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                    <text>STA T E  U N IVE RSI T Y OF  N E W  YOR K  A T BIN G H A M TON

HARPUR  COLLEGE
TH E  DEPA RT M EN T OF  MUSIC

/
/
 
e
 
­
///////Z  f X / U / M /
THE  GUARNERI  STRING  QUARTET
in  r es idence
Arnold Steinhardt, violin 
Jo hn Dalley, violin 

M ichael T ree, viola
David Soye r, cello

Sunday , A pr il  20, 1 96 9, 8 :15 p. m.
The Don A . Watte rs T heater

�O P  L (I  ~ D ﬂ  / e e

  
[ S E T p  e e =

P A C E i z  = 
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2  A74j°&lt;PROGR$4§JPL 6 /

QUARTET IN  E FLAT MAJOR, OP, 127 

4 1  

’/
Beethoven

Maestoso, Allegro
Adagio, ma non troppo e molto cantabile

Scherzando vivace
Finale

Intermission

ADAGIO &amp; FUGUE, K. 546 

QUARTET IN  E FLAT MAJOR, OP, 18,  NO. 6 

Mozart

Beethoven

Allegro con brio
Adagio, ma non troppo

Scherzo, Allegro

La Malinconia Adagio:
Allegretto quasi Allegro

Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma

�PR OGRA M  N OT ES

QUARTET IN  E FLAT MAJOR, OP. 127  ­ Beethoven
The  ﬁrst  of  the  “last ”  great  quartets  seems  to have been begun by
Beethoven  in  early  1822.  Later  that  year  Prince Galitzin (to whom the
Quartet  is  dedicated)  approached  Beethoven  about  “two  or  three new
quartets. ”  In  the  course  of  1823  Beethoven  resumed  work on the E Flat
Quartet.  but  set  it  aside  to  ﬁnish  the  Ninth Symphony.  The ﬁrst per­
formance,  March  6,  1825,  by  the Schuppanzigh Quarted “was unfortunate';
another on March 23 was “more successful. ”  It was published in the follow­

ing  year  as  “ G R A N D   QUATUOR/en Partition/ pour deux violons alto  et
Violoncelle compose et dedie/a SonAltesse Monseigneur le Prince/Nicholas
de Galitzin,/Lieutenant­Colonel dela Garde S,,#M,,#J,,de toutes les Russies/
par/LOUIS V .  BEETHOVEN/OEUV  127 .  .  . "
The  atmosphere  of  the  work  is  pastoral,  not  to say sylvan, where
Beethoven  seems  to  draw  strength  and  peace  from  contact with nature.
It  seems  pointless  to  reduce  its  structure  to words when you are about
to experience  the  work  itself .  Suﬀice  it  to say that the ﬁrst movement is
of  normal  components,  although  large  in dimension  and  is created by the
organic  processes  of  development  which  unite  Beethoven  and  his beloved
natural  world  and  sets  an  unmistakable  sign on  the work.  An especially
treasured  detail  is  the  closing  section  which  develops a small expressive
phrase into a vast summing–up.
The  second  movement  is  a  theme  and  ﬁve variations — the organic
principle  again (plus  ca  change,  plus  c ’est la meme chose)  in the hands of
the  master  of  the  variation.  The  Scherzo  exploits  a shifting rhythmic
module  — and  its  joke  enables  one  to  hear the Cosmic laughter which the
Indians  say  is  the  act  of  Creation  itself.  The Finale is another sonata
form  built  of  musical  materials that  are  in  themselves unprepossessing
but  which  for  Beethoven  clearly  held  the  germ  cells of life and which he
leads  to  a  powerful  demonstration  of  the vitality of simple, natural forces
guided by inner organic unities and truth.

ADAGIO  &amp;  FUGUE, K.546 ­ Mozart
On  June  26,  1788  Mozart  noted,  “A  short  Adagio for 2 violins, viola
and  bass,  to  a  fugue  which  I  had  long since written for two pianos. ”  At
the end  of  the  autograph  the  bass part is divided “violoncelli” and “contra

�basso,”  which  suggest  that  Mozart  also  had  an orchestral performance in
mind.  Beethoven  was  familiar  with  this  work  having  copied the score.
The fugue  is  not  idiomatic  keyboard  music but is in the abstract “severe”
style  cultivated  by the  Italians  in  church  music  with implications of rig­
orous and learned development.  In this matter Mozart’s fugue is related to
Beethoven’s own Great Fugue and it is interesting to speculate as to the pos ­
sible  impetus  toward  his  work  that this  acquaintanceship  may have been.

QUARTET  IN  B FLAT,  OP,  18,  NO. 6 ­ Beethoven
Although  the  last  in  the  series  as  published,  the B­ﬂat quartet was
almost  certainly  not  the  last  composed.  The  work  presents a cu rious
mixture  of  styles  and  looks  both  backward and forward.  The ﬁrst move­
ment  is  a  sonata  movement of   the  most  regular pre­Haydn construction.
Many  of  its details  are  reminiscent  of  the  style of the Mannheim orc hes­
tral  composers ;  the  opening  theme  is a  version of the “Rocket ” and the
heavily  deﬁned,  tutti  cadences  also  show  their  inﬂuence.  However, the
far­reaching  modulations  and  key  references  bespeak the  young  master,
expecially  in  the  way they  transform  the  rather  banal march­like second
subject  and  let  it  “break  ranks”  for  a  spirited skirmish before being
marshalled  into  formation  again  by  the  reappearance  of  the eﬀicient
martinet–grenadier­sergeant­like,  ﬁrst  subject  (end  of  exposition  and
end of movement).

The  second  movement  is  a simple  ABA  form  with a short coda based
on both themes.  What  is  astonishing  is the ﬁligree­like ﬁguration which,
both  on  the  page  and  in  the  ear,  reminds one of the slow movements of
the very  latest  works.  We  hear  things that a re to ﬁgure in the last ’cello
sonata  (Op.  102  No.  2)  =–  the dotted ﬁgures in bar 13 — and others that
will  appear  in the variations of the A rchduke Trio.  The Scherzo is another
of  the  long list of comic pieces originally called alla Zappa in early Italian
instrumental  music  — the  eﬀect  is  one  to  the opposition of rhythms of
two  and  of  three  and  resembles  the  uneven  progress of two unequally­
gaited  individuals.  who  nonetheless  insist  upon  conversing.  The  Trio,
in  contrast,  is a  moment  of  the  lightest  and easiest movement befo re the
f rog march resumes.

The  last  movement,  La  Malinconia  (Melancholy)  alternates  a  slow
introduction  and  interludes  of  a  kind of  vexatious,  exasperated hypersen­
sitivity  with  lighter  but  far  from  jocose  principal  sections.  The eﬀect
is  febrile  and  hectic  and  only  in  the  last moments does a clear gust of
vitality dispel the sultry atmosphere.

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        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
</itemContainer>
