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Brentwood

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J Registered Charity Number: 1060821

The Dulcinea Quartet

Q_ Thursday 10th July 2014

The Dulcinea Quartet The Dulcinea Quartet was formed in 2008 at the Royal Academy of Music. In 2011 the Quartet was joined by cellist Hannah Masson-Smyth, followed by violist Martin Wray in 2012. Whilst studying at the Academy, the Dulcinea Quartet has participated in masterclasses with the Wihan, Skampa and Vanbrugh Quartets. They have received coaching from eminent musicians such as Thomas Brandis, Martin Outram, Garfield Jackson, Hartmut Rohde and Richard Deakin. The Quartet was commended for their performance of Schumann's String Quartet No.2 in the Wolfe Wolfinsohn Quartet Prize. They perform frequently in and around London and are continuously looking for new and exciting repertoire. The Quartet also enjoys performing modern works and are part of 'ANIMA', a small chamber ensemble which plays contemporary music alongside animated films. The Dulcinea Quartet recently toured Japan and are looking forward to returning in 2015.

Martin Wray Martin studied at the Guildhall School of Music and Drama under the tutelage of Mark Knight. After graduating with a 1st Class Honours degree, he then completed an MA at the Royal Academy of Music with Martin Outram. During his years of study he was involved in Masterclasses with renowned ensembles and individuals such as the Belcea, Endellion, Chilingirian, Henshcel and Wihan Quartets, Guy Johnston, Garth Knox, Tatjiana Masurenko and Maxim Vengerov as well as working with conductors such as Sir Colin Davis and Semyon Bychkov. As a student, Martin was fortunate enough to have been granted the Mary Cook award by the Brentwood Arts Council and the Hutton and Shenfield Choral Society. Martin has a

great deal of orchestral experience, playing with orchestras throughout London and the U.K including guest sub-principal with the BBC Scottish Symphony Orchestra, as a regular extra with the London Philharmonic Orchestra, recently giving the premiere of Gorecki's Symphony No. 4, as well as featuring as a backing artist for BBC, ITV, Channel 4 and BBC Radio on numerous occasions. As an active performing member of the Dulcinea String Quartet, Martin has appeared on stage at all the major London venues and has toured individually throughout Europe, China, Japan and Canada.

Minn Majoe Minn recently graduated with a first class Master of Arts degree from the Royal Academy of Music. She learnt with Maurice Hasson, and previously with Clio Gould. During her studies she led the RAM Concert, Manson and String Orchestras, Opera Orchestra and took part in the collaboration with the Juilliard School of Music, culminating in a BBC Prom. Minn enjoys performing contemporary works as a soloist, chamber and orchestral musician. Contemporary orchestras she has performed in include the London Sinfonietta, Lucerne Festival Academy 2013 and London Sinfonietta Academy 2011. She was selected for the 2012-13 London Symphony Orchestra's elite String Experience Scheme and Birmingham Royal Ballet's mentor scheme. Minn has worked in many UK orchestras including the Royal Philharmonic Orchestra, Britten Sinfonia, Royal Liverpool Philharmonic Orchestra, London Symphony Orchestra and English National Opera.

Haru Ushigusa Haru recently graduated with a first class Master of Arts degree from the Royal Academy of Music. She learned with Tomotada Soh and previously with Jyunko Isono at Toho Gakuen Music High School in Japan. During her studies at RAM she was supported by the Rohm Music Foundation and awarded prizes including an entrance scholarship, the James Wright Award and Foundation Award 2011. Haru was also selected for the semi-final of the Sendai International Music Competition 2013 and performed Bartok, and Mozart 2 n d Violin Concerto with Sendai Philharmonic Orchestra. Haru has been a violinist in the Dulcinea Quartet since 2009.

Hannah Masson-Smyth Hannah studied at the Royal College of Music with Alexander Boyarsky, graduating in July 2013. Before starting her studies at the RCM, Hannah was principal cellist with the Bromley Youth Symphony Orchestra and Chamber Orchestra and during her time with the orchestras performed the Boccherini Cello Concerto in G Major at the Fairfield Halls, Croydon, as well as being a first prizewinner in the Norman Trotman Instrumental Competition. Hannah was a member of the National Youth Orchestra of Great Britain for two years, performing under conductors such as Vasily Petrenko, Antonio Pappano and Semyon Bychkov. Since studying at the RCM Hannah has played a number of recitals in venues across London and has participated in Masterclasses with Johannes Goritzki, Julian Lloyd Webber and Guy Johnston.

Programme

String Quartet in C Major, K465 "Dissonance" Mozart

Langsammer Satz Webern

Interval

String Quartet in E minor Elgar

Wolfgang Amadeus Mozart (1756 -1791) - String Quartet K. 465 - "Dissonant"

Mozart's String Quartet K.465 was the last of six quartets that he dedicated to Joseph Haydn. Referring to the six quartets as his sons, Mozart, in his dedication talks of sending them out into the world, entrusting them to the guidance of a celebrated man and good friend. Throughout their lives, both composers had publicly voiced their appreciation for the other's talents and had become very close. Mozart, believing Haydn to be the father of string quartet writing, was overjoyed that his idol was present at the premiere of the Dissonant quartet at Mozart's Vienna apartment in 1785.

Glancing at Mozart's own autograph score situated in the British Library in London, the page is full of secondary ideas and possible 'improvements.' About the quartet, Mozart wrote that it was, "the fruit of a long and laborious endeavour." Despite being a four movement work, the subtitle of the piece derives only from its slow introduction. Building from the cello repeated notes, a series of tense and unresolved harmonic clashes creates a real sense of uncertainty, adding layer upon layer of intensity. Eventually, these suspensions give way to a cheerful and innocent C major theme and, in the style of Haydn, each instrument is given an equally important role throughout.

Anton Webern (1883 -1945) - Langsamer Satz

When Anton Webern is mentioned, one often thinks of Serialism, 12 tone rows and shockingly abstract, angular soundscapes. However, early examples of Webern's music show just how deeply connected he was with the Viennese, late 19 t h Century romantics. Written in 1905, the Langsamer Satz was originally conceived as a compositional exercise, analysed, refined and revised with Arnold Schoenberg at his side. Aside from the analytical, musical mathematician that we are so familiar with, Webern's Langsamer Satz for string quartet is an outpouring of love, full of intensity and canonic, romantic melody lines.

The piece was never published in the composer's lifetime and the earliest known performance was not until 1962, 17 years after the composer's death. Around the same time as the work was completed, a diary entry in Webern's journal describes a walk in the countryside with his soon-to-be fiancee: "To walk like this among the flowers with my dearest one beside me, to feel oneself so entirely at one with the universe, without care, free as the lark in the sky above - oh what splendour... Our love rose to infinite heights and filled the universe. Two souls were enraptured."

Edward Elgar (1857 -1934) - String Quartet in E minor

Written in 1918, Edward Elgar's String Quartet Op. 83 is the composer's only surviving quartet. Various efforts had been made 10 years previously. In fact, a quartet had been completed but Elgar had destroyed these manuscripts, clearly unhappy with his work. Other attempts had been set aside in order to dedicate his full attention to the First Symphony, a work that had been an ambition as early as 1898. It is quite possible that many of his original ideas from the now destroyed Op. 8 string quartet were absorbed into this symphony, most notably the famous opening melody. After the first symphony's completion, the opportunity for a quartet finally presented itself.

The commission came from Carl Fuchs, the Brodsky Quartet's cellist, who was introduced to the composer at a performance of the Enigma Variations in Manchester in 1907. It was not until 1917 that work on the quartet finally began in earnest. However, illness and wartime-London depression had affected Elgar's compositional output. He felt the need to escape, away from the cares of city living in order to make a significant start on the work. With Lady Elgar's help, he retreated to Brinkwells, a small cottage in the secluded Sussex countryside, and there was able to create without interruption. The piece received its premiere in May 1919 at The Wigmore Hall, London.

Special Thanks The Dulcinea Quartet is extremely grateful to the following individuals and organisations for their support: Paul Showell and London Festival Sinfonia, Meeling Wong, Eiichiro Mandai, Kheng Wong, JTW220, Tadahisa Matsuda, Michael Gasparro, Kiyoshi Fujimoto, A E Hobbs Ltd, Rosalinda and Chris Wray, The Brentwood Musical Society and Brentwood Arts Council.

Brentwood Musical Society thanks Brentwood Arts Council, Brentwood Borough Council and Essex County Council for their financial support, making this evening's recital possible