29.01.

Early Haydn

  • 09:30
  • 29.01.2018
  • Kleine Zaal

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Cristiano Gualco violin
Paolo Andreoli violin
Simone Gramaglia viola
Giovanni Scaglione cello

Joseph Haydn String Quartet no. 28, op. 20/1
Silvia Colasanti Ogni cosa ad ogni cosa ha detto addio (world première)

Haydn is often referred to as ‘the father of the string quartet’. His six opus 20 string quartets formed the laboratory in which he tested out and developed his ideas, laying the foundation for the entire genre. The works surpass all their predecessors in their beauty, scope, expression and musical content. Quartetto di Cremona kicks off this first morning concert with the opening quartet of the series and also performs the world première of Ogni cosa ad ogni cosa ha detto addio, especially composed for our festival by Silvia Colasanti.

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What better way to open the festival day than with a Haydn quartet? The graceful elegance and clarity of the six Opus 20 string quartets, also known as the ‘Sun’ quartets, almost mask the ingenuity of this delightful music. During the String Quartet Biennale six different quartet ensembles open each festival day with a Haydn opus 20 and a surprising musical diversion.

Quartetto-di-Cremona

Masterclass / Improvisation

  • 11:30
  • 29.01.2018
  • Atriumzaal

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Abel Tomàs violin
Vera Martinez violin
Jonathan Brown viola
Arnau Tomàs cello

Lucio Franco Amanti, composer

The Spanish Cuarteto Casals asked the composer Lucio Franco Amanti to write a work as an element of their Beethoven cycle with the goal of coming closer to the improvisatory heart of Beethoven’s music. This work (to be heard in this Monday evening’s concert) motivated them to join forces with the composer and take a new step – or rather, a leap into the depths – in their career: improvising. During the Biennale Lucio Franco Amanti will join the Cuarteto Casals in a masterclass (in English) and continue exploring this as yet uncharted territory for a string quartet.

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So many diverse quartets performed in the space of a single week; so much knowledge and experience to share. A masterclass provides the opportunity to delve deeper into the music and imparts new knowledge to musicians and audience alike. It is also a unique experience to follow the musical process from close by. During the String Quartet Biennale the musicians take masterclasses out of their traditional setting and dedicate them to topics that they consider essential for the string quartet.

Cuarteto-Casals
Lucio-Amanti

Extending string quartet: Spaces

  • 14:15
  • 29.01.2018
  • Kleine Zaal

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Diamanda Dramm violin
Sarah Saviet violin
Wenting Kan viola
Marie Schmidt cello

Including works by Knox, Lachenmann, Sciarrino and Ligeti

In 2011 Garth Knox (former violist of the Arditti Quartet) and the violinist Diamanda Dramm started a unique collaboration. They created a series of concert etudes for violin, focused on essential techniques used in contemporary music. These Violin Spaces are based on Knox’s Viola Spaces which are popular among violists. The Spaces invite the player and listeners to approach contemporary music in a new manner.

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Especially for the String Quartet Biennale Diamanda Dramm has found an extraordinary interlocutor in Jacques Klöters. Together with him and three musician colleagues she has made a programme for the purpose of transporting the Spaces into a larger context; namely that of the string quartet. Taking a detour through composers including Lachenmann, Sciarinno and Ligeti they make a journey from the brand new Violin Spaces to Knox’s string quartet, in which all these techniques are interwoven.

Diamanda Dramm

Selected by / Brentano Quartet

  • 17:00
  • 29.01.2018
  • Grote Zaal

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Mark Steinberg violin
Serena Canin violin
Misha Amory viola
Nina Lee cello

Wolfgang Amadeus Mozart String Quartet no. 19, K. 465 ‘Dissonance’
Johannes Brahms String Quartet no. 1, op. 51/1

Brahms’s first string quartet and Mozart’s fragile ‘Dissonance’ quartet form a truly electrifying combination. Whereas Brahms explores the boundaries of the string quartet by making demands of symphonic proportions with regard to volume and power, Mozart pushed the limits of tonality with his extreme use of dissonances in the first bars. The Brentano Quartet welcomes us into the canon, in this first Selected By concert.

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There is no such thing as a definitive list of essential, outstanding, monumental or pioneering works that constitute the canon of the string quartet. During the String Quartet Biennale various quartets will start to create one. From an individual perspective, each selects a number of diverse works, adding them to the String Quartet Biennale canon under the title Selected By.

Brentano-Quartet

Cuarteto Casals

  • 20:15
  • 29.01.2018
  • Grote Zaal

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Abel Tomàs violin
Vera Martinez violin
Jonathan Brown viola
Arnau Tomàs cello

Ludwig van Beethoven String Quartet no. 5, op. 18/5
Lucio Franco Amanti ReSolUtIo (world première)
Ludwig van Beethoven String Quartet no. 10, op. 74 ‘Harp Quartet’

Beethoven and the Italian-Canadian composer Lucio Franco Amanti find common ground in a topic that is not usually associated with the string quartet. According to the Spanish Cuarteto Casals the music of both composers shares the same DNA: namely, improvisation. Amanti takes the ‘Harp Quartet’ as the point of departure for his first string quartet and transports the musicians and listeners to the improvisatory heart of Beethoven’s music.

More info about Cuarteto CasalsLucio Franco Amanti

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Amanti sketches his image for us: ‘Our story begins on the central square of a fictitious town somewhere between Spain and Italy. The sun beats down with a Mediterranean intensity, heightening the colours and sparking desire for the shadow of the trees. The sounds of groups of street musicians coalesce, creating a spontaneous rhythm. The themes from Beethoven’s ‘Harp Quartet’ are heard from afar, suspended above the sounds of the street …’

Cuarteto-Casals
Lucio-Amanti

Late Beethoven

  • 22:30
  • 29.01.2018
  • Grote Zaal

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Joris van Rijn violin
Emi Ohi Resnick violin
Gijs Kramers viola
Jeroen den Herder cello

Ludwig van Beethoven String Quartet no. 14, op. 131

‘After this, what is there left for us to write?’ Schubert is supposed to have said after hearing Beethoven’s opus 131. Renowned for their intense ensemble playing, the Dutch Ruysdael Quartet performs this challenging and transcendental work in the second Late Beethoven concert. The 40-minute quartet consists of seven, seamlessly connected movements and was far ahead of its time. Perhaps for this reason Beethoven himself considered it as his favourite.

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Following the evening concert take a plunge into the deepest waters of the string quartet. The intense experience of listening to Beethoven’s late string quartets calls for the intimate setting of the darkest hours of the day. In these works Beethoven not only lays bare his innermost depths but also those of the listeners and the musicians. On five evenings of the String Quartet Biennale five top quartets conclude the festival day with one of these masterworks.

Ruysdael-Kwartet