- So what are we saying,
Haydn is the best,
basically.
(laughs)
Yeah.
- Haydn is King.
- And his quartet writing in particular,
and these quartets even in particular.
- So we were hoping to,
you know,
get audience members to come away from this going,
"Wow I want to discover more Opus 20 and more Haydn".
We're hoping that the students here at U of M
are going to be the same like,
"I wanna learn Haydn and perform Haydn and study Haydn",
because it speaks and opens up all these channels
through the other composers that follow.
For us,
Opus 20 is such a seminal moment in music history.
Right?
- Oh for sure,
yeah.
- It's so underappreciated,
it's unknown,
both for audiences and players alike.
I think it works as a set of six,
for a number of reasons,
mostly because the music is so remarkable.
But it's so varied.
Emotionally varied,
gesturally varied.
We have three that end in full four-part fugues,
which was totally groundbreaking.
We have three that end in rondos,
already that breaks up the vibe.
And the emotional scope,
the landscape,
is so varied.
I think it works really well as a listening
and performance experience in a whole.
(string quartet playing)
Imagine,
I'm sure a lot of people who are going to come.
don't know these works intimately
and are going to be discovering some of this music
for the first time.
It's a tremendous experience to hear some of this stuff.
Things that you didn't really know existed
that were so powerful and so similar and so inventive.
- It's so true,
what you just said,
that didn't know existed.
I mean,
how many people will come to this concert
not having heard a large portion of the Opus 20s.
There were at least two of the Opus 20s
that I didn't know at all until we learned them
in the last few years.
It's really hard to keep up with all this stuff.
And it's so interesting and creative.
If the audience is bored hearing six Opus 20s,
it's not Haydn's fault.
It will be our fault.
So we have to make sure that we bring this music
to life and keep it interesting,
because the interest is there.
The variety is certainly there.
- That's the thing you forget.
You know, you think about Classical Period music being,
well,
it's all sort of the same vibe,
and the raised pinky finger,
and you know.
You play at weddings and the rank.
But this is such,
I mean,
you go from Opus 20 number one,
which is that really beautiful pastoral opening movement.
- I know.
- But the devastatingly emotional,
simple,
but powerful,
slow movement.
And then for instance,
f minor 20 number five is this stormy,
dramatic,
Beethovenian,
dark,
brooding.
The first two movements are devastating,
so you know,
the emotional journey is much more than you may guess
from a set of quartets written in 1771.
- Right.
- And that's I think,
one of the reasons it makes for a really interesting
evening of musical journey,
so to speak.
So I hope,
you're going to laugh,
you're going to cry,
you're going to be shocked,
hopefully will no doze off.
- No,
no.
- But I think,
I mean the balance,
I was practicing today,
you know I love Beethoven,
but he tends to ramble.
You know some of these quartets,
they go on for 50 minutes.
- Oh yeah.
- The balance of time,
he always spends exactly the right amount of time
on a thing,
or a movement,
or an idea before he moves on.
So I think it's very modern in some sense,
it doesn't test the focus of the audience and the player.
(string quartet playing)
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