FINE ARTS
QUA RTE T
RALPH EVANS | EFIM BOICO | ROBERT COHEN | JUAN-MIGUEL HERNANDEZ
DECEMBER 11, 2016
Shostakovich, Schubert, Mozart
arts.uwm.edu/quartet
Presented by
The UW-Milwaukee Peck School of the Arts
The Fine Arts Quartet 2016-17 season is supported in part by:
Co-Presenting Sponsors
Greater Milwaukee Foundation’s Norman & Lucy Cohn Family Fund
Sheldon & Marianne Lubar of the Lubar Family Foundation
Katharine & Sandy Mallin
Guest Artist Sponsors
Mrs. Susan DeWitt Davie
Fine Arts Quartet Patrons
Albert & Laurie Asch
Dr. P. Rae Katz
Sheldon L. Burchman, MD & Dolores Cohen
Shirley S. Connell
Barbara Costanzo
Elizabeth Dahlk
Penelope Egan
Adam Burns & Elizabeth Escobar
Russel C. Evans
Patricia Gollhardt Jones & Neil Gollhardt
Jean Gurney & Earl M. Lemon
Judith K. Hestoft
Alvin & Regina Holzman
Jeanne Jacobs
Jewish Community Foundation of the
Milwaukee Jewish Federation
Sarajane & Robert Kennedy
Henry G. Koc
Leonard & Carol Lewensohn
Medical College of Wisconsin
Dr. Richard C. Murray
Elaine & Howard N Myers
Dr. Leonard & Gloria Parker
Patricia Parsons
Dr. Marjorie Piechowski
Ronald & Barbara Poe
Mary Pollock
Eleanor Quint
David A. Rasmussen
Allen & Patricia Rieselbach
Rockwell Automation Charitable Corporation
Dr. Lucille B. Rosenberg
Joseph & Glenna Shutkin
Beatrice & George Strick
Jim Ward
Phyllis Wax
Otto & Hilde Wiegmann
Mark Williamsen
Marian Weinberg
Dr. Marie E. Weiss
Jane Zeft
Donors as of NOV 17, 2016 – All gifts are added to the UWM Foundation/Fine Arts Quartet Fund
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UWM Peck School of the Arts
D E C E M B E R 11, 2 016 | F I N E A R T S Q UA R T E T, Z E L A Z O | 7 : 3 0 P. M .
String Quartet No.1, Op.49 (1938).......................................................................Dmitri Shostakovich
Moderato(1906-1975)
Moderato
Allegro molto
Allegro
String Quartet in A Minor (“Rosamunde”), Op.29..................................................... Franz Schubert
Allegro ma non troppo
(1797-1828)
Andante
Menuetto: Allegretto
Allegro moderato
INTERMISSION
Piano Concerto No.23 in A Major, K.488..................... Wolfgang Amadeus Mozart (1756-1791)
(orchestra parts arranged for string quintet by Ignaz Lachner in 19th Century)
Allegro
Adagio
Allegro assai
Alon Goldstein, piano
Alexander Bickard, string bass
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PROGR A M NOTES || TIMOTHY NOONAN
Shostakovich, String Quartet No. 1 in C Major, Op. 49
In spring 1937 Dmitri Shostakovich was invited to the join the faculty of the Leningrad
Conservatory. Coming on the heels of a scathing review in Pravda of his opera Lady
Macbeth of the Mtsensk District, and with the responsibilities of a baby daughter, Galina,
born a year earlier, he was glad to accept, and began teaching in September. He taught
composition as well as instrumentation, and participated in sessions of performance
and analysis of important and often non-Russian works. In 1938, before he became a full
professor in June 1939, he composed the first of his fifteen string quartets (written over
the span 1938-1974), on a commission from the Glazunov Quartet, also affiliated with
the Conservatory. He had recently completed his famed Fifth Symphony. Shostakovich
reported that he wrote the first portion of the quartet “as a kind of exercise in quartet
writing,” and said that he initially planned to call the piece the “Spring” Quartet. The
piece is mild, not passionate, not often loud, evocative of youth: in the words of Ian
MacDonald, it is a work of “studied simplicity.” The work’s initial movement was originally
planned to be the finale, and the finale was to be first. The first movement begins with
a repeated-note idea that proves to figure prominently in later portions of the work.
The movement is essentially in sonata form, albeit with just a brief transition in place
of a full development section and an abbreviated recapitulation. Its second theme is
accompanied by a cello ostinato figure featuring glissandi. The second movement
is a theme with three variations, beginning in A minor; the theme is in the manner
of a Russian folk tune, presented by the viola. As is often found in Russian variations,
the theme is present in each one, while the background changes. The brief scherzo
and trio in C-sharp minor is muted throughout and maintains a quiet dynamic level.
The contrasting trio section in F-sharp major takes on the style of a waltz. And the
structure of the finale resembles sonata form, with a full development section. It ends,
uncharacteristically for Shostakovich’s quartets, loudly and firmly in C major.
Schubert, String Quartet in A Minor, D. 804 “Rosamunde”
Franz Schubert composed 15 major string quartets, in addition to juvenilia and some
lost works. His first, catalogued as D. 18, was written in 1810 or 1811, when Schubert
was 13 or 14. The first 11 were all written by 1816, when Schubert was just 19. The
background of these early works lies in his acceptance as a choirboy in the imperial choir
in Vienna and his resultant admission into the boarding-school, the Kaiserlich-königliches
Stadtkonvikt (where Antonio Salieri was one of his examiners). His voice broke in mid1812—it is recorded that “Schubert, Franz, crowed for the last time, 26 July 1812”—just
months after his mother died. Schubert remained in the school for about another year.
During his breaks between terms, his family formed a string quartet; his brothers Ignaz
and Ferdinand were the violinists, the composer was violist, and their father Franz,
a school teacher, was cellist. Schubert’s early quartets came to be as a result of this
instance of family music-making. The remaining four quartets he would compose were
written in Schubert’s maturity, between 1820 and 1826. They include a very fine onemovement work called the Quartettsatz, D. 703 (1820; a fragment of a second movement
survives) and three finished quartets: the present work in A minor, D. 804 (1824), the
“Death and the Maiden” quartet in D minor, D. 810 (1824), and his final quartet in G major,
D. 887 (1826). Each of these is an example of Schubert the master composer, though he
was not yet 30 when they were written, and he would die November 1828 at age 31.
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UWM Peck School of the Arts
PROGR A M NOTES || TIMOTHY NOONAN
c o n t.
The first movement begins with accompaniment in the lower three voices, the viola
and cello offering a five-note figure of four quick notes and then the downbeat. As the
first violin enters it sings a minor-key line of pure Schubertian beauty, which is then
presented in a varied repeat in the major key. The juxtaposition of minor and major is
a device to which Schubert often turned. The theme’s first three notes are embellished
with a trill in the transitional section. A pause in all voices signals the second theme in
C major, another idea of lyrical beauty. The development section begins with a return
of the initial idea, now in D minor, before Schubert turns to literal development. The
five-note figure we heard earlier plays a substantial role here as well. The recapitulation
expands somewhat on the exposition, and the second theme returns in A major. The
movement ends with a coda based upon the opening, bringing the movement to a
most satisfying close. The slow movement presents a great Schubertian melody in C
major, one based upon a theme from his incidental music for the play Rosamunde, which
had its premiere in Vienna in December 1823 and which gives the quartet its nickname.
The form of the movement is akin to that of a rondo: the theme is first, a contrasting
section follows, and then the first idea returns. The next section is more energetic and
developmental in nature. Then the second section recurs, and only in the coda do we
revisit the initial theme; the result is an ABACB Coda form. The third movement is,
curiously, a minuet, a dance largely supplanted by the scherzo in instrumental works
such as this by around 1800. The trio section is in A major. The finale has been described
as Hungarian in style, partly because of the grace notes in its main theme, and it is a
movement that applies the principles of classical sonata form freely. It is in A major,
the minor mode of the quartet’s opening now behind us. The memorable second
theme in C-sharp minor is dominated by dotted rhythms, and there is just a suggestion
of a development section before the recapitulation. But within the recapitulation
development takes place before the events of the exposition resume and the dotted
second theme begins. The grace-note figure from the initial theme figures prominently
in the brief coda that concludes this great quartet.
Mozart, Piano Concerto No. 23 in A Major, K. 488
The Viennese phase of Mozart’s career began in 1781, as he moved to the imperial capital
from his native Salzburg. Early in this period, he composed three piano concertos, K.
413-415 (nos. 11-13). Then, in early 1784, he turned again to the genre, producing a
remarkable body of work over the next few years. 12 concertos, nos. 14-25, date from
1784-86, and these works are treasured today as among Mozart’s supreme achievements.
This evening we hear a perennial favorite, no. 23, K. 488, which Mozart dated March
2, 1786, just 22 days before the date of no. 24, K. 491. Today’s performance presents
a transcription of the concerto for piano, string quartet, and string bass by German
composer and conductor Ignaz Lachner (1807-1895).
As is the standard procedure in a classical concerto, the first movement of K. 488
begins with a passage for orchestra prior to the entrance of the soloist. Remaining in
the home key throughout, it presents a succession of ideas that Mozart will then draw
upon over the course of the movement. The entrance of the soloist marks the beginning
of the exposition, analogous to that of sonata form, and the piano’s first appearance is
a statement of the theme that began the movement; in essence, we proceed through
the orchestra’s opening statement, now with the participation of the soloist and now
carrying out the change of key that is intrinsic to the sonata form exposition. Sometimes
Fine Arts Quartet | December 11, 2016
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PROGR A M NOTES || TIMOTHY NOONAN
c o n t.
Mozart gives the piano a new idea as the second theme, but not in this case, as the
piano plays the same one the orchestra offered, solo, and in the secondary key. A formal
cadence with a trill signals the return of music for orchestra only, during which Mozart
curiously gives us a new theme, the most structurally unusual element of this movement.
The piano then reenters with the development section, which concludes with a long
preparation for the recapitulation. The orchestra plays its opening, with the piano soon
joining in. Before the section ends, Mozart carefully inserts a return of the new theme
that followed the exposition, and the orchestra also returns to it in the passage following
the soloist’s section, just before the cadenza. Mr. Goldstein will perform Mozart’s own
cadenza. The second movement is cast in sonata form with no development section,
in the dark and rather rare key of F-sharp minor. Its opening for the piano alone is an
exquisite utterance, heard again at the recapitulation. A touching coda, with wide leaps
for the piano and pizzicato in the strings, ends the movement quietly. The finale is a
marvelous sonata-rondo. The refrain is offered by the piano alone, and in each of its
appearances over the course of the movement, Mozart varies the way it ends. The first
episode is in E minor, and it ends with a strong preparation for the return of the refrain.
The second episode is again in the minor mode—F-sharp minor, the key of the slow
movement. As it prepares for the return of the refrain toward its end, Mozart denies us
the expected refrain, rather turning to the passage that prepared the first episode; this
was a variant of rondo form that Mozart used often and so effectively. The return of the
first episode, now in the home key, is the element that renders this not a rondo, but a
sonata-rondo. Denial of the refrain makes it ultimate return all the more dramatic. A
joyous coda brings this jewel of the repertoire to a close.
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UWM Peck School of the Arts
A B O U T T H E F I N E A R T S Q UA R T E T
They have been called the “The Dream Team” and were declared by the Washington Post “one
of the gold-plated names in chamber music”. But these statements seem inadequate
when you consider that American first violinist Ralph Evans was a prizewinner in the
International Tchaikovsky Competition, the “fiercest, most nerve-shredding competition in
the classical world”; that Russian-born second violinist Efim Boico was chosen by Daniel
Barenboim to be concertmaster of the Orchestre de Paris, that Canadian violist Juan-Miguel
Hernandez recorded with Norah Jones and Chick Corea, and the British cellist Robert
Cohen, in the words of New York Stereo Review, “plays like a God”.
Despite their unique and diverse musical makeup and the individual impact each artist
has had on the world of music, there is an overwhelming force that drew them together
and marks the Fine Arts Quartet as a musical entity like no other. They have an instantly
identifiable sound, an intense beauty, a deeply warming, fluent communication that
envelopes their audience. It has been called a sound from the Golden Era, a sound that
restores and enriches.
The Fine Arts Quartet holds an extraordinary and legendary history of its own. Founded in
Chicago in 1946, now celebrating its 70th anniversary season, the Quartet has recorded over
200 works and continues to tour throughout the world. The thirty-three year membership
of Evans and Boico has created a unity of violin sound like no other. Four years ago, Cohen
brought his extraordinary musical passion to the Quartet, followed shortly by Hernandez
with his dynamism and heartfelt warmth.
The Fine Arts Quartet are an inspiration to young chamber ensembles and have nurtured
many of todays top international quartets whilst teaching as guest professors at the major
conservatoires of Paris, Lyon, Lugano and London. They are Artists-in-Residence at the
University of Wisconsin-Milwaukee and give masterclasses at summer schools in the US and
throughout Europe. They also go into the heart of communities, introducing music with flair,
humour and passion to school children, demonstrating close-up their excitement and love
for the music and their instruments.
The Quartet’s recordings have received numerous distinctions.
Most recently on the Naxos label:
Fauré Quintets with pianist Cristina Ortiz “Gramophone
award-winner and recording of legendary status” (Gramophone Magazine).
Franck Quartet “Editor’s Choice” (Gramophone Magazine).
Glazunov, Mendelssohn and Fauré CD’s were each “Recording of the Year”
(Musicweb International).
“Four American Quartets” album “BBC Music Magazine Choice”.
Schumann “one of the very finest chamber music recordings of the year”
(American Record Guide).
Mozart Quintets “Critic’s Choice” (American Record Guide).
CMA/ASCAP Award for Adventurous Programming ((contemporary music), given jointly by
Chamber Music America and the American Society of Composers, Authors, and Publishers. Many of the Quartet’s Naxos recordings have been selected for Grammy® Awards entry lists
in the “Best Classical Album” and/or “Best Chamber Music Performance” categories.
Recent special projects have included the release on Naxos of two of Mozart’s greatest piano
concertos in Ignaz Lachner’s 19th century chamber transcriptions of the orchestra parts for
string quartet and bass, with pianist Alon Goldstein; a monthly WUWM National Public Radio
series by Cohen called ‘On That Note’; and the creation and development of ‘Musical Heights
Foundation’ by Hernandez, a nonprofit foundation bringing high-level musical teaching into
developing countries. For more details, visit: www.fineartsquartet.com
Fine Arts Quartet | December 11, 2016
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UWM Peck School of the Arts
BIOGR APHIES
Ralph Evans, violinist,
prizewinner in the
1982 International
Tchaikovsky Competition
in Moscow, concertized
as soloist throughout
Europe and North
America before succeeding Leonard Sorkin
as first violinist of the Fine Arts Quartet.
Evans, who has toured worldwide with the
Quartet since late 1982, has recorded over
100 works. A complete discography is listed
at: fineartsquartet.com/evansrecordings
Evans, a cum laude graduate of Yale
University and Fulbright Scholar in London,
studied with Szymon Goldberg and Nathan
Milstein in Europe, and subsequently won
the top prize in a number of major American
competitions, among them, the Concert
Artists Guild Competition in New York.
Evans has also received international
recognition for his work as a composer. His
award winning composition “Nocturne” has
been performed on American Public
Television and his String Quartet No.1,
released on the Naxos label, has been
warmly greeted in the press (“rich and
inventive” - Toronto Star; “whimsical and
clever, engaging and amusing” - All Music
Guide; “vigorous and tuneful” - Montreal
Gazette; “seductive, modern sonorities” France Ouest; “a small masterpiece” - Gli
Amici della Musica).
years. In 1971, he joined the Tel Aviv
Quartet as second violinist, touring the
world with guest artists such as André
Previn and Vladimir Ashkenazy. In 1979,
Boico was appointed concertmaster and
soloist of the Orchestre de Paris under
Daniel Barenboim, positions he held until
1983, when he joined the Fine Arts
Quartet. Boico has been guest professor at
the Paris and Lyons Conservatories in
France, and the Yehudi Menuhin School in
Switzerland. He is also a frequent juror
representing the United States in the
prestigious London, Evian, and
Shostakovich Quartet Competitions. As
music professor at the University of
Wisconsin, Milwaukee, he has received
numerous awards, including the Wisconsin
Public Education Professional Service
Award for distinguished music teaching,
and the Arts Recognition and Talent Search
Award from the National Foundation for
Advancement in the Arts.
Juan-Miguel
Hernandez, violist,
was born in Montreal in
1985. He began
studying the violin at
the age of seven and
switched to viola five
years later. He received a bachelor’s degree
from the Colburn Conservatory and
graduate diploma from the New England
Efim Boico, violinist,
Conservatory. Hernandez was a first prize
enjoys an international winner of the 16th International Johannes
career that has included Brahms Competition in Austria, as well as
solo appearances under prize winner in both the National Canadian
conductors Zubin
Music Competition and the 9th National
Mehta, Carlo Maria
Sphinx Competition. He has appeared as
Guilini, Claudio Abbado guest soloist with orchestras in Atlanta,
and Erich Leinsdorf, and performances with Seattle, Colorado, Rochester, and Chicago,
Daniel Barenboim, Radu Lupu and Pinchas
and has performed in the US, Canada,
Zuckerman. After receiving his musical
South America, Europe, the Middle East,
training in his native Russia, he emigrated in and Africa. He is a founding member of the
1967 to Israel, where he was appointed
Harlem Quartet, with whom he performed
Principal Second Violin of the Israel
from 2006-12, as well as the Trio Virado and
Philharmonic - a position he held for eleven Boreal Trio. He has appeared on NBC’s
Fine Arts Quartet | December 11, 2016
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BIOGR APHIES
c o n t.
Good Morning America, the Today Show
and the Telemundo Network. His
discography includes three quartet CDs as
well as multiple collaborations with Chick
Corea, Gary Burton and Norah Jones. In
2010 he was honored with the medal of
the National Assembly of Quebec.
Robert Cohen, cellist,
made his concerto
debut at the age of
twelve at the Royal
Festival Hall London
and throughout his
distinguished
international career, he has been hailed as
one of the foremost cellists of our time. “It
is easy to hear what the fuss is about, he
plays like a God” (New York Stereo Review).
“Cohen can hold an audience in the palm
of his hand” (The Guardian). Invited to
perform concertos world-wide by
conductors Claudio Abbado, Kurt Masur,
Riccardo Muti, and Sir Simon Rattle, Cohen
has also collaborated in chamber music
with many eminent artists such as Yehudi
Menuhin and the Amadeus String Quartet,
with whom he recorded the Schubert Cello
Quintet on Deutsche Grammophon. At age
nineteen, Cohen recorded the Elgar
Concerto with the London Philharmonic
Orchestra for the EMI label, and since then,
he has recorded much of the cello
repertoire for Sony, Decca, DGG, EMI, and
BIS. Cohen, who studied with the
legendary artists William Pleeth, Jacqueline
du Pré, and Mstislav Rostropovich, is an
inspirational teacher who has given
masterclasses all over the world. He is a
Professor at the Royal Academy of Music in
London and is director of the Charleston
Manor Festival in the south of England. He
joined the Fine Arts Quartet in
January 2012.
For futher information about Robert
Cohen, including links to his monthly radio
show, lectures and latest news, please go
to his webiste: www.robertcohen.info
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UWM Peck School of the Arts
Alexander Bickard,
string bass
Acclaimed double
bassist Alexander
Bickard is equally at
home in orchestral,
chamber, and solo
playing. At 20 years old Alexander won a
position in the New Haven Symphony
Orchestra after serving as principal bass in
many orchestras such as the Juilliard
Orchestra and Pacific Music Festival
Orchestra. Alexander collaborates with the
Ariel String Quartet, having performed
with pianist Alon Goldstein in New York
City’s Town Hall in the People’s Symphony
Concerts series, and in Washington, D.C., at
the National Gallery. At 19 years old
Alexander won the Juilliard double bass
concerto competition, resulting in his solo
debut in Lincoln Center’s Alice Tully Hall.
Alexander has participated in the Castleton, Colorado College, and Pacific music
festivals. Alexander is a proud recipient of
the Kovner Fellowship at The Juilliard
School. He studies with Eugene Levinson
and also holds a Pre-college diploma from
Juilliard.
Alon Goldstein, piano
Alon Goldstein is one of
the most original and
sensitive pianists of his
generation, admired for
his musical intelligence,
dynamic personality,
artistic vision and innovative
programming. He has played with the
Philadelphia orchestra, the Chicago
Symphony, the San Francisco, Baltimore, St.
Louis, Dallas, Houston, Toronto and
Vancouver symphonies as well as the Israel
Philharmonic, London Philharmonic , Los
Angeles and Radio France Orchestra. He
played under the baton of such conductors
as Zubin Mehta, Herbert Blomstedt,
Vladimir Jurowski, Rafael Frübeck de
Burgos, Peter Oundjian, Yoel Levi, Yoav
BIOGR APHIES
c o n t.
Talmi, Leon Fleisher and others. His 2016-2017 season include debuts with
the Hungarian National Orchestra, the
Orquesta Sinfonica Nacional de Costa Rica,
and the Virginia, Ann Arbor and Rogue
Valley symphony orchestras. He will also
return to the “George Enescu” Philharmonic
in Bucharest, the Delaware symphony
during their Beethoven concerto festival,
Savannah Philharmonic and Fairfax
symphony. His festival appearances this
season include Music@Menlo, Heifetz
Institute, Bach festival in Oregon and the
Philadelphia Young Pianists Academy in
Curtis Philadelphia. He will appear in
chamber music concerts with his Tempest
Trio, the Ariel Quartet as well as the Fine
Arts Quartet in concerts throughout the
United States, Latin America, Israel
and Europe. A passionate advocate for music education,
his recent teaching engagements have
included the Steans Institute of the Ravinia
Festival, The Gilmore International
Keyboard festival as well as other
residencies throughout the US. During the
2016-17 season Mr. Goldstein will record
two new CDs on Naxos - one with his
Tempest Trio of Dvorak early Trios to
complete the cycle of Dvorak Trios which
he started two years ago, and the other CD
will feature Mozart Concerti nos. 23 & 24
arranged for piano and string quintet by I.
Lachner. This CD will continue Goldstein’s
exploration of Mozart concerti arranged as
chamber works. The first CD featuring
Concerti nos. 20 & 21 was released last year
to great critical acclaim. Other highlights include performances
with the Tokyo Quartet, the Jerusalem
Quartet, two world premieres of concerti
that were written for Mr. Goldstein - Lost
Souls by Avner Dorman with the Kansas
City Symphony under Michael Stern,
and Ornaments by Mark Kopytman with
the Jerusalem Camerata, and performances
at Carnegie Hall with the New York String
Orchestra under Jaime Laredo. Solo recitals
include concerts in Beijing (Forbidden
City), Moscow (Kremlin), New York (Town
Hall), Chicago, Guatemala City, Kent (UK),
Jerusalem, and Tel Aviv. Alon has performed at the Gilmore, Santa
Fe, Tanglewood, Ravinia, Marlboro, Seattle,
Verbier, Prussia Cove and Jerusalem music
festivals. Over the past several years he has
also taught and played at the Steans
Institute of the Ravinia Festival, New York’s
International Keyboard Festivalm Piano
Texas, Gijon Piano Festival and “Tel Hai”
international piano master classes held in
Israel. For full bio visit alongoldstein.com
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P E C K S C H O O L A D M I N I S T R AT I O N
PECK SCHOOL OF THE ARTS ADMINISTRATION
Scott Emmons.......................................................................................................................................... Dean
Kim Cosier.............................................................................................................................. Associate Dean
James Burmeister................................................................................................................. Assistant Dean
Amanda Obermeyer......................................................Assistant Dean of Business Administration
Mark Peterson....................................................................................................Arts Technology Director
MARKETING & DEVELOPMENT
Rebecca Ottman...................................................................Director, Marketing & Communications
Daniel Petry.............................................................................................................Development Director
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Maggie Seer.......................................................................................................... Development Assistant
Nicole Gorman..................................................................................................................................Designer
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Randall Trumbull-Holper.............................................................................................. Facilities Director
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UWM Peck School of the Arts