard the F-Major Quartet as Haydn’s crowning achievement.

 

DUTILLEUX  Ainsi la nuit

Written for the Juilliard String Quartet, which gave the work’s American premiere in 1978, Dutilleux’s first and only string quartet is recognized as a modern masterwork. Attuned to a wide range of stimuli—literary and artistic as well as musical—the late French composer conjured a dreamlike, unstable soundscape that reflects his innovative approach to harmony, form, sonority, and temporal organization.

 

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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