Name: Arneis Quartet Presents: Nostalgic Innovation
Start: 2019-11-15T20:00:00-05:00
End: 2019-11-15T22:00:00-05:00
Location: Old South Church (Guild Room)

Arneis Quartet Presents: Nostalgic Innovation

Arneis Quartet

<DIV>Nostalgia for the past and a keen eye to the future tie together these works by Brahms, Bartok, and Shaw.</DIV>
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<UL>
<LI>Brahms String Quartet in A minor, Op. 51 No. 2</LI>
<LI>Shaw Entr’acte (2011)</LI>
<LI>Bartok String Quartet No. 1, Op. 7</LI>
</UL>
<P>Concert 1/5 in the <A HREF="http://arneisquartet.com/looking-back-moving-forward/" TARGET="_blank" DATA-MSYS-CLICKTRACK="0" REL="nofollow noopener noreferrer"><EM>Looking Back, Moving Forward</EM></A> series.</P>
<P>Nostalgia for the past and a keen eye to the future tie together the works that violinist Rose Drucker chose for our first program of the season. Brahms draws on his reverence of Bach in his String Quartet in A minor, Op. 51. No. 2 to help him escape the shadow of Beethoven, composing a work that mixes beautiful and expressive melodies with rigorous counterpoint. The young Bartok starts his String Quartet No. 1 firmly in the expressive world of Brahms lamenting his unrequited love for violinist Stefi Geyer, but then draws inspiration from his study of Debussy and the folk music of Eastern Europe to end the quartet in a new musical language that he would develop in his remaining five quartets. Caroline Shaw’s Entr’acte “is structured like a minuet and trio, riffing on that classical form but taking it a little further… [that] suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.”</P>
<P>Tickets are $25 for general admission. Free for students (with ID).</P>
<P>Note from violinist Rose Drucker:</P>
<P>“I learned very soon after meeting Daniel Doña that when he asks to join him for any chamber music project the answer is always YES. This is how I found myself years later traveling to China, Italy, Canada, and across the United States with my beloved Arneis Quartet. One of the first public concerts we gave included the Brahms A minor. I confessed to my new colleagues sometime around that time that I struggled with Brahms string quartets, in fact maybe didn’t really even like any of the them. GASP! I am a huge fan of the composer’s symphonic works, concertos, piano chamber music, even viola quintets. Something about the works for two violins, viola and cello seemed inaccessible to me, too much of a struggle. During our season planning year after year I would immediately veto any suggestion of a Brahms quartet. It became a thing to joke about, but also a bit of a gap in our repertoire. I’m lucky my colleagues are patient and understanding. At some point I had to face my fears. The turning point came when I worked with a talented high school group on a movement of a Brahms quartet. Their fresh approach was inspiring. I confessed to my Arneis family again, this time that I think I *might* want to play a Brahms quartet. GASP! I thought we could use another crack at one of the pieces we played ten years ago as a newborn baby quartet. The Brahms A minor is so autumnal, wistful, just so very Brahms. I confess, I love it.</P>
<P>Bartok’s First String Quartet has been on my wish list since forever. We worked on the Second and Third for a few years and performed them several times. Bartok is always exhilarating and visceral to perform and listen to. I am usually drawn to the rock and roll and intensity of the Fourth, Fifth and Sixth quartets but every time I hear the very first quartet that Bartok wrote (in 1909) I am instantly drawn in. It hints at old world romantic glamor but unfolds with a cleverness and twinkle of the eye, looking straight into the 20th century.</P>
<P>Caroline Shaw’s Entr’acte harkens back to an earlier time. Its subtitle “a minuet & trio” tells us she is playing with traditional form, giving the listener the comfort of known expectations. But there’s a twist, a dissonance, a skipped beat. Like Bartok she expands the sonic possibilities of a quartet. Breathy air sounds and directions to pluck the string in a way that sounds “like the lute stop of a harpsichord”. The minuet section repeats on itself, like a Haydn minuet. When it comes back you know. Like Haydn, the trio section gives us contrast, here a completely plucked melody, no bows. Things take a turn where the minuet should return, the harpsichord sound accompanying overlapping cello and violin melodies, rhythms eventually piling up and pizzicatos colliding. When we have almost forgotten all about it the minuet is back only to have it dissolve and evaporate into a lonely cello tune, strumming, pensive. A daydream. Like a play within a play between two acts of a show. ”</P>
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Old South Church (Guild Room)

<ul><li>Brahms String Quartet in A minor, Op. 51 No. 2</li><li>Shaw Entr&#x27;acte (2011)</li><li>Bartok String Quartet No. 1, Op. 7</li></ul><p></p><p>Concert 1/5 in the <a href="http://arneisquartet.com/looking-back-moving-forward/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer"><em>Looking Back, Moving Forward</em></a> series.</p><p>Nostalgia for the past and a keen eye to the future tie together the works that violinist Rose Drucker chose for our first program of the season.  Brahms draws on his reverence of Bach in his String Quartet in A minor, Op. 51. No. 2 to help him escape the shadow of Beethoven, composing a work that mixes beautiful and expressive melodies with rigorous counterpoint.  The young Bartok starts his String Quartet No. 1 firmly in the expressive world of Brahms lamenting his unrequited love for violinist Stefi Geyer, but then draws inspiration from his study of Debussy and the folk music of Eastern Europe to end the quartet in a new musical language that he would develop in his remaining five quartets.  Caroline Shaw’s Entr’acte “is structured like a minuet and trio, riffing on that classical form but taking it a little further… [that]  suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.”</p><p>Tickets are $25 for general admission. Free for students (with ID).</p><p>Note from violinist Rose Drucker:</p><p>&quot;I learned very soon after meeting Daniel Doña that when he asks to join him for any chamber music project the answer is always YES. This is how I found myself years later traveling to China, Italy, Canada, and across the United States with my beloved Arneis Quartet. One of the first public concerts we gave included the Brahms A minor. I confessed to my new colleagues sometime around that time that I struggled with Brahms string quartets, in fact maybe didn&#x27;t really even like any of the them. GASP! I am a huge fan of the composer&#x27;s symphonic works, concertos, piano chamber music, even viola quintets. Something about the works for two violins, viola and cello seemed inaccessible to me, too much of a struggle. During our season planning year after year I would immediately veto any suggestion of a Brahms quartet. It became a thing to joke about, but also a bit of a gap in our repertoire. I&#x27;m lucky my colleagues are patient and understanding. At some point I had to face my fears. The turning point came when I worked with a talented high school group on a movement of a Brahms quartet. Their fresh approach was inspiring. I confessed to my Arneis family again, this time that I think I *might* want to play a Brahms quartet. GASP! I thought we could use another crack at one of the pieces we played ten years ago as a newborn baby quartet.  The Brahms A minor is so autumnal, wistful, just so very Brahms. I confess, I love it. </p><p>Bartok&#x27;s First String Quartet has been on my wish list since forever. We worked on the Second and Third for a few years and performed them several times. Bartok is always exhilarating and visceral to perform and listen to. I am usually drawn to the rock and roll and intensity of the Fourth, Fifth and Sixth quartets but every time I hear the very first quartet that Bartok wrote (in 1909) I am instantly drawn in. It hints at old world romantic glamor but unfolds with a cleverness and twinkle of the eye, looking straight into the 20th century. </p><p>Caroline Shaw&#x27;s Entr&#x27;acte harkens back to an earlier time. Its subtitle &quot;a minuet &amp; trio&quot; tells us she is playing with traditional form, giving the listener the comfort of known expectations. But there&#x27;s a twist, a dissonance, a skipped beat. Like Bartok she expands the sonic possibilities of a quartet. Breathy air sounds and directions to pluck the string in a way that sounds &quot;like the lute stop of a harpsichord&quot;. The minuet section repeats on itself, like a Haydn minuet. When it comes back you know. Like Haydn, the trio section gives us contrast, here a completely plucked melody, no bows. Things take a turn where the minuet should return, the harpsichord sound accompanying overlapping cello and violin melodies, rhythms eventually piling up and pizzicatos colliding. When we have almost forgotten all about it the minuet is back only to have it dissolve and evaporate into a lonely cello tune, strumming, pensive. A daydream. Like a play within a play between two acts of a show. &quot;</p>

Entr’acte

St. Paul's Episcopal Church

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