Monday, July 7, 2014

Relax, refresh, and reload

Happy summer, friends of SSQ!

Summer for us Serafins is a bit of a scattered affair this year, with various events, festivals, vacations, work - but not all together as a quartet. While we'll miss each other, and will feel a sense of urgency when we hit the ground running in August for a rush of rehearsals to launch the 2014-15 season, our time away is also a refreshing time to expand our horizons as individuals and come back to quartet with a new wealth of experiences, inspiration, and maybe a little extra sleep.


We had a little bit going on in June, having a week-long rehearsal retreat, to push through some new repertoire that we "test drove" for a private house concert. It was good to get going with some music new to all of us, like the Janaček "Intimate Letters" Quartet and the Grieg g minor String Quartet, and revisit music that we all knew, just not necessarily together as SSQ. But now, we've gone to various places around North America for a variety of activities, professional and personal.


Kate will be spending a good bit of time at the home base, continuing her tireless and great work for the Music School of Delaware, as their President and CEO, and will also take time to travel for family visits and some performing (including a collaboration with her long-time recital partner, Tony Sirianni). She just had a lovely visit with her delightful and vivacious mother, Nancy!


Lisa is spending a number of weeks at the Colorado Music Festival in Boulder, where in addition to performing orchestrally and as a chamber musician, she also acts as the orchestra's personnel manager. (no small job!) Whenever spare time allows, she also loves taking advantage of the great hiking and camping opportunities Colorado provides.


Esme has a variety of events planned this summer. Having already given a guest master class at the Primrose International Viola Competition and Festival in Los Angeles, she will be performing at the Techne Music Festival in Pennsylvania, at the Pikes Falls Chamber Music Festival in Vermont, and serving as a faculty member at the ArtsAhimsa Festival for adult amateur chamber musicians in Lenox, Massachusetts. She left a little time to go see her family in Canada, too.


Larry is also hopping around a fair bit. Currently accompanying his daughter at a Suzuki violin camp in Ithaca, NY, he will be heading to Techne Music Festival in Pennsylvania (and playing some with Esme!), where he serves on the faculty and as a featured performer. He will also be a guest performer at the International Double Reed Society Conference in New York City in August. In between all of that, he'll spend some time with his family in his slice of heaven, Silver Bay, NY, on Lake George.


But even apart, we're all still proud Serafins, and look forward to getting back together in August to gear up for an exciting and full upcoming season! We hope your summer plans treat you to all the rest and refreshment that you need, as well!

Thursday, January 16, 2014

Home Sweet Home

SSQ was delighted to start our 2014 off with a bang this past weekend, performing the first of two concerts this season at the Arts at Trinity series in Wilmington, Delaware. This is the series' third year of existence, and the third year we've been honored to be a part of it.
An outside view of Trinity Episcopal, beautiful old style
nestled in a modern downtown.






Trinity from the inside - gorgeous visually
and acoustically.













Along with the excitement of performing Wolf's Italian Serenade and Mendelssohn's Op. 12 for the first time as a quartet, and the Debussy Quartet for the first time in our current SSQ configuration, we were ecstatic about the turnout, which was huge, even if it hadn't been a dreary, rainy evening. The place was packed, and the energy of the crowd was truly infectious. What makes this even more wonderful for us, though, is that Wilmington is home for the quartet.

While our work and lives external to the quartet keep us from being on tour a whole lot, we enjoy getting on the road to new places far and near. We have a short tour of Florida coming up this month, and in addition to the warm, sunny weather to look forward to, we're excited to share ourselves with new audiences who haven't met us yet. It's a really special privilege to go new places and have people show up to hear us!

But playing at home, for audience members, friends, and family that we've known for so many years - this is perhaps the most special thing we get to do. As the quartet grows and matures as an ensemble, we feel that our relationship and friendship with our local audience is part of our personal and ensemble growth, too. And to walk on and off stage to the smiling faces of our friends, neighbors, significant others - this is really thrilling. (and they clap for us, even if we forgot to do the dishes the night before!)

So, as happy and honored as we are to get to play all over the country, it's a special privilege to come home, too. So, for our local friends, we hope to see you at our "homes" again this spring, March 2nd at the University of Delaware and April 26th back at Trinity. We'll look for those smiling, familiar faces!

Cheers,
Larry

Wednesday, July 24, 2013

The Misadventures of a Traveling String Quartet


As we are in the dog days of summer, with everyone in the quartet scattered about doing their various summer projects, it seemed a good time to blog about travel. Not the fun kind that takes you to your favorite vacation destination, but the very different, very specialized business travel of a string quartet. [WARNING]: As the cellist in the Serafin, I probably have the most gruesome war stories to share - some of this is not for the faint of heart.

While we do not travel as much as some quartets who tour for the majority of their work, Serafin Quartet has taken a number of trips by plane and automobile, and the travels, while usually fun and fulfilling (certainly from the performance standpoint), offer unique challenges. Traveling by car is not too big a deal, other than the extra time and energy required to be on the road. In our trips, we have tended to travel in pairs, mostly because of logistics of where we all live, with separate departures from Philadelphia and Wilmington. Driving together to concerts and tours has been a wonderful way to get to know one another and enjoy each other's company. The most compelling reason to drive to destinations far away, instead of flying (we have driven as far as Atlanta from our home base), is my darn cello. We have flown too, but it's a special, and expensive, challenge.

Given that I play a nearly 300-year-old Italian instrument worth way more than I am, we always purchase a seat, so flying to a concert means purchasing five tickets, not four - a pricy proposition, even if the concert presenter is paying us pretty well. You might be thinking, "But won't the good people at [insert your favorite carrier's name her] Airlines take good care of the cello in baggage if you tell them how valuable and fragile it is?" My answer to that, sadly, is this:
This (not the Testore, but a couple of cellos ago) is what happened the last time I checked a cello as baggage, in what I thought was a very secure travel case, back in the summer of 1996. When confronted with this evidence, the head of baggage at La Gaurdia Airport, for an airline not to be mentioned (but it rhymes with "Flaberican"), actually wondered aloud that perhaps I did this to the instrument so I could get some money back. So, no, I don't check the cello anymore.

Flying with the cello as a ticket-holding passenger is a very special way to travel, sometimes horrifying, sometimes hilarious. I've worked on some pre-emptive responses to well-meaning folks at the airport, such as "Don't worry, it fits through the X-ray machine" and "No, I don't wish that I played the flute", and I still get a quasi-sadistic sense of giddiness when I see the horrified look on a flight attendant's face, right before saying "It's okay, it has a ticket". While my SSQ colleagues get to their seats and put their violins and viola in the overhead compartment, I go through the process of getting a seatbelt extender and strapping old Testore in its seat, usually with a few more pre-emptive remarks: "Yes, full fare, I'm afraid", "Yes, I should get its snack" and, oftentimes a reprise of "No, I don't wish I played the flute."

Other than the photo-evidenced incident above, though, I have generally had pretty smooth sailing, including our flight to London a few years ago, where the very earnest people at British Airways secured the cello into the seat for me in such a way that it would have likely been the only one on board to survive a major crash. It looked something like this:
This isn't my cello, but slightly overanxious protection such as this is common on a few international carriers.

Some other cellists, and recently some notable ones, have not fared so well in their travels. The troubles of famed cellist Lynn Harrell with Delta Airlines were just highlighted, to typically hyperbolic and hilarious effect, by Stephen Colbert of Comedy Central (watch at your own risk!):

A few years ago, Greg Beaver, of the wonderful Chiara Quartet, was told he had to upgrade his cello's tickets to first class to be able to board and fly. Seeing as that would have destroyed any earnings the quartet would have made, he had to send his wife (also his quartet mate) on the flight with their 11-month-old daughter while he waited for another flight with a less combative flight crew.

And earlier this year, touring cellist Alban Gerhardt had his bow and cello damaged (the bow most likely destroyed) when a TSA agent carelessly closed the case after inspecting it.

So, it can be a big challenge for us to travel, particularly flying with the cello, but when it comes down to it, it's a worthwhile hurdle to overcome in getting to do what we do, even without the frequent flyer miles.

Cheers,
Larry

Monday, July 1, 2013

The Magic of Outreach Concerts


It's the start of summer! Like so many families, organizations or other groups at the end of a season, we Serafins were engaged in some planning for the next season recently. We are excited about so many upcoming concerts, some of them are special "outreach" concerts and I thought it would be a good time to talk about what that actually means as its an important movement in classical programming these days.

If you've never been to an outreach concert (sometimes called interactive, maybe even educational outreach or depending on the audience "family" concert) it means that we performers will be trying to engage the audience beyond just sharing beautiful music. Everyone in the quartet has engaged in different types of these performances. It could be as simple as talking to the audience about who we are, showcasing each instrument alone briefly if (usually younger) audiences aren't familiar with each instrument. It could be quite musicological or theoretical, like a concert we recently played at Dickinson College where we spoke of the structure of our Beethoven op 132 quartet, breaking down sections, playing motives and counter motives in isolation and showing how themes transform throughout movements. This was for a class with some prior background in musical history and theory. For another outreach event, we got a little more abstract, engaging with a poetry class and hearing the aspects of rhythm, meter, syntax or even phonetic artistry they were relating to in our music. Here it's really important to note part of the magic of outreach concerts: they are a two way street! We in the quartet are so inspired by our new knowledge of audience perceptions that it changes how we play! Hearing how the audience responds to a particular phrase, or sound heightens our own awareness of that element and colours our feelings about it when we play.

Of course the idea of pre-concert lectures is nothing new, but an exciting aspect of many new outreach performances is that they try to engage listeners with multiple intelligences, not just analyzing the piece or providing a historical framework, but actually getting audience members to use their own musical skills to experience important elements in the piece they are about to hear. They might use clapping to experiment with rhythms, or conduct expressively, sing through some motives or direct harmonies. In other words, audience members get to improvise musically, guided by the musicians to get a thrilling sense of what it might feel like to create music. This new brand of outreach concerts is the subject of my dissertation and I'm thrilled to be playing in a group where every musician is up for experimenting with different kinds of concerts. Of course, we also will always love the traditional kind of concerts. To me personally, the music we play is often so deified in my mind that it deserves only the most holy temple, a concert environment of stillness and absolute simplicity to frame the piece.

So, dear readers/audience, I would love to hear from you: have you ever been to an outreach concert that was meaningful to you? What different experiences have you had beyond traditional types of concerts? Come talk to us after a concert and maybe you can be part of our planning sessions in the future.

Til next time,
Esme

Wednesday, June 19, 2013

Intersections – Creator Meets Interpreter


I have always found it insight-producing to play a composition to the composer in preparing for performance. If it is a commissioned work, brand new, of course it is especially helpful simply to make sure the indications and instructions are being properly interpreted and are conveying what the composer intends, and to catch any mistakes in the notation. 
I have enjoyed the tremendous privilege of playing to various composers over my 30 years as a performer, including young composers still learning or honing their craft in university, but also towering figures such as Aaron Copland and Elliott Carter.  My musical journey has most recently presented the opportunity to play to Jennifer Higdon, as part of the Serafin String Quartet’s current recording project. 
I have also played to George Rochberg, Jacob Druckman, Martin Bresnick, Maurice Wright, and a score of younger, wonderful, but not as well-established composers. In each and every case, it is a mind-opening experience and produces insights that help to understand the individual composer’s personality, compositional process, style and “lexicon”. 
Serafin Quartet often plays to college-level composition students. Usually the aspiring composers are hearing their composition performed for the first time (other than through a midi file or keyboard). After playing the composition to them, we often ask them if it sounds as they had imagined it would, or was anything surprising. Their answers are diverse – some are excited to hear how it sounds, and some are disappointed in the results. Sometimes we try adjustments to tempo or character to try to get at what they intended. Then we discuss how they might want to mark indications differently to more precisely convey their intentions for times when they are not present to converse directly with the performers. We explain how their indications or lack of indications leads us, especially as string players, to respond with tempo choices, strokes, dynamic changes, bowings, stylistic character, and phrasing.  We explore how we play in response to one marking versus another – for example, if we see a line or dot over a note, slurs or no slurs - and we explain and demonstrate how the indications encourage us to play in one manner or another. 
Working with Jennifer Higdon on our upcoming Naxos release of her early chamber works was especially gratifying. She was so positive and encouraging about our approach to interpreting her works and the results we were getting. (It is affirming to hear that one’s interpretation is hitting the mark for the creator of the work!)
Also, she shared freely what she is after in the pieces we played to her, and even what was going on in her life that prompted the emotional content – confirming that we were finding the right emotional landscape in the work, although we had known nothing of specific personal experiences the work reflected. We also learned about her polyphonic inclinations – the idea that, in many sections, she wanted independent lines to interweave, rather than a line or lines standing out in clear relief. This gave us greater insight into how to approach the balancing of intricately intertwined lines. And we were able to confirm that in these works she was not feeling absolute strictness in a given tempo – that it was ok with her if the music moved a little faster or slower than specific tempo markings. 
In every case, the insights from meeting and spending time with the composer are meaningful. Even when the composer (as was Elliott Carter) is quieter and introverted – it is meaningful to feel his/her energy, to experience wit and/or seriousness, to observe where their ideas and expression seem to reside (“head” or “heart”, for example. It all helps the interpreter to feel more confident and assured about choosing a direction in deciding how to play the content of the music. Then, our technical choices can reflect more closely and deeply the inner workings of the composer’s creative soul. 
I treasure that place where we, the “interpreters”, meet the composer – the “creator”, whether in-person or simply from the pages of history and musical scores. It is a special intersection and a privilege to meet there!

--Kate Ransom

Tuesday, March 5, 2013

A maiden voyage with late Beethoven

Since I was a teenager, I have lived in states of both complete reverence for and utter fear of Beethoven's late string string quartets (some of the last music he wrote - Opp. 127, 130, 131, 132, 135). I was hooked, and my fear was begun, upon hearing his monumental c# minor quartet, Op. 131, for the first time. At that point, I ran out and got myself a score and recordings, and pored over this music in a similar way that a theologian must look at religious texts. I found the music fascinating, confounding and incredibly moving. As a teenager, and then a young college music student, I understood that I had a connection with late Beethoven, but I was too intimidated to actually play it.

Fast forward, um, a lot of years, and here I am, getting ready to play the Op. 132 String Quartet in a minor with SSQ, this weekend at the University of Delaware, the first late quartet I will have performed. The interesting thing: I'm still fascinated, confounded, moved, and terribly intimidated by this music. When I was a student at the Kneisel Hall Chamber Music Festival, at the ripe old age of 20, I had expressed my late-Beethoven fears to Ron Copes, who is currently the 2nd violinist of the Juilliard String Quartet and was my chamber music coach at the time. His advice to me: "Don't be scared, dig in!" He said that this music will always be challenging and difficult, and never completely understood, so play it early and often. Did I listen to this sage advice? D'oh!

I guess I have some catching up to do. And I'm excited to get started on my late journey with my wonderful Serafin colleagues. Op. 132 is an expansive work of over 45 minutes, consisting of five movements in a kind of arch form. The outer movements are big, driven and intense. The 2nd and 4th movements are stylized versions of popular older forms (the 2nd being a minuet of sorts, and the 4th actually titled "Alla marcia", or "like a march"), with unusual twists and turns, particularly in the presentation of meter and rhythm. But where this work draws its greatest power is the central slow movement, which is, without exaggeration, one of the most moving musical utterances ever created. The full title, believe it or not, is "A Convalescent's Holy Song of Thanksgiving to the Divinity, in the Lydian Mode". The Lydian mode is one of the ancient "church" modes, a way of organizing music harmonically and melodically back in the Medieval and Renaissance eras of music, before the advent of major and minor scales and keys. So this music, while reaching out to the divine, also reaches back in time. The third movement, often referred to simply as "Heiliger Dankgesang",  is by far the largest of the entire quartet, and reflects Beethoven's thanks and renewed energy having been gravely ill in prior months. Whatever one's view is of the Divine, it is most certainly touched in this moment.

Here's a sampling of the movement, performed by the Stradivari Quartet:


So, if you're around Newark, Delaware on Sunday (March 10th, 3:00 PM, Gore Recital Hall at the University of Delaware), come hear us as we journey together through my inaugural Late Beethoven Quartet performance. We hope to make you fascinated, confounded and moved, too. (but don't be intimidated!)

Cheers,
Larry

Wednesday, January 23, 2013

Musical Decision-making


I confess, I didn’t learn what this was until freshman year of college. I remember a friend saying to me “oh you know when you play a certain piece a lot, and all the decisions you’ve made seem really final, then you play with someone else and you have to make new decisions?”.  I was a bit confused because I had innocently thought “you just play a piece like it’s supposed to go.”

In my mind, the great performances I had heard were just artists who “REALLY played it how it’s supposed to go.”

Obviously I had a lot to learn about communicating in a chamber ensemble!  In truth, I had been making musical decisions my whole life.  Anytime you play music, whether it’s intentional or not, you are making thousands of little decisions about how to play it.  Anyone, musician or not who happens to hum a tune they know is making musical decisions.  These decisions about how you hear something, and eventually what makes your “voice” unique come from thousands of factors, all affecting your judgement of what seems right for that bit of music. 

Some examples of musical aspects we make decisions about are: Where do notes lead? Over a phrase, where do groups of notes lead (that is grow or move into each other), what is their overall shape? How connected are notes? Do they have stronger or more gentle articulation?  Timing: do you stay steady? Linger on an important moment, do you have a sense of rushing or moving forward?  What kind of sound quality are you trying to produce? A dark tone? Rich and warm tone?  Silky or feathery tone?  The questions are infinite, but most musicians have strong opinions about all these factors because they hear the piece as a “whole.”

Your decisions might be affected by what you’ve listened to, what you think the spirit of the music is, or what it means to you.  It’s truly amazing how differently people can hear things.  I’ll never forget a hilarious instance when I borrowed a colleagues part for the Bartok concerto and in a section where I had pencilled in “warm”, she had pencilled in “tortured”.  We joke that both markings really meant “use more vibrato.”

If composers tried to mark all these details into the score, the music would be covered in ink and practically illegible.  It would also take a lot of the creativity and fun out of interpretation.
I took a wonderful class at the University of Montreal one year called “interpretation” where we listened to various recordings of great artists and literally tried to notate all their musical decisions.  We had to blow up the scores to be able to fit all the subtle details in.  It was also remarkable to see from this perspective how “plain” the music really is.

Sometimes, the music is downright illogical, or confusing.  At the end of the famous 3rd movement “Heiliger Dankgesang” of Beethoven’s Op. 132 quartet that we will play this coming season, Beethoven writes a series of repeated notes, but ties them together with slur markings.  Usually, when you see this marking connecting two notes that are the same, it means there is no separation, that is play it like one long note.  However, Beethoven could easily have just written one long note instead of tying together smaller note divisions.  Does this mean you are supposed to make tiny separations?  Pulse each note division?  Perhaps Beethoven wanted the subdivisions of the beat felt more strongly but not emphasized under a long held note? Larry decided to research what other quartets had chosen to do and listened to a myriad of recordings from all different time periods.  He notated their solutions on a separate piece of paper and brought them to rehearsal.  There were almost as many interpretations as there were quartet recordings!  We still have not come to a final decision about how we will play that one important bar, but look forward to lively discussion and experimentation to test ideas and come to a unified musical decision. 

Until next time,
Esme

Wednesday, October 24, 2012

"Why We Do It – Reflections on Opening Night”


After our recent concert opening The Arts at Trinity series in Wilmington (DE), my quartet mates and I shared an exchange of messages from several concert-goers that was especially gratifying. It highlighted for me, rather dramatically, and certainly very movingly, “why we do it”.

Why do we do it? Why do we play string quartets??  Well - for the music, for the art, for the process , of course!

But …let me tell you what happened this time.

Larry’s message was from a father who is seeking the best spot for his daughter, a high-school cellist, to attend college as a music major.   The father was relating how special it was for his daughter to be there, to talk with Larry afterwards, and to hear “the wonderful music Serafin String Quartet provided”. The gentleman said he drove almost 100 miles to get there will do it again in April (when SSQ will return to close Trinity’s season). “Every mile was worth driving,” the man wrote. How heartwarming for us to connect with this caring and attentive father, and how exciting that we were able to deliver an experience for his daughter, and for him, that they both want to repeat!!

Tim received a message from an adult amateur violinist who plays in the Community Orchestra. Hearing us play the Dohnanyi Piano Quintet triggered a touching reminiscence of her dear, life-long pianist friend, now in elder years and experiencing dementia. Today, her pianist friend can only poke a few notes out here and there, but at the time she “played a pretty mean piano!”  This listener was spirited back 25 years, recalling how she and her friend, with some devoted others, read through the Dohnanyi from time to time,  Hearing the quintet flooded this listener with memories of reading through the piece with this friend and their happy satisfaction at exploring this wonderful work together. “I treasure those times,” she wrote, “they were some of the most valuable times of my life. It’s what I call feeding the soul.” How gratifying for us to be a conduit for this listener to recall and reconnect with “what matters”.

I also received a message – mine from one of my nearest and dearest friends, who described herself as an “unsophisticated” listener, new to classical music. She shared with us her amazing experience of finding a thrilling and profound connection to her emotions while listening to the Mozart, Beethoven and Dohnanyi – each one evoking in her a different landscape of feelings, images and ideas. It was one of the most “tuned-in” expressions of the connecting to the content of the music that I have heard – and prompted me to assure her that, far from “unsophisticated”, she actually is tapped in to the real essence of the music - and completely “getting it” at the most important level –  listening with a sophisticated heart!! For more than 30 years she believed she did not, would not, or could not appreciate classical music.  How thrilling for us to be part of her discovery of the varied, deep, and expansive world of classical music and the riches it delivers to the attentive listener!!

These messages spanned 3 generations – and each was dramatic, heartfelt and enthusiastic – reinforcing my confidence in the greatness of the artworks of chamber music that we are so privileged to perform. And, more importantly - it reinforced to me their inherent accessibility and ability to touch any receptive heart!   This, I must say, is why we do it!!

-Kate Ransom  


Wednesday, October 10, 2012

A Musical Welcome


Last fall, I made a big life change: moving from Canada to the US indefinitely to join the faculty of the University of Delaware.  Luckily, the first people I got to know in my new home were the Serafin String Quartet.  Before I was a member, before even beginning to teach at the University of Delaware, my first experience here was preparing for a concert with them when former violist Molly Carr had a conflict.  I was immediately drawn into their special world of music-making.  Apparently, I was also on trial for the job, and I can assure everyone that if you are going to audition for anything, it's best to be unconscious of the fact.  Much more pleasant! 

I want to talk a little about the rehearsal process I dove into last August, as I feel that's at the heart of what makes this group so wonderful.  Quartet playing is about communication: you are all trying to craft a powerful message to the audience, and as anyone who watched the recent presidential debates can attest, there are thousands of tiny details that affect the impact and the presentation of this message. The way four different people with vastly different backgrounds, perspectives, and talents arrive at a unified concept is fascinating. Firstly, there are the raw materials.  Everyone has their own unique way of hearing the piece they are playing together.  How they hear their own line, but also how they hear the group’s message can be very different at times.  What's amazing is that before any words are even spoken, with sensitive listening, quartet musicians respond to what the others are playing, and thus communicate their intentions.  Like good friends or family members who bring out the best in you, quartet mates challenge your ideas.  I’m an idealist, believing that though the best product comes from experimentation with many ideas, we can still arrive at a consensus.  The curiosity and openness of this group, but moreover  the dedication to excellence when musical ideas are formed, is truly inspirational.  Right away, the Serafins felt like the best musical friends I could hope for.  

I can’t resist taking a second here as I introduce myself to say a word about the viola.  Canadians are notoriously poor self-promoters, likewise violists, but I think I can get away with it in this, my first blog-post.  For me, the middle voices are the heart, the inner warmth of chamber music.  Of course we have our solo moments and, like all instruments in a string quartet, have to play many roles at different times.  But the essential role in much of the classical repertoire we play is a contrapuntal inner voice, representing the tenor or alto voice.  In the works of great composers (e.g.  Mozart, Beethoven, Brahms, all on the menu this delicious season!) the inner voices add an amazing dimension.  They are often the parts lending subtle harmonic colour to a melody, or providing some rhythmic undercurrent that transforms the meaning of the piece’s main line.  In the case of Beethoven’s Harp Quartet, which we will perform October 20th at Trinity Episcopal Church, the viola provides a harrowing counterpart  to the first violin’s serene opening melody in the second movement.   When I am an audience member and I catch myself emotionally disengaged, I take a moment and listen to the workings of the inner voices.  Usually in moments I am a weepy puddle.  In fact this technique is not recommended on dates, or any moments where you would prefer to look respectable post-concert.  However, if you are seeking an intense, overwhelming classical music experience, the inner voices are where it’s at!

Until next time,
Esme Allen-Creighton
https://mail.google.com/mail/images/cleardot.gif

Sunday, July 15, 2012

Next Season: Beethoven to Beethoven, and everything in between

So, while it might seem that we simply left our blog on the vine to die, we are very much here, and excited to announce repertoire for our 2012-13 season! Here goes:

We begin with a couple of exciting collage concerts, one for a second annual Beethoven & Brewskies event at the Twin Lakes Brewery in Greenville, Delaware (a private affair - sorry), where we'll give a sampler of works by Haydn, Mozart and Beethoven (and as I type this on my iPhone, it keeps getting mis-typed as "Beerthoven", which I suppose is appropriate!).

If "Beerthoven" existed, he'd look like this.

On Saturday, September 22, we take our String Quartet Time Machine to the Kennett Flash in Kennett Square, PA, giving a dash through history from Haydn to Higdon (with Mozart, Beethoven, Schumann, Dvořák, Ravel and Martinů in between). The Flash is a very fun, hip venue, and we're delighted to make our debut there.

This will mark our second season providing bookend concerts for the Arts at Trinity series in Wilmington, with some exciting repertoire and guests. October 20, 2012 (Saturday) will offer a delightful early work of Mozart (the D Major Divertimento), a middle-Beethoven classic (the "Harp" Quartet) and very youthful Dohnanyi (the Op. 1 Piano Quintet - with the fantastic pianist Victor Asuncion). We finish the Trinity season on April 20, 2013, with Puccini's gorgeous Crysanthemi, Mozart's g minor Piano Quartet (with our friend & colleague, the wonderful Julie Nishimura) and the thrilling a minor string quartet of Robert Schumann.

In March, we've got some very exciting university-related activities.  At the end of the month, we will be at Dickinson College in Carlisle, PA, for a residency.  We will be working with students, giving workshops, and presenting a performance including Haydn's "Sunrise" Quartet and the monumental Beethoven Op. 132 a minor Quartet, on March 23, 2013 (time and exact location TBA).

Earlier in March, we will present our annual concert celebrating our ongoing residency at the University of Delaware. We are delighted and honored to be Quartet-in-Residence again at UD's Department of Music, where we will continue to work with students in chamber music and give on-campus concerts and "informances".  Our formal UD concert will be in the lovely Gore Recital Hall on Sunday, March 10, 2013, at 3:00 PM, featuring the Beethoven Op. 132 and the hauntingly beautiful Il Tramonto of Respighi, with the wonderful soprano Noël Archambeault, who serves on the UD voice faculty.

Other concerts will be popping up from time to time, and members of the quartet have interesting individual and joint projects planned, but we'll save all that for another post.  Hope to see you at our concerts this coming season!

Cheers,
Larry