String Quartet
Ludwig van Beethoven (1770-1827)
String Quartet No. 1 in f major, Op. 18 No. 1 (1801)
II. Adagio affettuoso ed appassionato
Performed November 25, 2013 & December 8, 2021
Program Notes:
Ludwig van Beethoven was born in the middle of what was to become known as the Classical period in western music, an era recognized for its more simplistic and structural approach to music. Many of the already established era standards were rooted and developed by distinguished composers such as Haydn or Mozart. One such example is the string quartet. The concept of this ensemble was first conceived by Haydn and later fostered by Mozart’s compositions in the style. In 1798, when Beethoven first approached this composition genre, he had to write something to put up with the already refined works of his seniors.
Beethoven’s Op. 18 was his first-ever collection of six string quartets. Op. 18 No. 1, in fact, was not his first composed quartet, but his second. Presumably, Beethoven found this quartet to be more profound. As he was still apprehensive of being compared with the more illustrious string quartet composers Haydn and Mozart, he placed it first. Opus 18 No. 1 especially shows the influences of classical period values with light, graceful melodies indicative of classical period music. However, the frequent loud outbursts leading to abrupt soft moments and the integration of more complex harmonies, particularly in the 2nd movement, still allude more to the styles of late Beethoven and music of the Romantic period. Moreover, the sweet themes transitioning into points of anguish in the 2nd movement reminisce to the ideas of love and grief in Shakespeare’s Romeo and Juliet, of which Beethoven had in mind. The passionate moments and stressfulness of the music correlate to the infamous tomb scene where the star-crossed lovers tragically take their lives.
Vito Samaniego, Viola, Class of 2024
Performed November 25, 2013 & December 8, 2021
Program Notes:
Ludwig van Beethoven was born in the middle of what was to become known as the Classical period in western music, an era recognized for its more simplistic and structural approach to music. Many of the already established era standards were rooted and developed by distinguished composers such as Haydn or Mozart. One such example is the string quartet. The concept of this ensemble was first conceived by Haydn and later fostered by Mozart’s compositions in the style. In 1798, when Beethoven first approached this composition genre, he had to write something to put up with the already refined works of his seniors.
Beethoven’s Op. 18 was his first-ever collection of six string quartets. Op. 18 No. 1, in fact, was not his first composed quartet, but his second. Presumably, Beethoven found this quartet to be more profound. As he was still apprehensive of being compared with the more illustrious string quartet composers Haydn and Mozart, he placed it first. Opus 18 No. 1 especially shows the influences of classical period values with light, graceful melodies indicative of classical period music. However, the frequent loud outbursts leading to abrupt soft moments and the integration of more complex harmonies, particularly in the 2nd movement, still allude more to the styles of late Beethoven and music of the Romantic period. Moreover, the sweet themes transitioning into points of anguish in the 2nd movement reminisce to the ideas of love and grief in Shakespeare’s Romeo and Juliet, of which Beethoven had in mind. The passionate moments and stressfulness of the music correlate to the infamous tomb scene where the star-crossed lovers tragically take their lives.
Vito Samaniego, Viola, Class of 2024
String Quartet No. 3 IN D MAJOR, Op. 18 No. 3 (1801)
I. Allegro
Performed November 3, 2016
Program Notes:
Beethoven spent his first years in Vienna focused on composing music popular to the city, including piano sonatas, string trios, and opera arias. Only after studying from Haydn did Beethoven begin composing his string quartets. The Op. 18 quartets were published in 1801 by Mollo & Co. They are thought to demonstrate his total mastery of the classical string quartet as developed by Haydn and Mozart. Dedicated to Prince Franz Joseph von Lobkowitz, the Op. 18 quartets is probably Beethoven's most ambitious project of his early Vienna years.
Beethoven's String Quartet in D Major Op. 18, no. 3 was written between 1798 and 1800. Although it is numbered third, it was the first quartet Beethoven composed. This piece is undoubtedly one of the gentlest and lightest of his earliest works.The first movement opens with a two note rising figure by the violin, leaving us briefly in doubt as to what key and tempo it is in, before the other voices enter with a chordal accompaniment that moves into the main flow of the music. The still opening then eases into a more flowing tempo that is unique to an allegro. The movement features a broad singing tone in the style of Mozart, whose lyricism and thematic ideas appear to have strongly influenced Beethoven. The first movement is a Sonata-Allegro form: well balanced and proportioned in all of its parts. But at the same time, very slight and elusive as a whole, leaving us with a very delicate impression.
Jade Chen, Piano, Class of 2018
Performed November 3, 2016
Program Notes:
Beethoven spent his first years in Vienna focused on composing music popular to the city, including piano sonatas, string trios, and opera arias. Only after studying from Haydn did Beethoven begin composing his string quartets. The Op. 18 quartets were published in 1801 by Mollo & Co. They are thought to demonstrate his total mastery of the classical string quartet as developed by Haydn and Mozart. Dedicated to Prince Franz Joseph von Lobkowitz, the Op. 18 quartets is probably Beethoven's most ambitious project of his early Vienna years.
Beethoven's String Quartet in D Major Op. 18, no. 3 was written between 1798 and 1800. Although it is numbered third, it was the first quartet Beethoven composed. This piece is undoubtedly one of the gentlest and lightest of his earliest works.The first movement opens with a two note rising figure by the violin, leaving us briefly in doubt as to what key and tempo it is in, before the other voices enter with a chordal accompaniment that moves into the main flow of the music. The still opening then eases into a more flowing tempo that is unique to an allegro. The movement features a broad singing tone in the style of Mozart, whose lyricism and thematic ideas appear to have strongly influenced Beethoven. The first movement is a Sonata-Allegro form: well balanced and proportioned in all of its parts. But at the same time, very slight and elusive as a whole, leaving us with a very delicate impression.
Jade Chen, Piano, Class of 2018
String Quartet No. 4 in c minor, Op. 18 No. 4 (1801)
I. Allegro ma non tanto
Performed on October 28, 2013. May 18, 2017 & May 23, 2019
I. Allegro ma non tanto
IV. Allegro - Prestissiomo
Performed on May 20, 2021
Program Notes:
Most famously known for his piano sonatas and nine symphonies, Ludwig van Beethoven composed a number of string quartets in the early and late stages of his life. Unlike his other quartets in Op.18, Beethoven brings out a sense of tragedy and tension in String Quartet No.4 using the key of C minor. Allegro ma non tanto starts with a concerto-like violin line accompanied by constant eighth notes in the viola and cello. As all the parts are united in a series of jagged chords, the tension drops after a key change as a more light and playful melody is passed on from the violin to the cello. Beethoven’s use of sudden piano dynamics after crescendos heightens the tension and draws out the phrasing of the piece. After a tense development, the conclusion ultimately emphasizes the tragedy of returning to a minor key. String Quartet No.4 is one of Beethoven’s works that defines the intensity and uniqueness of his compositions.
Joshua Kang, Violin, Class 2019
Despite its opus number, Beethoven’s Op. 18 String Quartet in C minor was the last of the six string quartets that Beethoven wrote. Some scholars believe that this quartet was created from Beethoven’s earlier music. The string quartet resembles Beethoven’s famous use of C minor. Beethoven has used the key of C minor before, but none of his works had represented any sort of emotion. But in the Op. 18 Quartet, the key is used to represent the emotion of tragedy. The feeling of tragedy is evident in the beginning of the movement where the violins express a sorrowful theme supported with the accompaniment of the viola and cello.
Beethoven also adds some chords that appear throughout the movement to interrupt the theme given by the violins. As the movement progresses, each instrument grows progressively louder. The same goes for the chords as it pushes the movement forward. As the piece grows louder, there are still some areas where Beethoven revisits the quieter side as heard from the beginning of the movement. Towards the end of the movement, the quieter side is left behind and the first movement ends with a purposeful feeling. Beethoven’s string quartet No. 4 greatly provides the emotional depth that Beethoven is known for in his other works too.
Brad Chang, Cello, Class of 2019
Performed on October 28, 2013. May 18, 2017 & May 23, 2019
I. Allegro ma non tanto
IV. Allegro - Prestissiomo
Performed on May 20, 2021
Program Notes:
Most famously known for his piano sonatas and nine symphonies, Ludwig van Beethoven composed a number of string quartets in the early and late stages of his life. Unlike his other quartets in Op.18, Beethoven brings out a sense of tragedy and tension in String Quartet No.4 using the key of C minor. Allegro ma non tanto starts with a concerto-like violin line accompanied by constant eighth notes in the viola and cello. As all the parts are united in a series of jagged chords, the tension drops after a key change as a more light and playful melody is passed on from the violin to the cello. Beethoven’s use of sudden piano dynamics after crescendos heightens the tension and draws out the phrasing of the piece. After a tense development, the conclusion ultimately emphasizes the tragedy of returning to a minor key. String Quartet No.4 is one of Beethoven’s works that defines the intensity and uniqueness of his compositions.
Joshua Kang, Violin, Class 2019
Despite its opus number, Beethoven’s Op. 18 String Quartet in C minor was the last of the six string quartets that Beethoven wrote. Some scholars believe that this quartet was created from Beethoven’s earlier music. The string quartet resembles Beethoven’s famous use of C minor. Beethoven has used the key of C minor before, but none of his works had represented any sort of emotion. But in the Op. 18 Quartet, the key is used to represent the emotion of tragedy. The feeling of tragedy is evident in the beginning of the movement where the violins express a sorrowful theme supported with the accompaniment of the viola and cello.
Beethoven also adds some chords that appear throughout the movement to interrupt the theme given by the violins. As the movement progresses, each instrument grows progressively louder. The same goes for the chords as it pushes the movement forward. As the piece grows louder, there are still some areas where Beethoven revisits the quieter side as heard from the beginning of the movement. Towards the end of the movement, the quieter side is left behind and the first movement ends with a purposeful feeling. Beethoven’s string quartet No. 4 greatly provides the emotional depth that Beethoven is known for in his other works too.
Brad Chang, Cello, Class of 2019
String Quartet No. 6 in B-flat Major, Op. 18 No 6 (1801)
I. Allegro con brio
Performed December 7, 2022
Performed December 7, 2022
String Quartet No. 7, Op. 59 No. 1 ("Razumovsky")
I. Allegro
Performed Virtually on December 29, 2020
II. Allegretto vivace e sempre scherzando
Performed on August 12, 2021
Program Notes:
Composed for Count Andreas Kyrilovich Razumovsky, the Russian ambassador in Vienna, Beethoven’s String Quartet No.7 is characterized by a stark stylistic contrast from his earlier works. The piece features epic themes and expanded sonata forms, which was unusual for his time; what’s more, it is twice as long as his previous quartets, even exceeding the length of five of his nine symphonies. His unorthodox choices evoked reactions of disbelief and hostility from the public; in fact, some musicians even believed Beethoven was playing a joke on them with the piece’s unprecedented technical and expressive demands. However, when questioned about the quartet’s artistic validity, Beethoven responded by saying, “It’s not for you, but for a later age…”
The first movement, Allegro, features one of Beethoven’s most noble themes, presented first in the cello. This decision of instrumentation was heavily criticized by his contemporaries for challenging conventions of composition, as the theme was typically introduced by the violin. In reality, Beethoven’s choice was indicative of a sensibility ahead of his time; he was letting the cello set the stage for the lush pleasantness of the upper strings that would follow. Innovative choices such as the ones found in this string quartet would eventually bring forth a new era of musicality and expression. Despite its initially discouraging reception, the String Quartet No.7 has stood the test of time, now undoubtedly a cornerstone of the string quartet repertoire.
Hannah Zhong, Oboe, Class of 2021
Performed Virtually on December 29, 2020
II. Allegretto vivace e sempre scherzando
Performed on August 12, 2021
Program Notes:
Composed for Count Andreas Kyrilovich Razumovsky, the Russian ambassador in Vienna, Beethoven’s String Quartet No.7 is characterized by a stark stylistic contrast from his earlier works. The piece features epic themes and expanded sonata forms, which was unusual for his time; what’s more, it is twice as long as his previous quartets, even exceeding the length of five of his nine symphonies. His unorthodox choices evoked reactions of disbelief and hostility from the public; in fact, some musicians even believed Beethoven was playing a joke on them with the piece’s unprecedented technical and expressive demands. However, when questioned about the quartet’s artistic validity, Beethoven responded by saying, “It’s not for you, but for a later age…”
The first movement, Allegro, features one of Beethoven’s most noble themes, presented first in the cello. This decision of instrumentation was heavily criticized by his contemporaries for challenging conventions of composition, as the theme was typically introduced by the violin. In reality, Beethoven’s choice was indicative of a sensibility ahead of his time; he was letting the cello set the stage for the lush pleasantness of the upper strings that would follow. Innovative choices such as the ones found in this string quartet would eventually bring forth a new era of musicality and expression. Despite its initially discouraging reception, the String Quartet No.7 has stood the test of time, now undoubtedly a cornerstone of the string quartet repertoire.
Hannah Zhong, Oboe, Class of 2021
Aleksandr Borodin (1833-1887)
String Quartet No. 2 in D major (1811)
I. Allegro Moderato
Performed on February, 11, 2013, May, 23, 2015, February, 3, 2016, December 15, 2017, February 5, 2020, August, 12, 2021 & October 25, 2022
III. Notturno – Andante
Performed on February, 21, 2018
Program Notes:
The String Quartet no. 2 in D Major by Alexander Borodin was written in 1881 while vacationing in his country house in the province of Tula, Russia. The piece was dedicated to Borodin’s wife, in remembrance of their 20-year wedding anniversary. It was completed with remarkable quickness considering it took 5 years of drafting to finish his first string quartet; the second one required only two months. The piece opens with a lyrical melody accompanied by great delicacy, providing beauty with each musical phrase. The calm, soothing beginning soon gives way to a second theme which portrays a rigid yet vigorous theme which serves as a counterbalance to the swaying introduction. Intermixed in all of this is a wonderful sense of affection, creating a pleasing wash of sound which is present throughout the entire first movement. The piece saw its debut on January 26, 1882 at the Imperial Russian Musical Society concert in St. Petersburg. The piece, however, was published posthumously after Borodin’s early death in 1887; he was only 53 years old. Nonetheless, Borodin’s String Quartet no. 2 in D Major remains one of the most popular and most played string quartets in the world of music.
Kevin Zhang, Violin, Class 2018
Borodin’s String Quartet No. 2 in D Major was composed quickly one summer in dedication to his wife, Ekaterina. The third movement, Nocturne, the most famous of the quartet, possesses an indelibly crafted theme intricately weaved throughout the beginning and end of the piece. Borodin and Ekaterina emerge most prominently within the voices of the cello and first violin, respectively, with Borodin expressing himself in the opening melody with the gentle accompaniment of the second violin and viola. The peaceful atmosphere established by the cello and first violin is disturbed by the agitation and sense of decisiveness set by the middle theme of F Major; however, resolution is established by the closing canons between the cello and first violin and then the two violins. Arguably one of his most famous works, Nocturne was later adapted into many orchestra arrangements, the musical Kismet, and the score of Disney’s short film The Little Matchgirl.
Tanya Yang, Cello, Class of 2018
Alexander Borodin is remembered today as one of the greatest Russian composers of the late Romantic period; however, he actually made most of his living as a chemist. One of his professors at the St. Petersburg Medical-Surgical Academy once said to him, “Mr. Borodin, busy yourself a little less with songs. I’m putting all my hopes in you as my successor, but all you think of is music. You can’t hunt two hares at the same time.” In the end, Borodin continued composing and went on to change the face of Russian music. Borodin was part of the Mighty Five, along with fellow greats Cui, Balakirev, Mussorgsky, and Rimsky-Korsakov.
Borodin composed his famous String Quartet No. 2 as a dedication to his wife Ekaterina Protopove, who was also a pianist and cellist. Some say that the quartet was his twentieth-anniversary gift to her. The first movement symbolizes how Borodin and his wife first met; the piece opens up with a sweetly melodic dialogue between the cello and first violin, symbolizing their marriage. Leading up to the faster animato section, the texture gives way to a joyous mood, perhaps celebrating their relationship.
Anica Chan, Violin, Class of 2022
Performed on February, 11, 2013, May, 23, 2015, February, 3, 2016, December 15, 2017, February 5, 2020, August, 12, 2021 & October 25, 2022
III. Notturno – Andante
Performed on February, 21, 2018
Program Notes:
The String Quartet no. 2 in D Major by Alexander Borodin was written in 1881 while vacationing in his country house in the province of Tula, Russia. The piece was dedicated to Borodin’s wife, in remembrance of their 20-year wedding anniversary. It was completed with remarkable quickness considering it took 5 years of drafting to finish his first string quartet; the second one required only two months. The piece opens with a lyrical melody accompanied by great delicacy, providing beauty with each musical phrase. The calm, soothing beginning soon gives way to a second theme which portrays a rigid yet vigorous theme which serves as a counterbalance to the swaying introduction. Intermixed in all of this is a wonderful sense of affection, creating a pleasing wash of sound which is present throughout the entire first movement. The piece saw its debut on January 26, 1882 at the Imperial Russian Musical Society concert in St. Petersburg. The piece, however, was published posthumously after Borodin’s early death in 1887; he was only 53 years old. Nonetheless, Borodin’s String Quartet no. 2 in D Major remains one of the most popular and most played string quartets in the world of music.
Kevin Zhang, Violin, Class 2018
Borodin’s String Quartet No. 2 in D Major was composed quickly one summer in dedication to his wife, Ekaterina. The third movement, Nocturne, the most famous of the quartet, possesses an indelibly crafted theme intricately weaved throughout the beginning and end of the piece. Borodin and Ekaterina emerge most prominently within the voices of the cello and first violin, respectively, with Borodin expressing himself in the opening melody with the gentle accompaniment of the second violin and viola. The peaceful atmosphere established by the cello and first violin is disturbed by the agitation and sense of decisiveness set by the middle theme of F Major; however, resolution is established by the closing canons between the cello and first violin and then the two violins. Arguably one of his most famous works, Nocturne was later adapted into many orchestra arrangements, the musical Kismet, and the score of Disney’s short film The Little Matchgirl.
Tanya Yang, Cello, Class of 2018
Alexander Borodin is remembered today as one of the greatest Russian composers of the late Romantic period; however, he actually made most of his living as a chemist. One of his professors at the St. Petersburg Medical-Surgical Academy once said to him, “Mr. Borodin, busy yourself a little less with songs. I’m putting all my hopes in you as my successor, but all you think of is music. You can’t hunt two hares at the same time.” In the end, Borodin continued composing and went on to change the face of Russian music. Borodin was part of the Mighty Five, along with fellow greats Cui, Balakirev, Mussorgsky, and Rimsky-Korsakov.
Borodin composed his famous String Quartet No. 2 as a dedication to his wife Ekaterina Protopove, who was also a pianist and cellist. Some say that the quartet was his twentieth-anniversary gift to her. The first movement symbolizes how Borodin and his wife first met; the piece opens up with a sweetly melodic dialogue between the cello and first violin, symbolizing their marriage. Leading up to the faster animato section, the texture gives way to a joyous mood, perhaps celebrating their relationship.
Anica Chan, Violin, Class of 2022
Johannes Brahms (1833 – 1897)
String Quartet No. 1 in c minor, Op. 51 No. 1
IV. Allegro
Performed on March, 21, 2019
The high standards Brahms had for his music are showcased in his first and second string quartets, which took a staggering nine years to compose and publish. The detail and care put into his String Quartet No. 1 in C Minor is emphasized by the unity between the different voices’ complex harmonies. In this quartet, Brahms utilizes one of his biggest achievements: the development of just a few motifs to create and develop an entire work. The main motif is introduced in the first movement and is constantly repeated throughout the various movements. One prominent example of this repetition is in the fourth movement, Allegro. Throughout this enthusiastic finale, structural themes and motives from previous movements are reiterated and brought together. Throughout all four movements, both the tonal and key structures are linked, further highlighting the usage of the “developing variation” technique.
Ashley Jong, Violin, 2021
Performed on March, 21, 2019
The high standards Brahms had for his music are showcased in his first and second string quartets, which took a staggering nine years to compose and publish. The detail and care put into his String Quartet No. 1 in C Minor is emphasized by the unity between the different voices’ complex harmonies. In this quartet, Brahms utilizes one of his biggest achievements: the development of just a few motifs to create and develop an entire work. The main motif is introduced in the first movement and is constantly repeated throughout the various movements. One prominent example of this repetition is in the fourth movement, Allegro. Throughout this enthusiastic finale, structural themes and motives from previous movements are reiterated and brought together. Throughout all four movements, both the tonal and key structures are linked, further highlighting the usage of the “developing variation” technique.
Ashley Jong, Violin, 2021
STRING QUARTET NO. 2 in a minor, OP. 51 NO. 2
II. Andante moderato
Performed on May 23, 2015
Performed on May 23, 2015
Claude Debussy (1862 – 1918)
String Quartet in G minor, Op. 10 (1893)
III. Andantino, doucement expressif
String Quartet in G Minor, Debussy’s first and last string quartet, encapsulates his ventures into his own unique style as an emerging composer. At 31 years old, Debussy was still relatively unknown, and so decided to falsely designate this work as Op. 10, presumably in an attempt to seem more accomplished than he was at that time. He had been heavily influenced by the Impressionist painters of his day, who often employed a contrast between light and dark in their works. Similarly, Debussy alternates between warmth and its withdrawal in the quartet’s slow third movement, Andantino, doucement expressif. Points of clarity are created by the overarching lullaby, first heard in the second violin’s introduction, then carried over to the viola and first violin. These harmonies later echo as clouds of mist, making the quartet resemble a musical expression of brightness. This quartet exemplifies Debussy’s sole purpose of capturing beauty in his music, successfully marking his first and last attempt at composing a string quartet.
Emily Ren, Cello, Class of 2024
String Quartet in G Minor, Debussy’s first and last string quartet, encapsulates his ventures into his own unique style as an emerging composer. At 31 years old, Debussy was still relatively unknown, and so decided to falsely designate this work as Op. 10, presumably in an attempt to seem more accomplished than he was at that time. He had been heavily influenced by the Impressionist painters of his day, who often employed a contrast between light and dark in their works. Similarly, Debussy alternates between warmth and its withdrawal in the quartet’s slow third movement, Andantino, doucement expressif. Points of clarity are created by the overarching lullaby, first heard in the second violin’s introduction, then carried over to the viola and first violin. These harmonies later echo as clouds of mist, making the quartet resemble a musical expression of brightness. This quartet exemplifies Debussy’s sole purpose of capturing beauty in his music, successfully marking his first and last attempt at composing a string quartet.
Emily Ren, Cello, Class of 2024
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