Philharmonic Society of Orange County Presents
Tetzlaff Quartet
Sunday, April 24, 2022 | 3pm
Featured Artist Sponsor
Sam B. and Lyndie Ersan
This performance will include one 20-minute intermission.
Tetzlaff Quartet
Christian Tetzlaff: Violin
Elisabeth Kufferath: Violin
Hanna Weinmeister: Viola
Tanja Tetzlaff: Cello
Recordings available on the Ondine and CAvi labels
Photographing or recording this performance without permission is prohibited. Kindly disable pagers, cellular phones and other audible devices.
Joseph Haydn
(1732-1809)
String Quartet in G minor, Op. 20, No. 3
Allegro con spirito
Minuetto: Allegretto
Poco adagio
Finale: Allegro di molto
Anton Webern
(1883-1945)
Five Movements, Op, 5
Heftig bewegt
Sehr langsam
Sehr bewegt
Sehr langsam
In zarter Bewegung
Intermission
Johannes Brahms
(1833-1897)
String Quartet in A minor, Op. 51, No. 2
Allegro non troppo
Andante moderato
Quasi Minuetto, moderato
Finale. Allegro non assai
FRANZ JOSEPH HAYDN
Born March 31, 1732, Rohrau
Died May 31, 1809, Vienna
In 1772 Haydn composed the six quartets that he would publish as his Opus 20, but listeners should not for an instant be fooled by that low opus number–these quartets are the work of an experienced composer. When he wrote them, Haydn was 40 years old, he had been kapellmeister to the Esterhazy court for over a decade, and he had composed nearly fifty symphonies. The string quartet had begun as an entertainment form, usually as a multi-movement work of light character intended as background music at social occasions. The original title of this form–divertimento–made clear that this music was intended as a diversion. Haydn in fact published the six quartets of his Opus 20 under the title Divertimenti, but he had already transformed the string quartet. No longer was it entertainment music content to remain in the background–Haydn made it a concise form, capable of an unusual range of expression. He reduced the number of movements to four, liberated all four voices (particularly the cello), and built the music around taut motivic development.
The evolution of the form, though, was not simply a matter of newly-refined technique–it was also a matter of new depth of expression. Haydn brought to his Opus 20 all his recent growth as a composer (some have heard the influence of his symphonic thinking in this music), and these quartets demonstrate a level of dramatic tension far removed the form’s original entertainment function. The String Quartet in G Minor is a very serious piece of music: its minor tonality is one indication of this, as is the fact that three of its four movements are in sonata form. Throughout this music runs an unusual level of tension, an atmosphere heightened by the fact that all four movements end quietly.
Haydn marks the opening movement Allegro con spirito, and spirited it certainly is, with the animated line leaping between the four voices at the opening–this interplay of four voices will mark the entire quartet. The development is terse–Haydn compresses his ideas into motivic fragments and their development feels lean rather than melodic; after all this energy, the quiet ending is particularly effective. The minuet stays in G minor, and a level of tension informs this dance. The trio–in E-flat major–feels like a ray of sunshine cutting through the chill mists of the minuet, and Haydn makes a characteristic decision here–the melodic interest is in the three lower voices, while the first violin weaves an amiable texture of steady eighth-notes above them. The Poco Adagio is the one movement not in G minor (it is in G major), and it is an unusually long movement–even if the repeat is not taken, it is still the longest movement in the quartet. Textures are somewhat fuller here, and while the music turns dark in the course of the development, this remains a melodic and attractive movement. There are many nice little touches along the way, including an extended brilliant passage for cello (its liberation from the old accompaniment role is clear) and some nice attention to sound when Haydn contrasts the quite different sonorities of open and closed D’s in the second violin part. The finale, marked Allegro molto, returns to the mood and manner (and key) of the opening movement, with taut contrapuntal textures and spirited interplay between the four voices. After all this virtuosity, the ending is terrific: the dynamic grows quiet, and it is the (fully-liberated) cello that draws this quartet to its close on murmured bits of the movement’s opening theme.
ANTON WEBERN
Born December 3, 1883, Vienna
Died September 15, 1945, Mittersill
Webern wrote these five brief movements in 1909, when he was 25 and working as an operetta conductor in Austria. He had just completed four years of study with Schoenberg, and his music was moving toward a free tonality. The Five Movements for Strings are instrumental miniatures. In the score, Webern suggests that they should last a total of about eight minutes, but most performances run closer to ten or twelve. In the same year that Webern wrote these tiny pieces (originally for string quartet), Mahler was writing his eighty-minute Ninth Symphony, Ravel his opulent Daphnis and Chloe, and Stravinsky The Firebird, employing what that composer himself called a “wastefully large” orchestra. Webern’s Five Movements can be understood as a movement away from those extremes of length and orchestration and toward a fierce concentration of materials. This is not to say that Webern is unconcerned with color. Far from it. These brief pieces use almost every known string technique: pizzicato, harmonics, col legno (bowing with the wood of the bow), and ponticello (bowing on top of the bridge).
Listeners usually dismayed at the prospect of hearing Webern will find these pieces quite approachable. They are now a over century old, and many film scores today–which give audiences no trouble–are written in a much more difficult idiom. Those new to the Five Movements can approach them by listening for the variety of sound Webern produces or his treatment of thematic motifs, tiny thematic cells that appear in may guises. These motifs recur throughout the Five Movements and are modified slightly as they proceed, though the pieces are so short that they lack real development sections. Anyone who thinks Webern a detached and emotionless composer should see his careful instructions to the performers: “With tenderest expression,” “Utmost delicacy,” “Transitory,” “Dying away.”
- Heftig bewegt (Moving vehemently). The first of the pieces begins fiercely, with snapping pizzicatos and dry col legno cracks. Soon the cello plays the brief thematic cell that will recur throughout the Five Movements in various forms. This movement goes through great dynamic extremes, ending with a barely audible pizzicato stroke.
- Sehr langsam (Very slow). Muted throughout, this movement is only fourteen measures long. The viola immediately sounds the theme, which undergoes very slow transformations before the music dies away on a second violin phrase marked “Hardly audible.”
- Sehr bewegt (Moving rapidly). This movement might be considered the scherzo of the Five Movements. Over a rapid cello pizzicato, the upper strings flit and sing, with the first violin breaking into waltz-like fragments before the sudden rush to the close. The entire movement lasts forty seconds.
- Sehr langsam (Very slow). Thirteen measures long, this slow movement opens with violin tremolos, very softy extends the theme, and ends with a tiny brush of violin sound.
- In zarter Bewegung (With delicate movement). The longest of the five movements, this opens quietly with the thematic cell in the cello, moves very quietly to a sudden, modest climax, then dies away on a sustained chord. The variety of sound in this final movement is particularly impressive.
JOHANNES BRAHMS
Born May 7, 1833, Hamburg
Died April 3, 1897, Vienna
In one of the most candid admissions in the history of music, Brahms lamented to the conductor Hermann Levi about the strain of having to compose within the shadow of Beethoven: “You have no idea how the likes of us feel when we hear the tramp of a giant like him behind us.” This comment is usually taken to refer to the overpowering example of Beethoven’s symphonies, but Brahms was just as haunted by the prospect of composing string quartets, and in that form he had to confront not one, but a number of giants from the past. Brahms was all too aware of the string quartets of Haydn, Mozart, Beethoven, and Schubert, and he knew that any quartet he wrote would be judged against the achievement of those four masters. Brahms tried to write quartets for years, but he was the most self-critical of composers, and he said that he had written and destroyed at least twenty quartets before he wrote two he liked well enough to publish in 1873 as his Opus 51. One of his friends reported seeing sketches for these quartets as early as 1859, which means that Brahms had worked on them for fourteen years before he felt they were finished.
After his long delay in writing a symphony, Brahms wrote a stormy and impassioned First Symphony in C minor, then quickly followed it with a lyric and expansive Second. The situation is somewhat similar with the two quartets of Opus 51: the dark Quartet in C Minor was followed by the more relaxed Quartet in A Minor. It was as if Brahms’s opening work in a form needed to be a clenched confrontation in which he could attack the form and make it his own, and only then could he relax and write a sunnier work in the same form.
That said, however, it must be noted that Quartet in A Minor is marked by the same concentration of materials and motivic development that animated its predecessor, and much of this quartet grows directly out of the first violin’s opening theme. Brahms intended this quartet for his friend Joseph Joachim, and he incorporated Joachim’s personal motto “Frei aber einsam” (“Free but lonely”) in the notes F-A-E that shape the opening theme. In addition, the three rising eighth-notes that appear innocently in the fourth measure of this theme will return in various forms here and in subsequent movements. But the quartet is not an exercise in crabbed motivic manipulation, and Brahms supplies a second subject that simply glows: it is a long duet for the violins, and he marks it dolce (“sweet”), lusingando (“charming, coaxing”), and mezza voce (“half voice”). From these contrasted materials, he builds an extended sonata-form movement that concludes on evocations of Joachim’s motto. The Andante moderato takes the shape of its main theme from that innocent figure from the very beginning. Most striking here is the duet of first violin and cello at the center: over buzzing tremolos from the middle voices they sing a “Hungarian duet” in close canon before the movement closes on a return of the opening material.
In the third movement, Brahms bends traditional minuet form for his own purposes. He calls this movement a “quasi-minuet” and rather than building it on the standard minuet-and-trio form Brahms presents a lilting, ghostly minuet, then contrasts it with two sections–marked Allegretto vivace–where the music suddenly flashes ahead on a steady patter of sixteenth-notes, only to rein back to resume the more stately minuet tempo.
Many have heard the influence of Hungarian music in the finale: the first violin’s vigorous, strongly-inflected dance at the very beginning seems to have its origins in gypsy fiddling. And perhaps this “gypsy fiddling” in a quartet intended for Joseph Joachim is a nod to that violinist’s Hungarian background. This movement is in sonata-rondo form: that “gypsy” theme, full of energy and snap, recurs throughout but subtly evolves on each return. Brahms speeds this wild dance to its close on a Più vivace coda.
Program notes by Eric Bromberger
Praised by The New York Times for its “dramatic, energetic playing of clean intensity”, the Tetzlaff Quartett is one of today’s leading string quartets. Alongside their successful individual careers, Christian and Tanja Tetzlaff, Hanna Weinmeister and Elisabeth Kufferath have met since 1994 to perform several times each season in concerts that regularly receive great critical acclaim.
They are frequent guests at international festivals such as the Berliner Festwochen, Schleswig-Holstein Musik Festival and Musikfest Bremen and perform regularly at the prestigious Wigmore Hall in London. Other highlights include performances at Cologne Philharmonie, the Pierre Boulez Hall in Berlin, the Cité de la Musique in Paris, Vienna’s Musikverein, Amsterdam’s Concertgebouw, the Herkulessaal in Munich and the Gewandhaus in Leipzig.
The Quartet has also made four highly acclaimed tours to North America. Each tour included an appearance at Carnegie Hall with additional stops in San Francisco, Atlanta, Washington D.C., Cleveland, Cincinnati, Baltimore, Vancouver, Ann Arbor, Orange County and Berkeley.
The quartet’s first recording with music by Schönberg and Sibelius, was released by CAvi-music in 2010, the second recording with music by Berg and Mendelssohn received the prestigious “Diapason d’or” in 2015. In 2017 Ondine released a CD with music by Haydn and Schubert, followed in 2020 by a CD with two of the late string quartets of Beethoven.
Christian Tetzlaff, violin
Described as “one of the most brilliant and inquisitive artists of the new generation” (The New York Times), Christian Tetzlaff is a regular guest with the world's leading orchestras and festivals. He also enjoys collaborations with the most distinguished chamber musicians, including recital partners Leif Ove Andsnes and Lars Vogt. He plays a Peter Greiner violin.
Elisabeth Kufferath, violin
Elisabeth Kufferath is a regular guest at international music festivals including Lucerne, Schleswig-Holstein, Rheingau, Ravinia and Aspen. Her regular chamber music partners include Lars Vogt, Antje Weithaas, Isabelle Faust and Jens Peter Maintz. Elisabeth is currently Professor of Violin at the Hochschule für Musik und Theater in Hannover. She plays a Peter Greiner violin.
Hanna Weinmeister, viola
She is currently First Concertmaster at Opernhaus Zürich. She has worked with, amongst others, Leonidas Kavakos, Heinz Holliger, Gidon Kremer and Benjamin Schmid. She plays a Peter Greiner viola.
Tanja Tetzlaff, cello
Tanja Tetzlaff has appeared with many international orchestras. She is especially dedicated to chamber music and regularly plays with Lars Vogt, Martin Fröst and Carolin Widmann. She plays a violoncello of Giovanni Battista Guadagnini from 1776.
PHILHARMONIC SOCIETY OF ORANGE COUNTY
The Philharmonic Society of Orange County gratefully acknowledges the following donors for their generous support of the Fund for Music during the past twelve months. These contributions make up the difference between the income generated from ticket sales and the actual cost of bringing the world’s finest orchestras, soloists and chamber ensembles to Orange County and inspiring 160,000 K-12 students each year with quality music programs. Gifts range from $60 to more than $100,000, and each member of the Philharmonic Society plays a valuable role in furthering the mission of this organization.
Youth Music Education Program Sponsors
The Crean Foundation
Chapman University
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Thomas J. Madracki Memorial Endowment
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Pacific Life Foundation
Gail and Robert Sebring
U.S. Bank
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Anonymous
Season Sponsors
Donna L. Kendall and the Donna L. Kendall Foundation
Anonymous
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Series Sponsors
Donna L. Kendall Foundation
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ESTERHAZY PATRONS
The Philharmonic Society is proud to recognize our dedicated patrons who have made a multi-year Esterhazy Patron pledge. We are grateful for their support, which has been largely responsible for enabling us to present the world’s most acclaimed symphony orchestras, chamber ensembles and soloists.
ESTERHAZY PATRONS
Mr. and Mrs. James Alexiou
Mr. and Mrs. Darrel Anderson
A. Gary Anderson Family Foundation
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Anonymous
LEGACY CIRCLE MEMBERS
Mr. and Mrs. James Alexiou
Dr. and Mrs. Julio Aljure
Diane and John Chimo Arnold
Estate of Edra E. Brophy*
Mr. James J. Brophy
Mr. Douglas T. Burch, Jr.*
Mr. William P. Conlin* and
Mrs. Laila Conlin
Pamela Courtial*
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Mr. H. Russell Smith*
Ms. Dea Stanuszek
Diane and Michael Stephens
Vas Nunes Family Trust*
Betty M. Williams*
Anonymous
*Deceased
Bold type indicates gifts of $50,000 or more.
THE FUND FOR MUSIC: PHILHARMONIC FORWARD CAMPAIGN
The Philharmonic Forward Campaign was introduced prior to the 2015-2016 season with a goal of raising $10 million to bolster the Philharmonic Society’s endowment. Thanks to several transformational gifts and commitments, we surpassed $16 million.
As a reminder, the campaign has three components:
- An endowment for artistic excellence and innovation will support the presentation of the world’s leading orchestras, classical soloists, and chamber ensembles while also allowing the Society to expand its eclectic programming, interdisciplinary projects, and new work offerings.
- An endowment for education and community programs will strengthen youth music education and family programs, community engagement, and the Society’s on-campus presence at schools.
- A current needs capital funds program for organizational sustainability will provide working capital to secure the finest artists well in advance of upcoming seasons.
These funds will bolster the Society’s broad mission of supporting the tradition of Western classical music while allowing us to present diverse music from emerging artists. It will also allow us to expand music education programs for K-12 and college students, creating a new generation of people who value great music.
Campaign leadership has been provided by Co-Chairs Donna Kendall and Douglas Smith, joined by a deeply committed Executive Committee. With their energetic guidance, we are well-positioned to engage the entire Philharmonic family in support of this transformational initiative. For more information, contact Ron Dufault, VP of Development, at (949) 553-2422, ext. 202, or email Ron@PhilharmonicSociety.org.
SECURING THE FUTURE
The Philharmonic Society’s campaign is the first of its kind in the organization’s history. It will grow the Society’s endowment—providing greater opportunities for the presentation of the world’s leading orchestras and other musical per formances while expanding our educational and community outreach—and also establish a current needs fund for organizational sustainability and flexibility. We are proud to recognize those who are helping secure the Society’s future with a gift to the Philharmonic Forward Campaign. We are grateful for their support, which will help fuel the Society’s growth and provide a legacy of incomparable music and superb music education programs in perpetuity.
Donna L. Kendall and Douglas H. Smith
Co-Chairs
DONORS TO THE PHILHARMONIC FORWARD CAMPAIGN
$1,000,000+
Mr. James J. Brophy
Donna L. Kendall and the Donna L. Kendall Foundation
Mr. and Mrs. Robert Sebring
Anonymous
$500,000+
Richard Cullen and Robert Finnerty
James and Judy Freimuth
$250,000+
The Davisson Family Fund for
Youth Music Education
Margaret M. Gates—In memory
of family
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Mr. and Mrs. Douglas H. Smith
$100,000+
Pete and Sabra Bordas
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Karen and Don Evarts
Milli and Jim Hill
Marlene and Chris Nielsen
Richard and Deborah Polonsky
Diane and Michael Stephens
Anonymous
$50,000+
Mr. Douglas T. Burch, Jr.*
Dr. and Mrs. Richard D. Campbell
Erika E. Faust*
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Joan Halvajian
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Mr. and Mrs. Noel Hamilton
Dr. and Mrs. Chase Roh
Up to $24,999
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Huntington Harbour Philharmonic Committee - Marina Windjammer Group
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Ms. Lula Belle Jenkins
Doris and Jim Kollias
Mrs. Elizabeth C. Kramer
Mr. and Mrs. Richard Lewis
Mr. and Mrs. Thomas Madracki
Mr. and Mrs. Anthony Mastrangelo
Mr. and Mrs. Herbert Michel
Charles Mosmann
Carl Neisser
Joan Rehnborg
Dr. and Mrs. Henry Sobel
Dr. and Mrs. Julio Taleisnik
Marti and Walter Unger
Gayle Widyolar, M.D.
Sandi Wright-Cordes
U.S. Bank
Anonymous
*Deceased
Please call the Philharmonic Society Development Department if you have included either the Philharmonic Society or the separate Philharmonic Foundation in your will or trust so that we may honor you as a member of the Legacy Circle. For more information, call (949) 553-2422, ext. 202 or visit: www.PhilharmonicSociety.org/SupportUs and click on Planned Giving.
OFFICERS
John Flemming, Chairman, CEO
Sabra Bordas, Vice Chair
Donna L. Kendall, Deputy Board Chair
Stephen Amendt, Secretary / Treasurer
EXECUTIVE COMMITTEE
John W. Benecke, Development
Sabra Bordas, Nominating
Hung Fan, Laguna Beach Music Festival
JoAnn Fuerbringer, Orange County Youth Symphony
Jane K. Grier, Member at Large
Elaine P. Neuss, Artistic and Marketing
Douglas H. Smith, Member at Large
Jean Felder, President, The Committees
BOARD OF DIRECTORS
Jim Brophy
Gary Capata
Margaret M. Gates
Barbara Roberts
Dr. Steven Sorenson
Kim Weddon
Kathryn Wopschall
PRESIDENT & ARTISTIC DIRECTOR
Tommy Phillips
DEVELOPMENT
Susan Totten, Interim Vice President of Development
Halim Kim, Senior Director of Development
Okairy Calderon, Patron Stewardship and Special Events Manager
Paige Frank, Development Associate
MARKETING AND PUBLIC RELATIONS
Jean Hsu, COO / Vice President of Communications
Marie Songco-Torres, Senior Marketing & Public Relations Manager
ARTISTIC OPERATIONS
Drew Cady, Production Coordinator
Kathy Smith, Piano Technician
EDUCATION
Sarah Little, Vice President of Education and Community Engagement
Courtney McKinnon, Manager of Volunteer and Education Services
Jennifer Niedringhaus, Education and Operations Associate
FINANCE
Roan Alombro, Vice President of Finance
Jessica Cho, Finance Associate / HR Administrator
PATRON SERVICES
Jonathan Mariott, Director of Patron Services
Angelica Nicolas, Marketing & Patron Services Associate / Board Liaison
Randy Polevoi, Musical Concierge
Founded in 1954 as Orange County’s first music organization, the Philharmonic Society of Orange County presents national and international performances of the highest quality and provides dynamic and innovative music education programs for individuals of all ages to enhance the lives of Orange County audiences through music.
For more than 65 years the Philharmonic Society has evolved and grown with the county’s changing landscape, presenting artists and orchestras who set the standard for artistic achievement from Itzhak Perlman, Gustavo Dudamel, Yo-Yo Ma, and Renée Fleming to the Berlin Philharmonic, Vienna Philharmonic, Chicago Symphony Orchestra, and many others. In addition, the Philharmonic Society celebrates multi-disciplinary performances under its Eclectic Orange brand and embraces music from a wide range of countries with its World Music performances. Its celebrated family concerts introduce children to classical music with creative and inspiring performances, instilling music appreciation for future generations.
The Philharmonic Society’s nationally recognized Youth Music Education Programs, offered free of charge, engage more than 100,000 students annually through curriculum-based music education programs that aim to inspire, expand imaginations, and encourage learning at all levels. These programs are made possible by the Committees of the Philharmonic Society comprised of 700 volunteer members who provide more than 90,000 hours of in-kind service each year.
As a key youth program, the exceptional Orange County Youth Symphony and String Ensemble provide top-tier training to the area’s most talented young musicians through multi-level ensemble instruction, leadership training, touring opportunities, challenging professional repertoire, and performances in world-class venues. The Philharmonic Society also promotes life-long learning by connecting with colleges and universities to conduct masterclasses and workshops and providing pre-concert lectures to introduce audiences to program selections.
949.553.2422 | PHILHARMONICSOCIETY.ORG
The Tetzlaff Quartet appear by arrangement with CM Artists