programme notes

 
 

phoenix collective Quartet


Franz Joseph Haydn (1732–1809)

String Quartet op 64 no 5 ‘Lark’ (1790)

  1. Allegro moderato

  2. Adagio cantabile

  3. Menuetto. Allegretto

  4. Finale. Vivace

Probably one of the most popular of Haydn’s eighty-three string quartets, the ‘Lark’ was written just as Haydn’s 30-year tenure as kapellmeister at Esterhazy was coming to an end. The opus 64 quartets are the last that he wrote for the rather intimate context of performance at the court of Esterhazy. Fortunately for Haydn, his fame as a composer had spread and his music was very much in demand in London, where he was hailed as the world’s greatest living composer.

The first movement features the soaring ‘lark’ theme for which the quartet is named in the first violin part, while the lower voices provide a staccato countermelody underneath. A poignant slow movement in a theme and variations format follows, with almost vocal stylings from the first violin over supportive accompanying harmonic texture. The traditional Minuet and Trio make up the third movement, with an excursion to the minor in the Trio providing a contrast to the jocular Minuet. It is perhaps the last movement, with its continuous semiquaver passage work which is responsible for the quartet’s enduring popularity. Often compared to a sailor’s hornpipe, the energetic finale drives the quartet to a dazzling finish.

Béla Bartók (1881–1945)

String Quartet no 3 in C-sharp minor (1927)

  1. Prima parte: Moderato

  2. Seconda parte: Allegro

  3. Ricapitulazione della prima parte: Moderato

  4. Coda: Allegro molto

Béla Bartók is believed by many commentators to have made the most significant contribution to the string quartet since Beethoven. Like Beethoven, Bartók’s interest in the string quartet form was a lifelong obsession, and he composed his first unpublished string quartet at the age of eighteen. Again like Beethoven, Bartók’s musical style evolved with each of his quartets. 

The String Quartet no 3 was written in 1927, and is far more adventurous than either of Bartók’s previous quartets. It is the shortest of his quartets, and is constructed from very limited thematic material.  A handful of themes are threaded through the work, and Bartók’s inventiveness is apparent in his treatment of the material. Like Beethoven, he uses a dazzling variety of compositional techniques, including canons, inversion, augmentation and even a passage where two fugues occur simultaneously. Extended string techniques such as sul ponticello, col legno and glissando contribute to the intense sound world.

Bartók, a revered ethnomusicologist, had a profound admiration for Hungarian folk music. This is evident in the melodic material in the quartet. However, the influence of folk music is not immediately apparent in Bartók’s treatment of the themes. Closer examination shows that rather than simply imitating the style of Hungarian traditional music, Bartók takes elements of its rhythmic drive, texture and contours and distills them into a concentrated essence with Hungarian music at its heart.

Giovanni Sollima (1962–present)

Sonnets et Rondeaux (2007)

Born into a family of musicians, Giovanni Sollima studied cello with Giovanni Parriera and Antonia Janigro and composition with his father Eliodoro Sollima and Milko Kelemen. His career has encompassed both high level cello performance with luminaries such as Claudio Abbado and Martha Agerich, and composition for both the concert hall and the cinema.

Sollima’s compositional style borrows from popular culture, folk music and classical traditions. Sonnets et Rondeaux is a suite of six movements in a slow/fast format, with melodic references to medieval music, Celtic folk styles and a nod to Middle Eastern modes. Sollima’s interest in extended string techniques manifests in the use of pizzicato, glissando effects, harmonics and sul ponticello passages. Each tranquil sonnet is followed by a blazingly fast rondeau, with the final movement whirling to a breathless close.

Radiohead 

Formed in 1985 in the UK, Radiohead initially performed under the name ‘On A Friday’, as they usually rehearsed on Friday afternoons in their school’s music room. The band changed its name to Radiohead in 1991, inspired by the song title ‘Radio Head’ from Talking Heads’ album True Stories. Although not initially popular, Radiohead has since become one of the best-known experimental rock bands in the world. 

Lead guitarist Jonny Greenwood has also experienced successes in other musical spheres, with his classical compositions being performed by orchestras and ensembles around the world. His early experience as a student violist led to a particular affinity with stringed instruments. Singer Thom Yorke had his classical compositional debut with his work ‘Don’t Fear the Light’ premiered in 2019.

As well as the other musical activities and collaborations of its members, Radiohead continues to perform live to sold-out crowds around the world.

Musicians, Phoenix Collective Quartet:

Violin 1 & Artistic Director - Dan Russell

Violin 2 - Pip Thompson

Viola - Ella Brinch

Cello - Andrew Wilson