Past Events
Romance and Fantasy
Midnight Scene by Abraham Pether (1756–1812)
“absolute elegance”
–Sydney Arts Guide, December 2020
Luscious Romantic works for cello and piano, interpreted by two of Ironwood’s core members – Daniel Yeadon and Neal Peres Da Costa. The Sydney-based duo will draw on their extensive research to explore the intriguing performance practices of the nineteenth century – expressive portamenti, heavenly rubati and rippling arpeggiandi. Immerse yourself in the uniquely combined sounds of a beautiful antique cello by William Forster II and a replica of a 19th-century Streicher piano.
Program
(no interval) Doors open at 2.30pm
Robert Schumann (1810–1856)
Fantasiestücke Op. 73
II. Zart und mit Ausdruck
II. Lebhaft, leicht
III. Rasch und mit Feuer
Programme
Johannes Brahms (1833–1897)
Ballade in G minor Op. 118 No. 3
Improvisation after J.B. Cramer Prelude
Brahms: Intermezzo in A major Op. 118 No. 2
Max Bruch (1838–1920)
Canzone Op. 55
Brahms: Sonata in E minor Op. 38
II. Allegro non troppo
II. Allegretto quasi Menuetto
III. Allegro
Artists
Neal Peres Da Costa (piano after J.B. Streicher & Sohn c.1868), Daniel Yeadon (cello)
Prussian Frogs and Bohemian Princes
Divine and distinctive string quartets by Haydn and Beethoven. Haydn’s opus 50 quartets were dedicated to the Prussian King Frederick William II, with number 6 nicknamed as ‘The Frog’ after a special ‘bariolage’ effect in its final movement. Beethoven’s opus 18 string quartets were commissioned by the Bohemian prince Joseph Franz von Lobkowitz, and are widely acclaimed as some of the finest chamber works ever written.
Program
Franz Joseph Haydn (1732–1809)
String Quartet Op. 50 No. 6 in D Major
I. Allegro
II. Poco Adagio
III. Menuetto (Allegretto)—Trio
IV. Finale—Allegro con spirito
Ludwig van Beethoven (1770–1827)
String Quartet Op. 18 No. 2 in G Major
I. Allegro
II. Adagio cantabile—Allegro—Tempo I
III. Scherzo (Allegro) and Trio
IV. Allegro molto, quasi Presto
Artists
Rachael Beesley and violin Julia Fredersdorff (violins), Simon Oswell (viola), and
Daniel Yeadon (cello)
Trésors des Pianistes
After a rapturous reception for our performance of Saint-Saëns’ piano quintet last year we continue our exploration of French Romantic piano music with a beautiful work by Louise Farrenc. A professor of piano for over thirty years at the Paris Conservatoire, Farrenc had connections with many of the great figures in musical history, and was also celebrated as a concert pianist and composer. ‘Les Trésors des Pianistes’ is an anthology of great works for the piano, edited by Farrenc and encompassing three centuries of music from across Europe. We complement Farrenc’s lyrical first piano quintet with one of Schubert’s charming early string quartets.
Program
Franz Schubert (1797–1828)
String quartet, no. 7 (D94) in D major
I. Allegro
II. Andante con moto
III. Menuetto—Trio
IV. Presto
Louise Farrenc (1805–1875)
Piano quintet no 1 in A minor, Op. 30
I. Allegro
II. Adagio non troppo
III. Scherzo (Presto)
IV. Finale (Allegro)
Artists
Rachael Beesley &Caroline Hopson (violin), Simon Oswell (viola), Daniel Yeadon (cello), Robert Nairn (double bass), Neal Peres Da Costa (Erard grand piano, Paris c.1869)
Romantic Dreaminess and Turbulence
In our final season for 2018 we present a piano quintet by the French composer Saint-Saens, taking the listener on a journey from turbulence to triumph. This is complemented with Puccini's little gem Crisantemi and Mozart's delightful early string quartet KV156.
Program
Wolfgang Amadeus Mozart (1756–1791)
String quartet in G major, KV156
I. Presto
II. Adagio
III. Tempo di Menuetto
Giacomo Puccini (1858–1924)
Crisantemi for string quartet
I. Andante Mesto
Camille Saint-Saëns (1835–1921)
Quintet for piano and strings in A minor, Op 14
I. Allegro moderato e maestoso
II. Andante sostenuto
III. Presto
IV. Allegro assai, ma tranquillo
Artists
Robin Wilson and Anna McMichael (violins), Simon Oswell (viola), Danny Yeadon (cello), Neal Peres da Costa (keyboard)
Classical Lyricism & Fervour
We return for Season 3 in September, with a pair of highly expressive string quartets which explore the textures and turbulence of Juan Crisostomo de Arriaga and Felix Mendelssohn.
Juan Crisostomo de Arriaga y Balzola was known as the ‘Spanish Mozart’ – not just because of his easily accessible and lyrical style of writing, but also because he was considered to be a child prodigy. Tragically he died at the age of nineteen, and thus is as much recognised for his potential as his actual compositions. Arriaga’s String Quartet No. 3 in E flat major boldly challenges the Haydn-Mozart models to align more closely with the harmonic style of Louis Spohr. Composed when Arriaga was just seventeen, the subjects of each movement vary dramatically from lyrical to intensely driven. The program concludes with Felix Mendelssohn’s String Quartet No. 2 in A minor (Op. 13) – the work displays influences of Beethoven throughout, and is most noted for its passionate harmonic intensity and youthful fervour in its melodic themes.
Program
Juan Crisóstomo de Arriaga y Balzola (1806–1826)
String Quartet No. 3 in E flat major
I. Allegro
II. Pastorale—Andantino
III. Menuetto—Trio
IV. Presto agitato
Felix Mendelssohn (1809–1847)
String Quartet Op. 13 in A minor
I. Adagio—Allegro vivace
II. Adagio non lento
III. Intermezzo—Allegretto con moto
IV. Presto
Artists
Rachael Beesley and Anna McMichael (violins), Simon Oswell (viola), Danny Yeadon (cello)
Viennese Treats
Season 2 combines the dramatic sonority of Beethoven with a lush piano quartet by his scarcely heard-of contemporary, Anton Eberl.
Ludwig van Beethoven’s engaging String Trio No. 1 in G major was composed when he was just twenty-eight and is one of his early explorations in string chamber combinations, before he discovered the medium of the string quartet. The work has the stature of a string quartet and requires considerable dexterity and stamina to perform. Ironwood continues its exploration of the piano music of Anton Eberl with his Piano Quartet in G minor. Eberl studied with Mozart and was known as a foremost piano virtuoso and teacher in Europe. Some of his music has been described as being as good as or better than Beethoven, and his compositions were so frequently published under Mozart’s name that Eberl on one occasion sent a public amendment to a German newspaper. The two works presented in this program embody the sonorous decadence of proto-Romantic music.
Program
Ludwig van Beethoven (1770–1827)
Trio in G major for violin, viola and cello, Op. 9, No. 1
I. Adagio—Allegro con brio
II. Adagio, ma non tanto, e cantabile
III. Scherzo—Allegro
IV. Presto
Anton Eberl (1765–1807)
Piano quartet in G minor, Op. 25
I. Allegro con spirito
II. Adagio
III. Scherzo—Allegro assai
IV. Rondo—Vivace assai
Artists
Anna McMichael (violin), Gabrielle Kancachian (viola), Danny Yeadon (cello), Neal Peres da Costa (piano)
Legends & Memories: Australian old and new
Season 1 starts the year with a celebration of Australian music - with the unique musical languages of Nineteenth Century composers Alfred Hill and Percy Grainger, drawn together by the musical explorations of Tim Dargaville.
In Tim Dargaville’s words:
“These 11 short pieces for string quartet mark the beginning of a collection entitled ‘The Book of Memory and Forgetting’. My reasons for wanting to make these works are complex. A significant impetus has been to remember the life of my mother, and to make sense of her last years in the strange landscape of dementia. Writing this work has also helped me accept the loss of her.
Rosemary Dargaville (1934–2013) was feisty, loving and articulate. A lifelong campaigner for social justice, for her, language was a sophisticated tool for passionate expression of feelings and ideas. With the onset of dementia in the last decade of her life, Rosie gradually lost both her physical mobility and her mastery of words. Perceptions of past and present became increasingly intermingled and her language took strange and often beautiful forms, with sentences disappearing, or disparate thoughts connecting. In her last days Rosie’s need to make contact was expressed through wordless singing, and through interacting with ever-present recorded music. Music was the most important solace for her and music for strings was a particular favourite.
These ‘Lost Pages’ are in remembrance of Rosie. Her life has inspired the creation of music that speaks in unexpected ways – abrupt changes in direction, familiar musical objects in unfamiliar circumstances, gradual disappearances of recognisable traits. Movements I - V of the set are distinct portraits while Movements VI - XI take these same pieces into states of dissolution and disappearance.
I would very much like to thank the members of Ironwood for their commitment to this project, and for the care they have taken in bringing this score to life.”
Composer and violinist, Alfred Hill was born in Australia and raised in New Zealand. Hill’s second string quartet ‘A Maori Legend in Four Scenes’ is one of his better known works, and was premiered by the Austral Quartet in the year it was completed (1911). The four movements capture beautifully the four scenes from the legend, as depicted in Hill’s detailed concert notes:
“In the forest guarded against man by the potency of a Karakia (talisman) grew the giant kauri (a beautiful New Zealand tree), from which Rata, the hero, would fashion the canoe to bear him across unknown seas. Entering the forest as Taniwha (the grim monster) and Kotuku (a beautiful crane) were engaged in deadly combat, Rata felled the tree. That night he dreamt he heard Kotuku's cry for aid. Changing into a beautiful Maiden, she told how the wicked Tohunga (priest) has cast a spell on her and Taniwha was endeavouring to make her reveal the Karakia. She informed Rata that his labours would be in vain unless he knew the magic formula, and promised to teach it to him if he would kill Taniwha. Next day Rata found the kauri waving gloriously again and beneath it lurked Taniwha. Rata boldly slew the monster and in its place stood the lovely maiden of his dream. From her he learned the formula which he recited to Tane (the forest god). As he did so the air became full of the cry of countless birds. Circling the tree they pecked and pecked until it fell, then fashioning it into the noblest canoe that the world has seen. Dedicating it to Tane, the lovers and birds chanted the mystic Karakia, Ki te urunga te waka.”
Percy Grainger’s ‘Molly on the Shore’ was originally composed for string quartet, and explores the textures of two contrasting Irish reels ‘Temple Hill’ and ‘Molly on the Shore’.
Program
Tim Dargaville (b. 1962)
Invisible Dance, followed by:
Lost Pages from The Book of Memory and Forgetting
11 short pieces for string quartet
Alfred Hill (1869–1960)
String Quartet No 2 ‘A Maori Legend in Four Scenes’
The Forest (Allegro Agitato)
The Dream (Adagio)
The Karakia (Scherzo)
The Dedication and Launching of the Canoe (Finale)
Percy Grainger (1882–1961)
‘Molly on the Shore’
Artists
Anna McMichael and Rachael Beesley (violins), Simon Oswell (viola), Danny Yeadon (cello)
Early Romantic Gems
In Season 4 we celebrate the advent of Romantic style with Cambini's String Quartets Op. 21 nos 1 and 3, unusually scored for violin, 2 violas and cello. Eberl studied with Mozart and was known as a foremost piano virtuoso and teacher in Europe. Some of his music has been described as being as good as or better than Beethoven. His Piano Quintet op. 41 for violin, two violas, cello and piano is instantly appealing and imaginative in approach to form pushing the boundaries and heralding Romanticism. We welcome violists Deirdre Dowling and Gabrielle Kancachian for this final program in our 2017 season.
Program
Cambini (1746–1825)
String quartet in D major for violin, 2 violas and cello, Op. 21, No. 3
I. Allegro
II. Rondeau allegretto
String quartet in B flat major for violin, 2 violas and cello, Op. 21, No. 1
I. Allegro
II. Rondeau allegretto
Anton Eberl (1765 – 1807)
Grand piano quintet in G minor, Op. 41
I. Allegro con fuoco
II. Adagio ma non troppo
III. Allegro
Artists
Anna McMichael (violin), Deirdre Dowling, (viola), Gabrielle Kancachian (viola), Daniel Yeadon (cello), Neal Peres Da Costa (historical piano)
A Perfect Combination
Season 3 explores the world of the revered Classical-era string quartet offering Australian audiences a unique opportunity to hear such works played on gut strings with keen awareness of period performing practices, restoring the musical language and expressivity expected by such composers as Mozart and Haydn.
Amongst the well-known quartets of these two giants, the programme offers a musical rarity in the String Quartet no. 4 by the German Christian Ernst Graf, a composer whose works are transitional in nature but demonstrate melodious inventiveness at its most charming.
Program
W. A. Mozart (1756–1791)
String Quartet K.157 in C major (1772/3)
I. Allegro
II. Andante
III. Presto
Christian Ernst Graf (1723–1804)
String Quartet No. 4 in D Major (1760s–1770s)
I. Adagio
II. Allegro
III. Gratioso
Joseph Haydn (1732–1809)
String Quartet, Op. 77, No. 2 in F major (1799)
I. Allegro moderato
II. Menuet—Trio
III. Andante
IV. Vivace assai
Artists
Rachael Beesley (violin), Anna McMichael (violin), Simon Oswell (viola), Daniel Yeadon (cello)
From Schumann to Brahms: New Paths
Season 2 draws audiences into the highly expressive world of Robert Schumann and his close musical ally Johannes Brahms. Hailed for its illuminating forays into the performing style of the nineteenth-century German school, Ironwood presents Schumann’s “extroverted and exuberant” Piano Quintet in E flat op. 44, arguably the first work for piano and strings that revolutionised the piano quintet form in the Romantic era.
Composed in Schumann’s so-called Chamber Music Year of 1842, Clara Schumann who championed the work throughout her life described it as “splendid, full of vigour and freshness”. The Quintet is complemented with Brahms’ Piano Trio in C Major op. 87 composed in 1880-2, when the composer had reached the height of his financial success and maturation as a composer. Schumann, in his famous article Neue Bahnen (New Paths), had already extolled Brahms as “destined to give ideal expression to the times.” Brahms was extremely happy with this work commenting to his publisher:
“You have not yet had such a beautiful trio from me and very likely have not published its equal in the last ten years.”
Program
Johannes Brahms (1833–1897)
Piano trio in C major, Op. 87
I. Allegro
II. Andante con moto
III. Presto
IV. Allegro giocoso
Robert Schumann (1810–1856)
Piano quintet in E flat major Op. 44
I. Allegro brillante
II. In modo d’una Marcia (Un poco largamente)
III. Scherzo (Molto vivace)
IV. Allegro ma non troppo
Artists
Robin Wilson (violin), Anna McMichael (violin), Gabrielle Kancachian (viola), Daniel Yeadon (cello), Neal Peres Da Costa (historical piano)
The Poetic and the Fantastic
In Season 1 we present the rich and unusual sounds of the seventeenth-century stylus fantasticus era. Heinrich Schmelzer, the famous composer associated for much of his life with the Habsburg Court in Vienna, developed string playing style and technique influencing later European masters including Heinrich Ignaz Franz Biber and Johann Sebastian Bach.
Schmelzer’s Sacro-profanus concentus musicus explores diverse character pieces such as Die Fechtschule (The Fencing School evoking battle) and the famous homage on the death of the Holy Roman Emperor Ferdinand III - Lamento sopra la morte di Ferdinand III, which exploits rhetorical gestures representing words and feelings from the art of Musica Poetica. Biber’s Mensa Sonora gives an insight into the furtive imagination of this most interesting of seventeenth-century composers who pushed the boundaries of style and effects. The organist and violinist Dietrich Becker’s rarely heard instrumental works are among the most rich and inventive of the seventeenth century.
Violinist Julia Fredersdorff on this programme:
"I think one of the most notable things about the music we are going to be playing is the context in which it was written. The late 17th Century in Germany was a bleak time amidst the death and destruction of the Thirty Years War. The composers lives were all touched by the horrors of one of the most destructive wars Europe has ever seen, and amazingly enough, this inspired them to compose music of great beauty. This may be seen as irrefutable evidence of the human spirit’s indomitable ability to find hope and beauty in the ashes of even the greatest tragedies."
Program
Dietrich Becker (1623–1679)
Pavan
Johann Heinrich Schmelzer (c. 1623–1680)
Lamento Sopra la Morte di Ferdinand III
Johann Jakob Froberger (1616–1667)
Toccata in D for solo harpsichord
Schmelzer
Fechtschule (Aria 1, Aria 2, Sarabande, Courente, Fechtschule, Bader Aria)
Becker (Sonata no. 3 Introduction, Adagio, Adagio, Presto, Conclusion)
Dieterich Buxtehude (1637–1707)
Sonata à 3 in G major
(Allegro, Adagio, Allegro, Adagio a 3, Allegro, Adagio, Allegro)
Heinrich Ignaz Franz von Biber (1644–1704)
Mensa Sonora Pars III
(Gagliarda, Sarabanda, Aria, Ciacona, Sonatina)
Artists
Julia Fredersdorff (violin), Anna McMichael (violin), Katie Yap (viola), Daniel Yeadon (cello and viola da gamba), Neal Peres Da Costa (harpsichord and organ)
Elgar’s piano quintet
Program
Edward Elgar (1857–1934)
Piano Quintet in A minor, Op. 84
Artists
Robin Wilson (violin), Rachael Beesley (violin), Simon Oswell (viola), Daniel Yeadon (cello), Neal Peres Da Costa (piano)
Prussian Inspiration: string quartets for King Wilhelm
King Friedrich Wilhelm II, an enthusiastic amateur cellist was the inspiration for these three works by the masters of the Classical string quartet, Haydn, Boccherini and Mozart. All composed in the late 18th century, these quartets offer a dazzlingly display of virtuosity and charming solos, notably for the cello part. In 2016, Ironwood celebrates 10 years committed to exploring historically informed performance of repertoire from baroque, classical and romantic eras on period instruments. We are thrilled to present this special concert in Melbourne to celebrate musical friendships and 10 years of music making, exploring and sharing the music we love.
Program
Luigi Boccherini (1743–1805)
String Quartet, Op. 32
Franz Joseph Haydn (1732–1809)
String Quartet, Op. 50 (Prussian quartets)
W. A. Mozart (1756–1791)
String Quartet (Prussian)
Artists
Rachael Beesley (violin), Peter Clark (violin), Katie Yap (viola), Daniel Yeadon (cello)
Prussian Inspiration: string quartets for King Wilhelm
King Friedrich Wilhelm II, an enthusiastic amateur cellist was the inspiration for these three works by the masters of the Classical string quartet, Haydn, Boccherini and Mozart. All composed in the late 18th century, these quartets offer a dazzlingly display of virtuosity and charming solos, notably for the cello part. In 2016, Ironwood celebrates 10 years committed to exploring historically informed performance of repertoire from baroque, classical and romantic eras on period instruments. We are thrilled to present this special concert in Melbourne to celebrate musical friendships and 10 years of music making, exploring and sharing the music we love.
Program
Luigi Boccherini (1743–1805)
String Quartet, Op. 32
Franz Joseph Haydn (1732–1809)
String Quartet, Op. 50 (Prussian quartets)
W. A. Mozart (1756–1791)
String Quartet (Prussian)
Artists
Rachael Beesley (violin), Peter Clark (violin), Katie Yap (viola), Daniel Yeadon (cello)
Mozart’s Fantasy
Program
W. A. Mozart (1756–1791)
Fantasie K.397 for keyboard
Beethoven G major String trio, Op. 9 No. 1
I. Allegro
Mozart Piano Quartet in G minor, K478
I. Allegro
II. Andente
III. Rondo (Allegro)
Artists
Anna McMichael (violin), Nicole Forsyth (viola), Daniel Yeadon (cello), Neal Peres Da Costa (piano)
Schubert’s Trout
Program
Franz Schubert (1797–1828)
Piano Quintet in A major, D. 667 (Trout)
Artists
Anna McMichael (violin), Sascha Bota (viola), Daniel Yeadon (cello), Neal Peres Da Costa (piano), Rob Nairn (double bass)