Pre-opening door Leerorkest-kwartetjes

  • 19:00
  • 27.01.2018
  • Kleine Zaal

Yoram Barsati viool
Stijn Ewout Heideveld viool
Kes Jade Bosch viool*
Sophie Methorst cello

Natania Manuella viool
Serenety Clarck viool
Juliette Jaensch viool*
Allisha Dipowirono cello

Suzanna Ton viool
Souhaila Koubaa viool
Celine Bollen viool*
Maria Ton cello

Janna Gajanovic viool
Esther Enofe Egbon viool
Ilayda Duz viool*
Kirsten Blagescu cello

*De kwartetjes spelen met een derde viool in plaats van een altviool

Een échte, officiële opening heeft het festival niet, maar het voorprogramma van het Hagen Quartett is zo bijzonder dat het er uitstekend voor door kan gaan.

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Anderhalf jaar geleden zijn de Strijkkwartet Biënnale en het Leerorkest samen een van de grootst denkbare avonturen aangegaan: uit de strijkers van de wijktalentorkesten van het Leerorkest in Amsterdam Zuidoost en Klassiek Rondom de Klas uit Amsterdam Oost zijn vier strijkkwartetjes gevormd. Voor het eerst, zonder dirigent, op eigen benen staan. Geen mogelijkheid om je te verbergen in het hele orkest, maar ervaren hoe het is om alleen je drie medemusici te hebben en op elkaar te moeten vertrouwen. Deze kinderen zien (en horen) spelen in een strijkkwartet getuigt van de uitdaging maar vooral ook het plezier dat je kunt hebben van strijkkwartet spelen en luisteren; ongeacht je leeftijd, achtergrond of muzieksmaak.

Toegang is gratis, maar let op: er is een zeer beperkt aantal plaatsen beschikbaar.

Pre-opening door Leerorkest-kwartetjes

Hagen Quartett + JÖrg Widmann

  • 20:15
  • 27.01.2018
  • Grote Zaal

Lukas Hagen violin
Rainer Schmidt violin
Veronika Hagen viola
Clemens Hagen cello

Jörg Widmann clarinet

Jörg Widmann Clarinet Quintet (Dutch première)*
Anton Webern Langsamer Satz for string quartet
Johannes Brahms Clarinet Quintet op. 115

*co-commission String Quartet Biennale Amsterdam, Muziekgebouw aan ’t IJ, CNDM Madrid, Wigmore Hall, Mozarteum Salzburg, Philharmonie Essen, Lugano Musica, Philharmonie de Paris

In the opening concert of the very first String Quartet Biennale Amsterdam two of chamber music’s household names share the stage: the Austrian Hagen Quartet and the German composer/clarinettist Jörg Widmann. Inspired by Mozart and Brahms, Widmann recently composed a new work for this instrumental combination, which is inseparably linked to the string quartet. The Hagen Quartet also performs one of the most poignant pieces of the string quartet repertoire: Webern’s Langsamer Satz.

More info about Hagen QuartettJörg Widmann

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Jörg Widmann has previously composed five string quartets to high acclaim. So it comes as no surprise that this master clarinettist has now created a work that brings together his own instrument and the string quartet genre with which he has such a strong affinity. The Guardian: ‘Any Widmann performance brings whatever he plays kicking and screaming into the present day. Whether it’s his own pieces or the Brahms clarinet quintet.’

Hagen-Quartett
Jörg-Widmann-Klarinet

Late Beethoven

  • 22:30
  • 27.01.2018
  • Grote Zaal

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Marc Danel violin
Gilles Millet violin
Vlad Bogdanas viola
Yovan Markovitch cello

Ludwig van Beethoven String Quartet no. 12, op. 127

It is no coincidence that this series of Late Beethoven concerts kicks off with opus 127. With the grand opening of the maestoso and the emotional adagio, this fantastic and captivating quartet sets the tone in an imposing fashion. From the very first notes the work confirms the unique standing of Beethoven’s late string quartets. Renowned for its championing of adventurous works the Belgian Quatuor Danel is the ideal ensemble to perform this energetic work.

More info about Quatuor Danel

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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 exposes his innermost depths but also those of the listener and the musicians. On five evenings of the String Quartet Biennale five top quartets conclude the festival day with one of these masterworks.

Quatuor-Danel

Renaissance Soundscape

  • 11:00
  • 28.01.2018
  • Grote Zaal

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

Johannes Ockeghem Ave Maria
Josquin des Prez (arr. Charles Wuorinen) Josquiniana: a selection of works by Josquin
Orlando di Lasso Carmina Chromatica
Richard Mico Fancy no. 5
Orlando di Lasso Sibylla Cimmeria
Richard Mico Fancy no. 9
Orlando di Lasso Sybilla Persica
Richard Mico Fancy no. 7
Orlando di Lasso Jubilate Deo
Carlo Gesualdo (arr. Mark Steinberg) Asciagate i beglio occhi
Carlo Gesualdo (arr. Mark Steinberg) O voi, troppo felici
Carlo Gesualdo (arr. Mark Steinberg) Tu m’uccidio crudele
Claudio Monteverdi (arr. Mark Steinberg) Lasciatemi Morire
Claudio Monteverdi (arr. Mark Steinberg) Ohime il bel viso
Claudio Monteverdi (arr. Mark Steinberg) Ditelo voi
Claudio Monteverdi (arr. Mark Steinberg) Zefiro torna

Composers such as Monteverdi, Josquin and Ockeghem are not names that one immediately associates with the string quartet. Although their music was not originally written for string quartet, the American Brentano Quartet feels strongly drawn towards the Renaissance sound world. With the string quartet as a new medium for early music, they breathe new life into these works from five centuries ago.

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The Brentano Quartet relishes performing early music. In their view this music is shown to best advantage in the form of the string quartet. Monteverdi’s heartrending music is complemented by the pure sounds of Josquin. Combined with some of Mico’s early works for string instruments – string quartet avant la lettre – this concert creates a unique soundscape.

Brentano-Quartet

Grass Roots

  • 13:00
  • 28.01.2018
  • Grote Zaal

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  • Showcase afternoon with young talent and fringe programme
  • Specials

Winner Banff International String Quartet Competition (Rolston String Quartet / US)
Winner Melbourne International String Quartet Competition (Noga Quartett / GER)
Winner Bordeaux International String Quartet Competition (Quatuor Akilone / FR)
Winner Trondheim International String Quartet Competition (Maxwell Quartet / UK)

Winner Orlando Competition Behn Quartet (NL / UK)

Leo Samama host

Who are the string quartets of the future? Grass Roots features six young string quartets surrounded by a special fringe programme. The entire afternoon is devoted to making acquaintance with young talent and with the entire string quartet genre. As the entry ticket for Grass Roots gives the possibility of entering and leaving at will, listeners can select their own afternoon programme.

More info about Rolston String Quartet, Noga Quartet, Quatuor Akilone, Maxwell QuartetBehn QuartetLeo Samama

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In a varied Showcase programme four young quartet winners of international competitions present themselves, alongside two up-and-coming quartets from the Netherlands. On the programme: many works by Dutch composers and the essential core repertoire of every quartet. The fringe programme includes Leo Samama. This celebrated musicologist shares his knowledge about the history of the string quartet with unequalled passion and inspiration. There is also a workshop that focuses on learning to listen to the sound of the instruments.

More details will be released about the special fringe programme in the lead-up to the festival.

Noga-Quartet
Quatuor-Akilone
Rolston-String-Quartet
Untitled-1
behn

The creation of Beethoven’s late quartets

  • 17:00
  • 28.01.2018
  • Atriumzaal

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  • Muzikaal college Prof. Barry Cooper + Quatuor Danel
  • Specials

Prof. Barry Cooper

Marc Danel violin
Gilles Millet violin
Vlad Bogdanas viola
Yovan Markovitch cello

Beethoven left behind thousands of pages of virtually illegible musical sketches. Once deciphered they give insight into the creation process of his compositions. The British professor Barry Cooper is the leading international authority in this extremely fascinating field. His many years of research shed a whole new light on the interpretation of Beethoven’s masterpieces. In this musical lecture he delves into the sketches of Beethoven’s late string quartets together with Quatuor Danel.

In this musical lecture (given in the English language) Professor Barry Cooper takes the public on a journey from first sketch to publication. Cooper teaches and carries out research at the University of Manchester, where he regularly collaborates with Quatuor Danel.

More info about Quatuor Danel, Barry Cooper

Barry_Cooper
Quatuor-Danel

Brentano Quartet

  • 20:15
  • 28.01.2018
  • Grote Zaal

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

Joseph Haydn String Quartet no. 49, op. 64/2
Mario Davidovsky String Quartet no. 4
Ludwig van Beethoven String Quartet no. 7, op. 59/1

One of the most celebrated American string quartets, the Brentano Quartet represents the pure-blood string quartet tradition. This quartet’s sound is not only revealed in their ensemble playing but also in their choice of programme: pure and clear. In this concert two substantial string quartets by Haydn and Beethoven frame the fourth string quartet by the iconic Argentinian-American composer Mario Davidovsky.

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Davidovsky is a favourite among American string quartets. Like the Brentano Quartet he is a much cherished name in the United States string quartet scene. He studied with the renowned composers Aaron Copland and Milton Babbitt and developed an affinity for electronic music during that period. Nevertheless most of his works are without electronics, including his fourth string quartet.

Brentano-Quartet

O/Modernt String Quartet

  • 22:30
  • 28.01.2018
  • Grote Zaal

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Hugo Ticciati violin
Daniel Rowland violin
Gareth Lubbe viola
Julian Arp cello

Johann Sebastian Bach Kunst der Fuge
Hugo Ticcitati Fugal De/Constructing (world première)
Ludwig van Beethoven Grosse Fuge op. 133

With his Kunst der Fuge Bach elevated fugal writing to an art form. Seventy-five years later Beethoven went a step further with his Grosse Fuge: with this monumental double Fuge he introduced a completely new sound idiom. In her new work the Swiss composer Manuela Kerer deconstructs Bach’s Kunst der Fuge while simultaneously slowly building up the Grosse Fuge, thus deciphering the art of writing a fugue.

More info about O/Modernt String Quartet, Manuela Kerer

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Inspired by the founding of the String Quartet Biennale Amsterdam, the O/Modernt String Quartet was founded. The quartet is named after violinist Hugo Ticciati’s festival in Stockholm: the O/Modernt Festival. Daniel Rowland – also first violinist of the Brodsky Quartet -, the violist Gareth Lubbe and cellist Julian Arp complete the line-up. Four highly individual musicians who join forces to explore and redefine the limits of the string quartet.

Omodernt-String-Quartet

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.

More info about Quartetto di Cremona, 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.

More info about Cuarteto Casals, Lucio Franco Amanti

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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.

More info about Ruysdael Kwartet

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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

Early Haydn

  • 09:30
  • 30.01.2018
  • Kleine Zaal

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  • Op. 20/2 performed by the Emerson String Quartet
  • Early Haydn

Eugene Drucker violin
Philip Setzer violin
Lawrence Dutton viola
Paul Watkins cello

Henry Purcell Chaconne in G minor
Henry Purcell Fantasias
Joseph Haydn String Quartet no. 25, op. 20/2

In opting for Purcell’s Fantasias and Chaconne, the Emersons go beyond the origins of the string quartet. in this music of Purcell one can hear the basic principles of the genre, which only reached full bloom a century later in Haydn’s string quartets.

More info about Emerson String Quartet

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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.

Emerson-String-Quartet

Extending string quartet: Voice

  • 14:15
  • 30.01.2018
  • Grote Zaal

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Rosa Arnold violin
Jeanita Vriens violin
Annemijn Bergkotte viola
Rebecca Wise cello

Katharine Dain soprano
Marine Fribourg mezzo-soprano

Peter Sculthorpe Island Dreaming
Caroline Shaw By & By
Osvaldo Golijov How Slow the Wind
Osvaldo Golijov Lua Desclorida
Mayke Nas In & Out
Béla Bartók String Quartet no. 2

It has been said that of all musical instruments string instruments most closely resemble the human voice. The Ragazze Quartet puts this claim to the test and teams up with members of the Damask Ensemble during three editions of the String Quartet Biennale to investigate the common ground and differences between the string quartet and human voice. During each edition a new area will be singled out and placed under the spotlight.

In 2018 the Ragazze Quartet will begin with an uncultivated primal sound, performing works by Sculthorpe, Golijov, Shaw, Bartók and Nas together with the soprano Katharine Dain and mezzo-soprano Marine Fribourg.

More info about Ragazze Kwartet, Damask Ensemble

Ragazze Quartet
Marine Fribourg
Katharine Dain

Selected by / Emerson String Quartet

  • 17:00
  • 30.01.2018
  • Grote Zaal

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Eugene Drucker violin
Philip Setzer violin
Lawrence Dutton viola
Paul Watkins cello

Charles Ives String Quartet no. 1 ‘From the Salvation Army’
Samuel Barber String Quartet, op. 11 – II Molto adagio
Robert Schumann String Quartet no. 3, op. 41/3

Performing music by Samuel Barber and Charles Ives the Emerson String Quartet presents two of the best loved works of the American string quartet repertoire. These works are still permeated with European Romanticism, of which Robert Schumann was one of the central exponents half a century earlier. In this context three diverse composers are unified in an unexpected way.

More info about Emerson String Quartet

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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.

Emerson-String-Quartet

Quartetto di Cremona + Gary Hoffman + Lawrence Dutton

  • 20:15
  • 30.01.2018
  • Grote Zaal

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

Lawrence Dutton viola (Emerson String Quartet)
Gary Hoffman cello

Franz Schubert String Quartet no. 15, D. 887
Arnold Schönberg Verklärte Nacht

Franz Schubert’s fifteenth and final string quartet crowns his magisterial oeuvre, while at the same time revealing the greatness that still lay concealed within the composer. He wrote the work at the age of 29, just two years before his death. Alternating between hope and sorrow, minor and major, the work winds its way along the highest peaks and through the deepest valleys.

More info about Quartetto di Cremona, Gary Hoffman, Lawrence Dutton

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Arnold Schönberg’s Romantic sextet ‘Verklärte Nacht’ plumbs the extreme limits of sorrow, despair and love. Based on Richard Dehmel’s poem of the same name, the work unfolds around a passionate dialogue with a dramatic confession between two lovers in the night. Two quintessential masterworks united in a single concert.

Quartetto-di-Cremona
Gary-Hoffmann
Lawrence-Dutton

Late Beethoven

  • 22:30
  • 30.01.2018
  • Grote Zaal

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Florian Donderer violin
Annette Walther violin
Xandi van Dijk viola
Thomas Schmitz cello

Ludwig van Beethoven String Quartet no. 15, op. 132

Compared with its predecessors Beethoven’s fifteenth quartet seems to mark time with regard to scope and style – yet, from the very first note his intention to compose a quartet in grand style is evident and he achieves an unprecedented lucidity and transparency. The German Signum Quartet perform this work with the clarity and vitality for which they are known.

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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.

Signum-Quartet

Early Haydn

  • 09:30
  • 31.01.2018
  • Kleine Zaal

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  • Opus 20/3 performed by the Ruysdael Quartet
  • Early Haydn

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

Joseph Haydn String Quartet no. 26, op. 20/3
Arvo Pärt Fratres

Haydn’s opus 20/3 opens with a solemn theme however it swiftly takes a turn, assuming the frivolous and light character that is so characteristic of this group of six quartets. This morning the Ruysdael Quartet balances on the crossroads between seriousness and lightheartedness – albeit in a completely different style – through the combination with Fratres by Arvo Pärt. The contemplative void and pure beauty of Fratres comes across as a natural complement to the Haydn.

More info about Ruysdael Kwartet

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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.

Ruysdael Kwartet

Extending string quartet: JÖrg Widmann

  • 13:15
  • 31.01.2018
  • Grote Zaal

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Florian Donderer violin
Annette Walther violin
Xandi van Dijk viola
Thomas Schmitz cello

Sarah Maria Sun soprano
Jörg Widmann composer

Jörg Widmann String Quartet no. 1
Jörg Widmann Choralquartett
Jörg Widmann Jagdquartett
Jörg Widmann
String Quartet no. 4
Jörg Widmann Versuch über die Fuge (‘Attempt at a Fugue’)

Jörg Widmann‘s string quartets are proof that the genre is alive and kicking. His oeuvre, which is still steadily evolving, is already considered part of the canon and is included on the repertoire list of many quartets throughout the world. Fot this reason the German Signum Quartet decided to dedicate a major programme to him, immersing themselves in his works together with the composer himself.

More info about Signum Quartett, Jörg Widmann, Sarah Maria Sun

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Widmann’s five string quartets have a combined duration of just 65 minutes; scarcely longer than some string quartets on their own. What the composer succeeds in composing in the space of these minutes is all the more impressive. From the wild rollercoaster ride of his Jagdquartett, to the fleeting sounds of his Choralquartett; the Signum Quartet joins Jörg Widmann in analysing his immense musical spectrum.

Jörg-Widmann-Componist
Sarah-Maria-Sun
Signum-Quartet

Masterclass

  • 11:30
  • 31.01.2018
  • Atriumzaal

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  • Round Robin with Philip Setzer (Emerson String Quartet)
  • Masterclasses

Anton Webern 6 Bagatellen for string quartet, op. 9

In a round-robin sports tournament all opponents meet each other – which is exactly what will happen in this masterclass. Three young quartet will be divided, mixed up and rotated. Everyone will encounter each other and Philip Setzer from the Emerson String Quartet. In this unusual setting they will work together on Webern’s 6 Bagatellen, which will also be performed by the Emerson String Quartet this evening. Philip Setzer says: ‘It’s really fun and also a great learning experience for the young players and for the audience to observe – I promise!’

More info about Philip Setzer

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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.

Emerson-String-Quartet

Selected by / Cuarteto Quiroga

  • 17:00
  • 31.01.2018
  • Grote Zaal

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Aitor Hevia violin
Cibrán Sierra Vázquez violin
Josep Puchades viola
Helena Poggio cello

Franz Schubert String Quartet no. 14, D. 531 ‘Der Tod und das Mädchen’
George Crumb Black Angels

Say the word ‘string quartet’ and Der Tod und das Mädchen inevitably springs to mind. The piece is indisputably a crowning work of the repertoire. So it’s only natural that this work was submitted for inclusion in the canon. All the more surprising that the Spanish Cuarteto Quiroga put forward Black Angels by Crumb as their second work. Although both works express the same theme of death, they could not be more divergent in terms of musical style. Crumb also includes a range of extra instruments, including maracas, crystal glasses and paper clips.

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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.

Cuarteto-Quiroga

Emerson String Quartet + Quartetto di Cremona + Gary Hoffman

  • 20:15
  • 31.01.2018
  • Grote Zaal

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Emerson String Quartet:

Eugene Drucker violin
Philip Setzer violin
Lawrence Dutton viola
Paul Watkins cello

Quartetto di Cremona:

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

Gary Hoffman cello

Béla Bartók String Quartet no. 3
Anton Webern 6 Bagatellen for string quartet, op. 9
Dimitri Shostakovich Two pieces for String Octet, op. 11
Franz Schubert String Quintet in C, D 956

The Emerson String Quartet has been ranked among the world’s best quartets for more than 40 years. Joined by the cellist Gary Hoffman they form the dream team for Schubert’s quintet, one of the most sublime and perfect chamber music works ever written. Sublime music comes in all shapes and sizes, as the Emersons demonstrate with Webern’s 6 Bagatellen – six short, atonal pieces with an awe-inspiring expressive power.

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The irregular Hungarian rhythms and the close, interweaving harmonies in Bartók’s third string quartet create a provocative opening that chafes against Webern’s atonality with the fullness of Schubert.
The Emerson String Quartet also joins forces with the Quartetto di Cremona for Two Pieces for String Octet; an energetic work by Shostakovich, then an 18-year-old composition student who was starting to find his characteristic voice – high Romantic with atonal elements and volatile rhythms.

Emerson-String-Quartet
Gary-Hoffmann
Quartetto-di-Cremona

Late Beethoven

  • 22:30
  • 31.01.2018
  • Grote Zaal

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Aitor Hevia violin
Cibrán Sierra Vázquez violin
Josep Puchades viola
Helena Poggio cello

Ludwig van Beethoven String Quartet no. 16, op. 135

Beethoven’s sixteenth and final string quartet is perhaps his most striking. Having repeatedly broken new ground with his previous quartets, he now returns to the basic crux. It is as if he musically reconciles himself with the dramatic events of his life, as he himself writes in the manuscript: ‘Muss es sein? Es muss sein!’ (‘Must it be? It must be!’). In this work Beethoven achieves an absolute purity and simplicity that transcends all else.

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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.

Cuarteto-Quiroga

Early Haydn

  • 09:30
  • 01.02.2018
  • Kleine Zaal

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Florian Donderer violin
Annette Walther violin
Xandi van Dijk viola
Thomas Schmitz cello

Joseph Haydn String Quartet no. 27, op. 20/4
Mokale Koapeng Komeng (Dutch première)

The music of the composer Mokale Koapeng is deeply connected with the musical identity of his homeland. In Komeng traditional South African sounds and rhythms coalesce with the minimalism of Glass. In the slow movement of his 27th string quartet Haydn looks to the past, present and future and unites heaven and earth in a culmination of Baroque, Classicism and Romanticism.

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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.

Signum-Quartet

First rehearsal

  • 11:30
  • 01.02.2018
  • Atriumzaal

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Alex Redington violin
Jonathan Stone violin
Hélène Clément viola
John Myerscough cello

In First Rehearsal the Doric String Quartet exposes one of the least visible and most personal aspects of being a string quartet: the first rehearsal. A new piece awaits on the stands; perhaps the notes are not even fully mastered yet – so, what happens when they rehearse a piece for the very first time?

Where do they begin? Who leads the rehearsal? In First Rehearsal the Doric String Quartet reveals how they structure the starting point of a long and intensive working process.

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Doric-String-Quartet

Extending string quartet: Louis Andriessen

  • 14:15
  • 01.02.2018
  • Grote Zaal

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

Louis Andriessen Miserere
Luciano Berio Glosse for string quartet
John Cage String Quartet in Four Parts
Louis Andriessen Facing Death

Works by J.S. Bach 

The Ruysdael Quartet meets Louis Andriessen in a programme with his work at its heart. This afternoon they jointly describe the context of his string quartets, in word and music. Among other pieces the Ruysdael Quartet also plays music by John Cage, a tip from Andriessen himself: ‘John Cage’s String Quartet in Four Parts is a work that I highly regard – from the period that he still composed notes extremely well. What a superb piece.’

More info about Ruysdael Kwartet, Louis Andriessen

Ruysdael-Kwartet
Louis-andriessen

Selected by / Doric String Quartet

  • 17:00
  • 01.02.2018
  • Grote Zaal

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Alex Redington violin
Jonathan Stone violin
Hélène Clément viola
John Myerscough cello

Joseph Haydn String Quartet no. 50, op. 64/3
Thomas Adès The Four Quarters

With The Four Quarters by Thomas Adès the Doric String Quartet brings the 21st-century into the canon. Adès succeeds in expressing substantial ideas with his evocative idiom without his music becoming complex or sacrificing its beauty. Haydn was also a master in this regard: his 50th string quartet has a light, even humorous feel to it, while being full of virtuosically elaborated ideas and techniques.

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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.

Doric-String-Quartet

Cuarteto Quiroga + Cappella Amsterdam

  • 20:15
  • 01.02.2018
  • Grote Zaal

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Aitor Hevia violin
Cibrán Sierra Vázquez violin
Josep Puchades viola
Helena Poggio cello

Katharine Dain soprano

Cappella Amsterdam
Lodewijk van der Ree, conductor

José Maria Sánchez-Verdú La porte de l’enfer (world première)
Pierre de la Rue Lamentations
Arnold Schönberg String Quartet no. 2

In this concert Cuarteto Quiroga and Cappella Amsterdam are suspended between the heaven of Schönberg and the hell of José Maria Sánchez-Verdú. The Spanish composer drew his inspiration for La porte de l’enfer – specially composed for this concert – from Auguste Rodin’s eponymous, colossal sculpture and poetry from the Second World War. The result is an imposing work for large choir and string quartet, a rare combination.

More info about Cuarteto Quiroga, Cappella Amsterdam, José Maria Sánchez-Verdú, Katharine Dain

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Schönberg’s second string quartet is one of the most significant works in the history of music. With this work Schönberg cast aside tonality – the musical language used for composing up until that point – and introduced a new language: atonality. The difference can clearly be heard in his second string quartet. The first three movements are still tonally composed; they have a specific key, which feels like firm ground under one’s feet. In the fourth movement the solid base of tonality suddenly vanishes. It is as if the music glides weightlessly through space, with a serene tranquillity. This also explains the first words of the soprano, who only sings in the third and fourth movements: ‘Ich fühle Luft von anderem Planeten‘ – ‘I feel the air from other planets.’

Cuarteto-Quiroga
cappella-amsterdam
Katharine-Dain
José-Maria-Sánchez-Verdú

Late Beethoven

  • 22:30
  • 01.02.2018
  • Grote Zaal

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Alex Redington violin
Jonathan Stone violin
Hélène Clément viola
John Myerscough cello

Ludwig van Beethoven String Quartet no. 13, op. 130
Ludwig van Beethoven Grosse Fuge, op. 133

The cavatina – the sixth movement of Beethoven’s thirteenth string quartet – is considered by many to be the most sublime piece of string quartet music ever written. The finale that he wrote for this work was not even considered as music at the time. Beethoven had produced something so abhorrent in his day that the publisher advised him to compose a new finale before the work could be published. Later this original movement was published after all, although as a separate work: opus 133, the Grosse Fuge. Today it is universally considered to be a masterwork; perhaps even Beethoven’s greatest musical achievement.

More info about Doric String Quartet

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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.

Doric-String-Quartet

Tiny Premieres

  • 13:30
  • 02.02 / 03.02.2018
  • Atriumzaal

Signum Quartett presents #Quartweet

The German Signum Quartet combines the string quartet and modern media in their #Quartweet project. They have asked numerous renowned composers to send in a Quartweet via twitter; a Quartweet is a composition of maximum 140 notes and rests (the equivalent of the maximum number of characters in a Tweet). However, young, new, old, as yet undiscovered and future composers are also invited to compose and send in a Quartweet! During the String Quartet Biennale the Signum Quartet will play a selection of new Quartweets in two sessions.

Signum-Quartet

Early Haydn

  • 09:30
  • 02.02.2018
  • Kleine Zaal

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Marc Danel violin
Gilles Millet violin
Vlad Bogdanas viola
Yovan Markovitch cello

Joseph Haydn String Quartet no. 23, op. 20/5
Sofia Gubaidulina Reflections on the theme B-A-C-H

By combining Haydn’s opus 20/5 with Reflections on the theme B-A-C-H in concert, the Quatuor Danel emphasises the Baroque elements that are still clearly present in Haydn’s work. Whereas Gubaidulina only uses the Bach motif – the four notes that form Bach’s musical signature – in order to create variations upon it in her own style, Haydn often very consciously opts for use of the Baroque style on a grand scale, such as the double fugue that forms the last movement of this quartet.

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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.

Quatuor-Danel

Masterclass

  • 11:30
  • 02.02.2018
  • Atriumzaal

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Aitor Hevia violin
Cibrán Sierra Vázquez violin
Josep Puchades viola
Helena Poggio cello

Cuarteto Quiroga approaches a masterclass in the same way that they approach the string quartet. What makes them so special is the thoroughness with which they work on the music. Starting from four diverse perspectives they display incredible precision and dedication in building a technical, substantial and contextual framework within which the students can find their own voice.

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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-Quiroga

Lecture by Alfred Brendel

  • 14:00
  • 02.02.2018
  • BIMhuis

Alfred Brendel speaker
Leo Samama Q&A

Alfred Brendel is a household name. Though a string quartet festival might not be the place you’d expect the legendary pianist. Ever since he retired as a piano player in 2008, he has focussed on giving lectures and masterclasses and has string quartet had a special place for him.

In his own words: “For many years I have greatly enjoyed coaching string quartets, and above all dealing with the late string quartet music of Beethoven. What distinguished Beethovens lifestyle? To find a concise answer it seems indispensable to look at his late piano works that, next to the Piano/Cello Sonatas Op. 102 and the song cycle ‘An die ferne Geliebte’, inaugurated a new approach towards composition. I shall be glad to talk about these matters during the String Quartet Biennale in Amsterdam.

SQBA_Brendel

Extending string quartet: DoelenKwartet

  • 14:15
  • 02.02.2018
  • Kleine Zaal

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Frank de Groot violin
Maartje Kraan violin
Karin Dolman viola
Hans Woudenberg cello

Bart Visman Octet (world première)
Mariell Vain New work (Conservatorium van Amsterdam)
Leon Haxby New work (Conservatorium van Amsterdam)
Bas van Yperen New work (Conservatorium van Amsterdam)

How is it for young musicians to play music while the ink is still wet on the page? How does a composer feel when confronted with the first interpretation? And how do musicians and composers collaborate? The DoelenKwartet is a renowned Dutch quartet specialised in contemporary music. Having much experience in working together with many composers, it now helps young artists in the process of finding each other.

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This workshop was preceded by a large-scale project in collaboration with the String Quartet Biennale and the conservatoires of Amsterdam, Rotterdam and The Hague. The DoelenKwartet provided the students with intensive guidance and transmitted their knowledge of and passion for contemporary repertoire to young string quartets and composition students with great enthusiasm.

Doelen-Kwartet

Masterclass by Alfred Brendel

  • 17:00
  • 02.02.2018
  • Kleine Zaal
  • Masterclass by Alfred Brendel to a young string quartet
  • Masterclasses

Alfred Brendel

For young musicians, it’s a dream to have the opportunity to work with a teacher of the stature of Alfred Brendel. Besides young pianists, he mainly coaches young string quartets and focuses on the late string quartets of Beethoven and Schubert. Because it’s precisely those works in which he detects a strong link to the piano repertoire of both composers, as he will elucidate during his lecture.

A string quartet of the Dutch String Quartet Academy will participate in this masterclass.

SQBA_Brendel

Selected by / Dudok Kwartet Amsterdam

  • 17:00
  • 02.02.2018
  • BIMhuis

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Judith van Driel violin
Marleen Wester violin
Marie-Louise de Jong viola
David Faber cello

György Ligeti String Quartet no. 1 ‘Métamorphoses nocturnes’
Wolfgang Amadeus Mozart String Quintet no. 5, KV. 593
György Ligeti Sonata for viola

Ligeti’s first string quartet belongs, in his own words, to the ‘prehistoric Ligeti’; the period during which he had not yet begun writing his characteristic complex clouds of sound but still continued in the Hungarian tradition established by his predecessors. In fact, the composer Kurtág referred to this first string quartet as ‘Bartók’s seventh quartet.’ Mozart’s fifth string quintet – by virtue of being a quintet – is an anomaly within this string quartet canon. This unusual combination of works is complemented by Ligeti’s viola sonata, which bridges the gap between the other two pieces.

More info about Dudok KwartetJosep Puchades

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The canon: core repertoire; turning points and crucial works of the string quartet repertoire – there is no such thing as a definitive list of works that constitute this canon. During the String Quartet Biennale various quartets will jointly start to create their own. From an individual perspective, each selects a number of diverse works, adding them to the String Quartet Biennale canon.

DudokKwartet

The Impossible Voyage

  • 19:00
  • 02.02.2018
  • Grote Zaal

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Cuarteto Casals:

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

Quatuor Danel:

Marc Danel violin
Gilles Millet violin
Vlad Bogdanas viola
Yovan Markovitch cello

Doric String Quartet:

Alex Redington violin
Jonathan Stone violin
Hélène Clément viola
John Myerscough cello

Jorinde Keesmaat stage direction

Ludwig van Beethoven String Quartet no. 3, op. 18/3
Benjamin Britten String Quartet no. 1
Dmitri Shostakovich String Quartet no. 7
Ludwig van Beethoven String Quartet no. 11, op. 95

Dmitiri Shostakovich String Quartet no. 2
Dmitiri Shostakovich String Quartet no. 4
Benjamin Britten String Quartet no. 2

Ludwig van Beethoven String Quartet no. 14, op. 131
Dmitiri Shostakovich String Quartet no. 15

Ludwig van Beethoven String Quartet no. 16, op. 135
Benjamin Britten String Quartet no. 3

The pre-concert talk by Alex Ross (author of The Rest is Noise) will start at 18:15 on foyerdeck 1.

Embark on a six-hour voyage, criss-crossing between the oeuvres of three monumental composers – fittingly entitled The Impossible Voyage. As the name suggests it will be a demanding journey. It could be viewed as a mountain ascent; an optimistic, at times arduous climb, until one ultimately reaches the peak with Shostakovich’s fourth and Britten’s second quartet.

More info about Cuarteto Casals, Quatuor Danel, Doric String Quartet, Jorinde Keesmaat

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After this buoyant, energetic climb, Cuarteto Casals and Quatuor Danel descend into the depths with Beethoven’s opus 131 and Shostakovich’s fifteenth string quartet. Finally the Doric String Quartet and Quatuor Danel see the light in the final quartets of Britten and Beethoven.

Taking the music as her point of departure, Jorinde Keesmaat’s staging makes subtle use of elements such as light and positioning, transforming The Impossible Voyage into a gesamtkunstwerk (total art work).

Cuarteto-Casals
Quatuor-Danel
Doric-String-Quartet
Jorinde-Keesmaat-4

Tiny Premieres

  • 13:30
  • 02.02 / 03.02.2018
  • Atriumzaal

Signum Quartett presents #Quartweet

The German Signum Quartet combines the string quartet and modern media in their #Quartweet project. They have asked numerous renowned composers to send in a Quartweet via twitter; a Quartweet is a composition of maximum 140 notes and rests (the equivalent of the maximum number of characters in a Tweet). However, young, new, old, as yet undiscovered and future composers are also invited to compose and send in a Quartweet! During the String Quartet Biennale the Signum Quartet will play a selection of new Quartweets in two sessions.

Signum-Quartet

Keynote: Alex Ross

  • 11:30
  • 03.02.2018
  • Grote Zaal

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Intimate Revolution: Radical Departures in String Quartets of the 20th and 21st Centuries.

Alex Ross made his international breakthrough with ‘The Rest Is Noise: Listening to the Twentieth Century’; the book made the New York Times’ top 10 and won international awards – not without reason. In The Rest Is Noise he achieved a feat that many have attempted in vain: he wrote an accessible guide to 20th-century music. Alex Ross will make his first Dutch appearance as a speaker at the String Quartet Biennale Amsterdam.

In Ross’ own words: From Schoenberg’s Second Quartet onward, the string quartet has been the scene of some of the most significant developments in musical modernism. Something about the intimacy of the form has encouraged composers to drop constraints and test the outer limits of their art, whether in terms of harmony (Schoenberg, Webern), timbre and texture (Ruth Crawford Seeger, Xenakis), or form and duration (Shostakovich, Morton Feldman). In this lecture, we will recall some of the most striking moments in string-quartet modernism and examine the more adventurous tendencies in the music of today.

More info about Alex Ross

Alex-Ross-Photo-BW-1280×800

Early Haydn

  • 09:30
  • 03.02.2018
  • Kleine Zaal

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Chris Duindam violin
Mintje van Lier violin
Anna den Herder viola
Maartje-Maria den Herder cello

Joseph Haydn String Quartet no. 24, op. 20/6
Mayke Nas Withorwithout

The Cuypers Quartet has been especially formed for the String Quartet Biennale. It comprises four musicians who join forces in an experiment: it is their particular instruments rather than their shared passion for the string quartet that have brought them together. All four musicians have an instrument made by the 18th-century Dutch violin maker Cuypers. Coming from the same maker, surely these instruments will blend perfectly together in a string quartet.

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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.

cuypers-01
cuypers-02

DoelenKwartet

  • 14:15
  • 03.02.2018
  • Grote Zaal

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Frank de Groot violin
Maartje Kraan violin
Karin Dolman viola
Hans Woudenberg cello

Jan Rokyta cimbalom

György Kurtág Officium Breve
Sándor Veress String Quartet no. 2
Klaas de Vries Stringed quintet for string quartet and cimbalom (world première)

The DoelenKwartet is a renowned Dutch quartet specialising in contemporary music. The quartet celebrates its 25th anniversary with a new composition for string quartet and cimbalom by Klaas de Vries. The composer appropriately named the piece ‘Stringed’.

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Although none of Bartók’s works are included in this programme, he is in fact the binding element between these three composers: De Vries looked to Bartók as a source of inspiration for Saba, while Veress is viewed as the connecting link between Bartók and Kurtág with regard to style.

Doelen-Kwartet

Selected by / Signum Quartett

  • 17:00
  • 03.02.2018
  • Grote Zaal

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Florian Donderer violin
Annette Walther violin
Xandi van Dijk viola
Thomas Schmitz cello

Leoš Janáček String Quartet no. 2 ‘Intimate Letters’
Franz Schubert String Quartet no. 13, D 804 ‘Rosamunde’

Sehnsucht; longing. This subject has fired the imagination of many artists and composers, including Schubert and Janáček. In Schubert’s ’Rosamunde’ the Signum Quartet senses a universally recognisable and extremely Romantic musical portrayal of longing. This is different from the personal longing felt by Janáček, who composed his second string quartet inspired by the extremely intimate, long-term correspondence between him and his unattainable love Kamila.

More info about Signum Quartett

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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.

Signum-Quartet

Closing Concert

  • 20:15
  • 03.02.2018
  • Grote Zaal

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Quatuor Danel:

Marc Danel violin
Gilles Millet violin
Vlad Bogdanas viola
Yovan Markovitch cello

O/Modernt String Quartet:

Hugo Ticciati violin
Daniel Rowland violin
Gareth Lubbe viola
Julian Arp cello

Evelyn Glennie percussion

Jorinde Keesmaat regie

Pyotr Ilyich Tchaikovsky String Quartet no. 1
Claude Debussy String Quartet
Henry Purcell
Chaconne in G minor
Leoš Janáček String Quartet no. 1 ‘Kreutzer Sonata’
Askell Masson Frum
Evelyn Glennie Light in Darkness
James Tenney Having Never Written a Note for Percussion
Arvo Pärt Dona nobis pacem
Albert Schnelzer Apollonian Dances for string quartet (world première)

The Quatuor Danel, O/Modernt String Quartet and the percussionist Evelyn Glennie team up to conclude the first edition of the String Quartet Biennale under the direction of Jorinde Keesmaat: tradition, experiment, overtone singing, baroque and avant-garde; a spectacular crowning event to top off a week that has redefined the limits of the string quartet.

More info about Quatuor Danel, O/Modernt String Quartet, Evelyn Glennie, Jorinde Keesmaat

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The first half of this extra long concert will feature Quatuor Danel, which pays tribute to the tradition with Tchaikovsky and Debussy – an evergreen, quintessential string quartet programme. After the interval the O/Modernt String Quartet and percussionist Evelyn Glennie, who has been deaf since the age of 12, will take centre stage. Embracing experimentation one last time, they will demonstrate that the string quartet genre is full of life and continuing to evolve. Jorinde Keesmaat’s staging adds a fitting visual image to this distinctive and varied programme.

Quatuor-Danel
Omodernt-String-Quartet
Evelyn-Glennie