The Amsterdam String Quartet
Programme proposals
According to the wishes of the programmer the ASQ is delighted to maximise the accessibility of their programmes by offering short, informative verbal introductions to the pieces. The quartet is also always happy to meet the public afterwards and answer any questions.
Who Was First?
J. Haydn String Quartet in F, op. 77 No.2 (1799)
W.A. Mozart String Quartet No. 19 in C, KV 465 'Dissonance' (1785)
L. van Beethoven String Quartet in F, op.18 No.1 (1798-1800)
The string quartet in Vienna at the close of the 18th century: Beethoven quartet op.18 No.1 in F major was written in Vienna in 1799; Haydn's quartet op.77 No.2 in F major was written in Vienna in 1799. The works share the same key, the same dedicatee (Prince Lobkowitz), and most astonishingly, thematic material in the first movement. Further, the trios of both works are centred around D flat major, both toy with the idea of a pianissimo conclusion to the last movement, but in the event end with loud slapping chords. Who was the innovator, who was the copyer? Did Beethoven's op.18 really herald a new era, or should it rather be seen as a homage to Haydn's magnificent quartet opus? Or was Haydn’s quartet writing silenced by Beethoven’s first efforts in the medium?
As a complete contrast we hear Mozart's much loved Dissonance quartet KV 465 from 1785 as the filling in our F major sandwich.
A Half Century of Haydn String Quartets
Joseph Haydn
2 String Quartets from op.1 and 2 (1750s)
String Quartet in G, op.33 No.5 (1778-81)
String Quartet in F, op.77 No.2 (1799)
No other medium follows Haydn's journey from youth to maturity quite so clearly as his string quartets. In this programme The Amsterdam String Quartet have selected a wonderfully rich and varied programme in order to best display his genius, tracking the progress of almost 50 years work in the genre. These quartets are the key to understanding Haydn at his very best and are full of wit, enthusiasm and pathos. Not to be missed!
Starting with two of Haydn's quartets from the 1750's, we pass to op.33 No.5 in G major. Op.33 was written in 1781 after a period of 10 years without writing any quartets. They are filled to the brim with wit, humour and irony. Finally we arrive at his last complete quartet, op.77 No.2 in F major from 1799. The work is that of a master at the absolute height of his rhetorical powers, the four voices more or less equal, and elements of folk music of which Haydn was so fond getting a good look in in the rustic last movement in particular, possibly based on a country polonaise.
Signor Boccherini's Magical Flute
with guest Alexis Kossenko, traverso
L. Boccherini Flute Quintet in g, op.19 No.2 (1774)
J. Haydn String Quartet in G, op.33 No.5 (1778-81)
W.A. Mozart Flute Quartet in D, KV 285 (1777)
L. Boccherini Flute Quintet in C, op.19 No.3 (1774)
"Boccherini is the wife of Haydn"
G. Puppo, violinist (1749-1827)
"Haydn embraces all creation in one glance...
Boccherini seeks to return us to our primitive innocence"
Pierre Baillot, violinist (1771-1842)
"If God wished to speak to men,
he would make use of the music of Haydn;
and if He wished to listen to music,
he would have that of Boccherini played to Him"
Jean Baptiste Cartier, violinist (1765-1841)
All three composers in this programme were the darlings of European musical life in the 1770's, their music being extensively published across the continent and appearing regularly at leading courts, salons and concert societies. Boccherini and Haydn had long tenures with single patrons, (respectively the Infante Don Luis and Prince Nicolaus Esterhazy), where they were, to quote Haydn "cut off from the world" and "forced to become original". A steady job eluded Mozart throughout his life; instead he lived the life of an itinerant virtuoso. In fact the flute quartet in today's programme was written on commission during a short stay in Mannheim, and annoyingly forgotten when the composer packed his suitcase to travel on to Paris, where it could no doubt have had quite some commercial success. One can just see Mozart, thoughts far away on some other composition, stuffing his bags at the last minute, settling his bill, and running out of his lodgings in Mannheim, all at the same time.