Monday 13 July 2009 1.00 pm

Quatuor EbènePierre Colombet violin • Gabriel Le Magadure violin

Mathieu Herzog viola • Raphaël Merlin cello

Wolfgang Amadeus Mozart

Divertimento in F K138

Allegro

Andante

Presto

Ludwig van Beethoven

String Quartet in C minor Op. 131

Adagio ma non troppo e molto espressivo –

Allegro molto vivace –

Allegro moderato –

Andante ma non troppo e molto cantabile –

Presto

Adagio quasi un poco andante –

Allegro

Quatuor Ebène

Quatuor Ebène is one of the most sought-after quartets worldwide. In 2009 the Quartet

has taken part in Wigmore Hall’s Haydn cycle, and was given a residency at the Théâtre

du Châtelet in Paris. In 2004 the Quartet received first prize at the prestigious ARD

Competition in Munich. In June 2006 Quatuor Ebène became part of the BBC New

Generation Artists scheme, and in 2007 joined the prestigious circle of artists supported

by the Borletti-Buitoni Trust. This year Quatuor Ebène has been short-listed as best

Ensemble of the Year for the Victoires de la Musique Classique in France, and was named

Newcomer of the Year by BBC Music Magazine.

The Quartet’s chamber music partners include internationally-renowned musicians

such as Michel Dalberto, Elisabeth Leonskaja, Nicholas Angelich, Paul Meyer and The

Lindsays. Quatuor Ebène released a live Haydn CD (Mirare, Harmonia Mundi) in 2006,

unanimously praised worldwide including Album of the Month in The Strad. It recently

signed an exclusive contract with Virgin Classics-EMI, and a CD of French repertoire

(Debussy, Fauré and Ravel) was released in 2008.

THE RADIO 3 LUNCHTIME CONCERT

September 2008 – July 2009

This concert is broadcast live and presented forRadio 3 listeners by Verity Sharp, and will berepeated on Radio 3 next Saturday at 2pm

WOULD PATRONS PLEASE STIFLE COUGHING AS MUCH AS POSSIBLE. Please ensure that watch alarms, mobile phones and any other electrical devices which canbecome audible are switched off.

Wigmore Hall acknowledges generous support during the 2008/9season from the following:

Honorary PatronsAubrey Adams • Donald Kahn OBE

Corporate PartnersCafé de Colombia • Farrow and BallGide Loyrette Nouel LLP • Hobs ReprographicsHutton Collins Partners LLPLloyds TSB Private BankingMartin Randall Travel LtdRosenblatt Recitals • Simois

SupportersEric Abraham* • Aubrey Adams*Lady Alexander of Weedon* • Tony & Marion Allen*American Friends of Wigmore HallThe Andor Charitable TrustThe Anniversary PatronsThe Argentarius FoundationArts Council England • Anthony AustinAlan Bell-Berry • Mr Nicholas J Bez David & Mary Bowerman* • Alan Bradley*Nicolas & Hilary Browne-Wilkinson*Rainer & Doreen Burchett*Gwen & Stanley Burnton* • Mr E Clause*The late John Coblenz • Edwin C Cohen*The John S Cohen Foundation • Sonia & Harvey ColeThe Concertina Charitable Trust • John Crisp* Peter Crisp & Jeremy Crouch*The Coutts Charitable TrustThe D’Oyly Carte Charitable TrustThe Dunard Fund • Vernon & Hazel EllisThe Elton Family • Patrice & Frederica FeronFidelity UK Foundation • Peter & Sonia FieldFriends of Wigmore Hall • Jonathan Gaisman* John & Lauren Goldsmith*Nicholas & Judith GoodisonThe Gordon FoundationThe Milton Grundy Foundation*Mr & Mrs Rex Harbour*André & Rosalie Hoffmann • Gay Huey Evans*Graham & Amanda Hutton*Hyde Park Place Estate CharitySimone Hyman* • The Idlewild TrustJohn Lyon’s Charity • Marc Jourdren*Donald & Jeanne Kahn* • Patricia & Jerome Karet*David & Louise Kaye • Elizabeth KayeKensington & Chelsea District Nursing TrustDr Ralph Kohn FRS & Mrs Zahava Kohn*The Kohn FoundationChristian Kwek & David Hodges*The Leche Trust • Simon & Pamela MajaroThe Robert Mayer Trust for Youth & MusicMayfield Valley Arts TrustMr & Mrs Paul MorganLionel & Lynn Persey* • The Piano FundThe Porter Foundation • Dr Clive Potter*Oliver Prenn • Nick & Claire Prettejohn*The Rayne Foundation • David B Rockwell*Conchita Romero* • Charles Rose*Jackie Rosenfeld OBE, Hon. RCM*Roxanne & Leonard Rosoman • Ruth Rothbarth*The Rubinstein Circle • The RVW TrustS E Franklin Charitable Trust No. 3The Samuel Sebba Charitable TrustRichard Sennett & Saskia Sassen *Martin & Elise Smith* • The Sobell FoundationThe Steel Charitable Trust • Cita & Irwin Stelzer*John Stephens OBE, Hon. FTCLThe Stewart Family Trust Harry Teacher* • ’Scilla & Tony Thornton*The Michael Tippett Musical FoundationJohn & Ann Tusa* • Gordon VeneKlasen*Robin Vousden* • Marie-Luise WaldeckHoward de Walden Estates LimitedMichael & Rosemary WarburgAnne & David Weizmann*City of Westminster • David & Martha WinfieldThe Harold Hyam Wingate FoundationTony Wingate • The Wolfson FoundationWorshipful Company of Information TechnologistsSimon Yates & Kevin Roon*and several anonymous supporters

* also Rubinstein Circle members

Patron Friends of Wigmore HallDavid & Jacqueline Ansell • Bernard & Ann ApterMs J A Attias • Anthony AustinYvonne & George Bailey • Dr Richard BallantineNicholas & Diana Baring • Mrs Arlene BeareAlan Bell-Berry • Elizabeth BennettLeslie & Dee Bergman • Sandra & Pierre BernheimMr Samuel Berwick • Mr Nicholas J BezGeoffrey & Lynn Bindman • Mrs A D BlassElisabeth & Bob Boas • Mr & Mrs F D W BoettcherKarl Otto Bonnier • Christopher & Lorna BownKatie Bradford • Richard BridgesAngela & Peter Brookes • Sir Mervyn & Lady BrownJohn Burgess • Martin Byman & Peggy SamsonSusan Carlisle • John Chiene & Carol FergusonMrs Valerie Chinchen • Mr Colin ClarkIan Clarkson & Richard Morris • Geoffrey CollensDr Judith Collins • Mark & Cathy CorbettCelia & Andrew Curran • Edwin & Effie DatsonTimothy Daunt • C N G Dawes OBE • Pauline Del MarAlan Dewey • Mr John Dikes • Les & Marilyn DimitDr James S Dooley • Jane Douglas • Jill DresdenJ L Drewitt • David & Kate DugdaleDouglas & Janette Eden • Susan EdisonVernon & Hazel Ellis • Alexandra & David EmmersonMargaret Fenton • Patricia & Jeffrey FineDr & Mrs P R Foster • Margaret FruchterAlan & Joanna Gemes • Michael GlendinningNicholas & Judith Goodison • Peter GoodwinNigel Grice & Maeve Larkin • Felicity GuinnessBarbara & Michael GwinnellJudith & David Hankinson • Andrew HeadCharles & Rachel Henderson • Malcolm HerringHoneymead Arts Trust • Dr & Mrs Alan J HoranBob & Kathleen Ingham • Robert & Deborah JayPenny Jonas • Frances & Jeffrey JowellDr Anthony Katz • The Emmanuel Kaye FoundationWilliam & Catherine Kerr • Mr Julian KornGabor Lacko • Maryly La FolletteRenee & Theo Laub • Rose & Dudley LeighHoward Lichterman & Michael RatcliffePaul & Brigitta Lock • George LoudonWilliam Lyne CBE, AM • Anne & Brian MaceDenis Macourt • Julia MacRae • Jean MarshRaoul Mash • Iain Mathewson CMGHarriet & Michael MaunsellRuth & Michael McWilliam • Patricia MendelsonAntony & Alison MilfordChristopher Morcom QC & Mrs Diane MorcomMr & Mrs Paul MorganRodney & Kusum Nelson-JonesStanley Newman & Brian Rosenthal • Richard OakeValerie O’Connor • Donald OsterEvelyn & Eric OsterweilDr Stephen Page & Anthea MorlandRoy & Celia Palmer • Jane ParksRichard & Lynda Penrose • Shira PerlmutterMr & Mrs Michael Pescod • David PetchRoger Pettit • Mr & Mrs John PettyThe Lord & Lady PhillimoreDr R J W Phillips • Dr Marios PieridesProfessor Richard Portes CBE FBAThe Quercus Trust • Mr W ReidPearce & Beaujolais RoodRoxanne & Leonard Rosoman • Peter RossPeter Roth • Richard & Elizabeth SetchimRichard Sharp • Jackie ShearerMrs Dale Sheppard • Lois Sieff • Lucy SilverSerena Simmons & Michael Thomas • Ian SimonsJoe Smouha QC & Mrs Lucy SmouhaProfessor Ernst SondheimerOliver Stanley Charitable TrustNigel & Johanna Stapleton • S F M SteerStefan & Judith Steiner • Gill & Keith StellaThe Stewart Family Trust • Allen ThomasMrs Helen Thornton • Aminah & Michael TraskMarina Vaizey • S Vas Dias • Gerry WakelinAndrew & Hilary Walker • David & Margaret WalkerMichael & Rosemary Warburg • Lady WardDavid & Frances Waters • Mark WeaverMartin Webster & Hilary De LyonDavid & Martha Winfield • Tony WingatePhilip & Emeline Winston • Neil & Philippa WoodcockMartin G Woolley • Dr Ernst Zillekensand several anonymous Patron Friends

This is the last BBC Radio 3 Lunchtime Concert of the 2008/9 season. The next BBC Radio 3

Lunchtime Concert will take place on Monday 14 September at 1.00 pm:

Meta4 perform Shostakovich Quartet No. 4 in D Op. 83; Beethoven Quartet in F Op. 135

Wigmore Hall Live CDs are on sale in the Foyer

##

Wolfgang Amadeus Mozart (1756–1791)

Divertimento in F K138 (1772)

Allegro

Andante

Presto

The Divertimento in F major is one of a set of three such works

(K136–8) written in Salzburg in 1772 when the composer was no

more than sixteen. That is all we know about them. It is not certain

for example whether they were intended to be played by solo string

quartet or string orchestra. The fact that the viola part in the

autograph manuscript is headed ‘viole’ certainly suggests, however,

that Mozart had at least two of them in mind and that the violin

parts (jointly marked ‘violini’), if not the cello part (‘basso’), would

be doubled accordingly. At the same time they are not scored like

chamber music: the first and second violins dominate the texture,

allowing the viola and cello parts little melodic interest.

The Divertimento in F is the least generous in this respect. The viola

part joins the violins in thirds or sixths from time to time in the first

movement, the lower strings add colour below sustained violin

harmonies in the Andante, and in the middle of the Presto all four

instruments briefly take part in a little canonic counterpoint. But,

attractive though the scoring is, that is the limit of four-part enterprise

here. The other, pro-quartet side of the argument is that there are

rapid passages, most strikingly for the violins in the slow movement,

which would be uncomfortable for orchestral rather than solo strings

to accomplish. In the end, however, the discussion is little more than

academic: all three works retain their youthful zest, their rhythmic

ingenuity, their textural clarity and their melodic interest whether

performed by a quartet or a small string ensemble.

Ludwig van Beethoven (1770–1827)

String Quartet in C minor Op. 131 (1825–6)

Adagio ma non troppo e molto espressivo –

Allegro molto vivace –

Allegro moderato –

Andante ma non troppo e molto cantabile –

Presto

Adagio quasi un poco andante –

Allegro

Not the least remarkable aspect of Beethoven’s last-but-one string

quartet – his own favourite, apparently – is that only one of the seven

movements is in sonata form. Far from indicating any kind of late-in-

life disillusion with sonata form, however, the long-term construction

of the work clearly confirms Beethoven’s faith in it. In expanding the

string quartet to as many movements as he does here, treating the

two shortest as introductions to the next, and linking them in such

a way that there is no distinct break between them – nothing but

the occasional short pause in forty-five minutes of music – he is

stretching the string quartet to its limits. His strategy in both

extending the structure and finally consolidating it is to reserve the

one sonata-form movement until the end.

That is not the only strategy of course. Apart from the tonal strategy,

there is the thematic one which is initiated in the opening bars of

the first movement as a solitary violin introduces the subject of what

must be the most thorough and most beautiful example of the

ensemble fugue since Die Kunst der Fuge. While it is just about

possible to trace the thematic influence of the fugue in every

subsequent movement, it is not made explicit until the last. In the

meantime the Allegro molto vivace teasingly approximates to sonata

form, offering no second subject and little development. It has no real

ending either as it quietly yields to the very short Allegro moderato,

where a dramatic recitative and a modest violin cadenza lead directly

into the Andante – an extended theme-and-variations movement

which, as far as the string quartet is concerned, surpasses anything

of its kind in its apparently inexhaustible resources of melodic

inspiration. There are six variations exploring textures as different as

the fugal third variation (Andante moderato e lusinghiero) beginning

lugubriously on cello and viola, the fifth (Allegretto) which makes a

feature of harmonic suspensions rather than line, and the chordal

sixth (Allegro ma non troppo e semplice) with a muttered cello figure

leading into a coda elevated by ecstatic violin trills.

The brilliantly detailed Presto scherzo, with its perfectly integrated

rustic trio material, represents another superlative of its kind. It is

organised in such a way that the scherzo and trio are both played

through twice and then, just when it seems to have nowhere else to

go, it takes flight in an aerial sul ponticello coda. Approached by way

of an Adagio with an expressive value quite disproportionate to its

less then thirty bars, the closing Allegro clearly refers back to the

opening fugue, though not so much in the gruff opening gesture as

in the legato phrases that follow and echo throughout. It is a sonata-

form construction both dramatic and sublimely melodious. Although

it begins, like the opening fugue, in C# minor and retains the urgency

for much of its duration, a movement containing such exalted

material as the second subject, which is first heard in E major high on

first violin, could scarcely end in anything but C# major, last-minute

decision though it is.

Gerald Larner © 2009

36 Wigmore Street, London W1U 2BP • www.wigmore-hall.org.uk

John Gilhooly Director

THE WIGMORE HALL TRUST • Registered Charity No. 1024838

Facilities for Disabled People

For details please tel. 020 7935 2141

Wigmore Hall is a no smoking venue. No recording or photographic equipment may be taken into the auditorium,

nor used in any other part of the Hall, without the prior written permission of the management. Wigmore Hall is

equipped with a ‘Loop’ to help hearing aid users receive clear sound without background noise. Patrons can use the

facility by switching their hearing aids over to ‘T’. In accordance with the requirements of City of Westminster, persons

shall not be permitted to stand or sit in any of the gangways intersecting

the seating, or to sit in any of the other gangways. If standing is permitted

in gangways at the sides and rear of the seating, it shall be limited to the

number indicated in the notices exhibited in those positions.

Wolfgang Amadeus Mozart Ludwig van Beethoven

##