Pavel Haas Quartet

Czech repertoire flows through the veins of the Pavel Haas Quartet. The quartet is especially partial to playing chamber music.

Late Beethoven

  • 22:30
  • 26.01.2020
  • Grote zaal
  • € 18,50

Pavel Haas Quartet
Veronika Jarůšková violin
Marek Zwiebel violin
Jiří Kabát viola
Peter Jarůšek cello

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

Beethoven’s 13th string quartet is often considered to be the most accessible of his late quartets. With its heavenly cavatina – the penultimate movement – and the Grosse Fuge as its shocking conclusion, it is a quartet of extremes. In particular these two movements have always retained their timeless relevance. Stravinsky called the Grosse Fuge ‘an absolutely contemporary piece of music that will be contemporary forever.’ In the search for extraterrestrial life, Carl Sagan sent the cavatina into space on a golden phonograph record, representing the most extraordinary human accomplishments.

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The string quartet can in fact be summed up in five extraordinary works: the late Beethoven quartets. These works transcend all boundaries and have retained their contemporary relevance for the past two centuries. The music is permeated by personal struggle and constantly shifts between unfathomable complexity and ethereal beauty. Using just four instrumental voices Beethoven redefined music’s universal expressive power. On six separate evenings one of these quartets will be performed at 10:30 pm.

Pavel Haas QuartetPhoto: Marco Borggreve

Selected by / Pavel Haas Quartet

  • 17:00
  • 27.01.2020
  • Grote zaal
  • € 27

Pavel Haas Quartet
Veronika Jarůšková violin
Marek Zwiebel violin
Jiří Kabát viola
Peter Jarůšek cello

Dominique Vleeshouwers percussion

Antonín Dvořák String Quartet no. 12, op. 96 ‘American
Pavel Haas String Quartet no. 2 ‘From the Monkey Mountains

Each day in Selected By a quartet will present two major works of its own choice in a one-hour performance without interval. The juxtaposition of the two pieces creates a strong contrast or tension, while in some cases their musical impact is reinforced by their relationship to each other.

Here we encounter two Czechs from two eras and two different environments. Dvořák was inspired by the melting pot of cultures in nineteenth-century America – in particular negro spirituals, which initially resulted in the work being nicknamed ‘Negro Quartet’ – while Haas was inspired by folk music from his homeland and jazz, during the lead-up to the Second World War.

Pavel Haas QuartetPhoto: Marco Borggreve

Pavel Haas Quartet

  • 20:15
  • 27.01.2020
  • Grote zaal
  • € 37

Pavel Haas Quartet
Veronika Jarůšková violin
Marek Zwiebel violin
Jiří Kabát viola
Peter Jarůšek cello

Hélène Clément (Doric String Quartet) viola
John Myerscough (Doric String Quartet) cello

Dmitri Shostakovich String Quartet no. 2, op. 68
Antonín Dvořák String Sextet, op. 48

Shostakovich’s second string quartet opens in a restless mood – with a sense of seeking and urgency. However, in the second movement he creates a feeling of repose with his Shakespearean monologues for the first violin, accompanied by reverential chords. Providing a striking contrast, Dvořák’s sextet overflows with Czech folklore. The two composers interpret the same tonality – A major – in a totally different fashion: one in a weighty and serious way, the other graceful and joyful.

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The Pavel Haas Quartet enjoys expanding the string quartet’s limits to explore other chamber music forms. Together with John Myerschough and Hélène Clément from the Doric String Quartet, they add an extra dimension to the String Quartet Biennale’s palette with Dvořák’s sextet.

The pre-concert talk will be given by Leo Samama at 7.15 pm in the Kleine zaal.

Pavel Haas QuartetPhoto: Marco Borggreve
IMG_8532 George Garnier
IMG_8527 George Garnier

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Coffee Talk

Lex Bohlmeijer moderator

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Late Beethoven

Gerhard Quartet Lluís Castán Cochs violin Judit Bardolet Vilaró violin Miquel Jordà Saún viola Jesús Miralles Roger cello Ludwig van Beethoven String Quartet no. 16, op. 135