A performance by the Fry Street Quartet with special guests Kathryn Eberle and Jason Hardink.https://digitalcommons.usu.edu/music_programs/1226/thumbnail.jp

Eberle, Kathryn

Francis Bayless, Anne

Fry Street Quartet

Hardink, Jason

McFaul, Rebecca

Ottesen, Brad

Waters, Robert

English

DigitalCommons@USU

Utah State University DigitalCommons@USU All Music Department Programs The Caine College of the Arts Music Program Archives 1-13-2015 Fry Street Quartet Fry Street Quartet Robert Waters Utah State University, robert.waters@usu.edu Rebecca McFaul Utah State University, rebecca.mcfaul@usu.edu Brad Ottesen Utah State University, brad.ottesen@usu.edu Anne Francis Bayless Utah State University, anne.francis@usu.edu See next page for additional authors Follow this and additional works at: https://digitalcommons.usu.edu/music_programs  Part of the Music Commons Recommended Citation Fry Street Quartet; Waters, Robert; McFaul, Rebecca; Ottesen, Brad; Francis Bayless, Anne; Eberle, Kathryn; and Hardink, Jason, "Fry Street Quartet" (2015). All Music Department Programs. 203. https://digitalcommons.usu.edu/music_programs/203 This Faculty/Guest Recital is brought to you for free and open access by the The Caine College of the Arts Music Program Archives at DigitalCommons@USU. It has been accepted for inclusion in All Music Department Programs by an authorized administrator of DigitalCommons@USU. For more information, please contact digitalcommons@usu.edu. Author Fry Street Quartet, Robert Waters, Rebecca McFaul, Brad Ottesen, Anne Francis Bayless, Kathryn Eberle, and Jason Hardink This faculty/guest recital is available at DigitalCommons@USU: https://digitalcommons.usu.edu/music_programs/203 The Fry Street Quartet Robert Waters, violinRebecca McFaul, violinBradley Ottesen, violaAnne Francis Bayless, celloWith special guests Kathryn Eberle, violin, and Jason Hardink, pianoTuesday, Jan. 13, 2015  |  7:30 pm  |  Caine Performance HallPresent Works ByBEETHOVENSonata for Violin and Piano in C Minor, Op. 30, no. 2I. Allegro con brioII. Adagio cantabileIII. Scherzo. Allegro  — TrioIV. Finale. Allegro              Guest artists from the NOVA Chamber Music SeriesKathryn Eberle, violin, and Jason Hardink, pianoIntermissionString Quartet in E-flat Major, Op. 127I. Maestoso — AllegroII. Adagio, ma non troppo e molto cantabile —Andante con motoIII. Scherzando vivaceIV. Finale. Allegro The Fry Street QuartetRobert Waters, violinRebecca McFaul, violinBradley Ottesen, violaAnne Francis Bayless, celloThe Fry Street Quartet holds the Endowed String Quartet Residency at Utah State University’s Caine College of the Arts. We gratefully acknowledge Dan C. and Manon Caine Russell for their generosity in establishing this endowment.Notes on the history of the music by Jason Hardink and Jeff CountsLUDWIG VAN BEETHOVEN                                                                  (1770-1827)VIOLIN SONATA NO. 7 IN MINOR, OP. 30, NO. 2DURATION: 28 MINUTES IN FOUR MOVEMENTS Beethoven’s opus 30 sonatas were composed shortly before a major crisis in the composer’s life, famously documented in the suicide note known as the Heiligenstadt Testament. Here for the first time, Beethoven poured out his anguish over the suffering caused by his loss of hearing and impending deafness. The note was written over the course of several days, however, and it ends by outlining his resolve to serve art and humanity with renewed humility and perseverance. Though all three sonatas of the opus 30 set were created in this atmosphere, only the Sonata in C Minor gives any hint at Beethoven’s personal struggles during the summer of 1802. The outer movements possess a stormy, vehement character unlike any of the violin sonatas thus far, prefiguring the Kreutzer Sonata of 1803.STRING QUARTET IN E-FLAT MAJOR, OP. 127DURATION: 38 MINUTES IN FOUR MOVEMENTSAll five (six if you include the Grosse Fuge) of Beethoven’s “late” string quartets were written within two years of the 9th Symphony and, like that orchestral landmark, they enjoy a mythic, almost holy status today in their respective genre. The first three (op. 127, op. 132 and op. 130 chronologically) were written on commission from the Russian Prince Nikolai Galitzin. Galitzin was an amateur cellist and generous chamber music aficionado. His request for “one, two or three” quartets came at a time when Beethoven, though fully deaf, still believed he was “on the threshold of great things.” Though it had been several years since the composer had written for string quartet, he assured his benefactor that the first work (of the eventual three) would be completed in just three months. By the time op. 127 was ready for performance, however, two full years had passed. The 1825 premiere by the Schuppanzigh Quartet in Vienna was a poorly rehearsed flop that somehow (thankfully) did not dissuade Beethoven from creating two additional quartets for Prince Galitzen and three others later without commission. With the 9th Symphony and Missa Solemnis also under construction during these important last years, Beethoven clearly was still capable of “great things” as a composer. The op. 127 string quartet earned its own rightful place a few weeks after its sad first performance, when it was redeemed by a different, more prepared ensemble led by Joseph Böhm. About Kathryn EberleViolinist Kathryn Eberle is Associate Concertmaster of the Utah Symphony. She recently made her solo subscription series debut with the Utah Symphony, performing Leonard Bernstein’s Serenade.The Salt Lake Tribune described her performance as, “marrying unimpeachable technical skill with a persuasive and perceptive voice.” Previously, Eberle was a violinist with the St. Louis Symphony and Guest Concertmaster with the Omaha and Richmond Symphonies. She served extensively as Concertmaster for the Juilliard Orchestra, including the ensemble’s tour of China, as well as performances in Avery Fisher, Alice Tully and Carnegie Halls. Eberle’s solo performances include appearances with the Los Angeles Philharmonic, the Louisville Orchestra, the Nashville Symphony, the National Academy Orchestra of Canada, the Bahia Symphony in Brazil and the Fireworks Ensemble at the Library of Congress. She has collaborated with such artists as Edgar Meyer, Jaime Laredo, Arnold Steinhardt, Ricardo Morales and members of the New York Philharmonic. An avid chamber musician, her festival appearances include Aspen, Banff, Yellow Barn, Encore School for Strings, Missillac (France), Sewanee, Laguna Beach, Innsbrook and Festival Mozaic. Eberle received a master’s degree from The Juilliard School studying with Sylvia Rosenberg. A native of Nashville, Tennessee, she was a pre-college student of Cornelia Heard at Vanderbilt’s Blair School of Music. Eberle performs on a J.B. Vuillaume, Paris, 1870.About Jason HardinkPianist Jason Hardink is the Artistic Director of the NOVA Chamber Music Series and Principal Symphony Keyboard of the Utah Symphony. His performances include a wide-ranging repertoire of music by living composers and works of the historical canon. Over the last few seasons, he has given a series of lecture recitals on Beethoven’s piano sonatas, performed a cycle of recitals situating the late piano music of Franz Schubert in dialogue with works by Second Viennese School composers, and toured with Olivier Messiaen’s monumental Vingt Regards sur l’Enfant- Jésus. Hardink holds a doctoral of music arts from Rice University, where he studied with Brian Connelly. Hardink has performed solo works of Mozart, Beethoven, Schubert, Chopin, Schumann and Brahms on period instruments, and he has toured Norway with violinist Tor Johan Bøen performing the Grieg Sonatas for violin and piano on an 1853 Blüthner. In Salt Lake City he has worked with noted guest composers such as Tristan Murail and Frederic Rzewski as a member of the Canyonlands New Music Ensemble, and he has premiered works by Utah composers Morris Rosenzweig, Miguel Chuaqui, Steve Roens, Bruce Quaglia and Steve Ricks.About the FSQHailed as "a triumph of ensemble playing" (New York Times), Fry Street Quartet has perfected a "blend of technical precision and scorching spontaneity" (Strad). Since securing the Grand Prize at the Fischoff National Chamber Music Competition, Fry Street Quartet has reached audiences from Carnegie Hall to Sarajevo and Jerusalem, exploring the medium of the string quartet and its life-affirming potential with "profound understanding, …depth of expression, and stunning technical astuteness" (Deseret Morning News).While the FSQ continues to plumb the depths of the great traditional string quartet repertoire in its concert programming, recently it has been on a tear with new commissions, collaborations and ideas.The FSQ is compelled to respond artistically to issues surrounding global sustainability. Alongside physicist and educator Dr. Robert Davies, FSQ members created The Crossroads Project: Rising Tide featuring composer Laura Kaminsky's string quartet with projections of paintings created for the project by artist Rebecca Allan, and photographs by Garth Lenz. The Crossroads Project has had more than 17 performances in the U.S., Mexico and Brazil. The project was recently featured in the Metropolitan section of the New York Times as well as Chamber Music magazine. Asecond chapter of The Crossroads Project is in the works and will feature a new work by composer Libby Larsen. The next FSQ concert on February 12, 2015, will premiere Libby Larsen’s new string quartet, and the full, multi-disciplinary expression of the concept will premiere in the fall of 2015.The Fry Street Quartet holds the Endowed String Quartet Residency at the Caine College of the Arts at Utah State University, where they are the string faculty and artists in residence. The FSQ is represented by the management firm Jonathan Wentworth and Associates.For a full biography of the FSQ and its members, schedule of upcoming events and project descriptions, please visit frystreetquartet.com.About the NOVA Chamber Music SeriesThe FSQ continues to enjoy their association with Salt Lake City’s vibrant NOVA Chamber Music Series. NOVA, under the artistic direction of Jason Hardink, presents the vast chamber music repertoire — from solo works to chamber symphonies — with Utah's resident artists through concerts, commissions of new works, educational programs, and recordings.Kathryn Eberle and Jason Hardink are completing their performance cycle of all 10 of Beethoven’s sonatas for violin and piano on NOVA’s Gallery Series this spring.For more information about the series visit Novaslc.org.Spring Semester String Area EventsFriday, Jan. 16, 7:30 pm                         Utah Symphony Chamber Orchestra  Caine Performance Hall  |  USU CampusWednesday, Jan. 28, 6:15 pm                               Master Class with Trio SolistiCourtesy of The Chamber Music Society of Logan Room 220  |  Chase Fine Arts Center  |  USU CampusThursday, Jan. 29, 7:30 PM.                                                                    Trio Solisti Presented by The Chamber Music Society of Logan Caine Performance Hall  |  USU CampusWednesday, Feb. 11, 6:15 pm.                                                      Open Session With the FSQ and composer Libby LarsenRoom 220  |  Chase Fine Arts Center  |  USU CampusThursday, Feb. 12, 7:30 pm.                                                    Fry Street QuartetConcert featuring Haydn’s Op. 76, no. 2 (the “Quinten”), Mendelssohn’s Op. 44, no. 1, and the world premiere of Libby Larsen’s new string quartet written for the FSQ and the Crossroads ProjectCaine Performance Hall  |  USU CampusWednesday, Feb. 25, 7:30 pm.                                USU Symphony Orchestra Caine Performance Hall  |  USU CampusWednesday, March 4, 6:15 pm.            Master Class with the Dover Quartet Courtesy of The Chamber Music Society of LoganCaine Performance Hall  |  USU CampusThursday, March 5, 7:30 pm.                                                       Dover Quartet Presented by The Chamber Music Society of LoganCaine Performance Hall  |  USU CampusThursday, March 26, 7:30 pm.                                                     Baroque Band Presented by The Chamber Music Society of LoganCaine Performance Hall  |  USU CampusMonday, April 13, 7:30 pm.                Student Chamber Music Spring RecitalCaine Performance Hall  |  USU CampusThursday, April 23, 7:30 pm.                                     USU Symphony OrchestraKent Concert Hall | Chase Fine Arts Center  |  USU Campusfrystreetquartet

This program features music by composers who were enchanted by different idioms found in folk music. Michael Ellison and Antonín Dvořák were deliberate in their use of folk models. Melodies and textures that evoke Czech, American, and Turkish folk music play a central role in the respective musical identity of each composer.https://digitalcommons.usu.edu/music_programs/1204/thumbnail.jp

Utah State University DigitalCommons@USU All Music Department Programs The Caine College of the Arts Music Program Archives 1-14-2014 Fry Street Quartet Fry Street Quartet Rebecca McFaul Utah State University, rebecca.mcfaul@usu.edu Robert Waters Utah State University, robert.waters@usu.edu Anne Francis Bayless Utah State University, anne.francis@usu.edu Brad Ottesen Utah State University, brad.ottesen@usu.edu See next page for additional authors Follow this and additional works at: https://digitalcommons.usu.edu/music_programs  Part of the Music Commons Recommended Citation Fry Street Quartet; McFaul, Rebecca; Waters, Robert; Francis Bayless, Anne; Ottesen, Brad; and Hardink, Jason, "Fry Street Quartet" (2014). All Music Department Programs. 190. https://digitalcommons.usu.edu/music_programs/190 This Faculty/Guest Recital is brought to you for free and open access by the The Caine College of the Arts Music Program Archives at DigitalCommons@USU. It has been accepted for inclusion in All Music Department Programs by an authorized administrator of DigitalCommons@USU. For more information, please contact digitalcommons@usu.edu. Author Fry Street Quartet, Rebecca McFaul, Robert Waters, Anne Francis Bayless, Brad Ottesen, and Jason Hardink This faculty/guest recital is available at DigitalCommons@USU: https://digitalcommons.usu.edu/music_programs/190 THE FRY STREET QUARTETRobert Waters, violin Rebecca McFaul, violin Bradley Ottesen, viola Anne Francis Bayless, cello withJason Hardink, pianoJANUARY 14, 2014 | 7:30 PM USU Performance Hall                  Intermission Piano Quintet in A Major, Op. 81 (1887)   Antonin Dvořák               (1841-1904)I. Allegro ma non tantoII. DumkaIII. ScherzoIV. FinaleThe Fry Street Quartet holds the Endowed String Quartet Residency at  Utah State University’s Caine College of the Arts. This endowment was established by Dan C. and Manon Caine Russell. THE FRY STREET QUARTETROBERT WATERS was appointed as first violinist of the Fry Street Quartet in January of 2012. Prior professional engagements include Associate Professor of Violin at DePaul University and Associate Concertmaster of the San Francisco Opera Orchestra. Waters was also a founding member of the Jupiter Trio and the Callisto Ensemble.REBECCA MCFAUL is a founding member of the Fry Street Quartet. According to the N.Y. Concert and Charlotte Observer, her “freedom and brilliance as a violinist has fashioned performances that glide through with a dancer’s grace.” McFaul enjoys the privilege of wonderful colleagues and collaborations with many of today’s great musicians and composers. In addition, she has the opportunity to work as a guest clinician with students from all over the globe. McFaul is anassistant professor in Utah State University’s Caine College of the Arts Departmentof Music.ANNE FRANCIS BAYLESS, cellist for the Fry Street Quartet since 2000, teaches cello and chamber music on the faculty of the Caine College of the Arts at Utah State University. Winner of the Darius Milhaud Performance Prize and the Fischoff National Chamber Music Competition, She has performed in venues from Carnegie Hall in New York to a Maori Longhouse in New Zealand, firmly establishing herself as a leading educator and artist of her generation. BRADLEY OTTESEN, violist of the Fry Street Quartet, has led a rich and varied career as performer and educator. He joined the faculty of Utah State University fouryears ago and previously held the position of Assistant Principal Viola with the Calgary Philharmonic Orchestra. Ottesen holds degrees from Northwestern University and the New England Conservatory.ABOUT MICHAEL ELLISONAmerican composer, Michael Ellison, was recently appointed to the post of Lecturer in Music and Senior Research Fellow at the School of Arts at the University of Bristol in the United Kingdom. Dr Ellison has lived in Turkey for the past decade, teaching at Müzik İleri Araştırmalar Merkezi (MIAM) at the Technical University of Istanbul. He brings a wealth of experience and expertise to Bristol, as both composer and musicologist.Recent commissions include the BBC Symphony Orchestra and the Rotterdam Opera Days. He is also founder and co-director of the Hezarfen Ensemble in Istanbul.“At the moment my research, both in current composition and with the ensemble I co-direct in Istanbul, Hezarfen, is concerned with addressing through music, the myriad problems, possibilities and questions raised by globalization, and the fragmentation, deconstructing and reconstructing of tradition, colliding and interacting cultures and belief systems in today's world.”ABOUT JASON HARDINK Pianist Jason Hardink is the Artistic Director of the NOVA Chamber Music Series and Principal Symphony Keyboard of the Utah Symphony. His performances include a wide-ranging repertoire of music by living composers and works of the historical canon. Recent performances include concerti with the Grand Teton Music Festival Orchestra, Saginaw Bay Symphony Orchestra, Rhode Island Philharmonic, and the Utah Symphony. Over the last few seasons, he has given a series of lecture recitals on Beethoven’s piano sonatas, performed a cycle of recitals situating the late piano music of Franz Schubert in dialogue with works by Second Viennese School composers, and toured with Olivier Messiaen’s monumental Vingt Regards sur l’Enfant-Jésus. Much sought after as a chamber musician, Mr. Hardink has recently collaborated with violinist Phillip Setzer of the Emerson String Quartet and world-renowned soprano Celena Shafer. He has appeared on chamber music series all over the U.S., including Music in Context, fEARnoMUSIC, Music on the Hill, Aperio Music of the Americas, and the Pittsburgh New Music Ensemble. Hardink has performed solo works of Mozart, Beethoven, Schubert, Chopin, Schumann, and Brahms on period instruments, and he has toured Norway with violinist Tor Johan Bøen performing the Grieg Sonatas for Violin and Piano on an 1853 Blüthner. In Salt Lake City he has worked with noted guest composers such as Tristan Murail and Frederic Rzewski as a member of the Canyonlands New Music Ensemble, and he has premiered works by Utah composers Morris Rosenzweig, Steve Ricks, Miguel Chuaqui, and Steve Roens. Mr. Hardink’s leadership of the NOVA Chamber Music Series has created a dynamic environment through which audience and performers experience music both new and old; the 2013.14 season of NOVA includes important Utah and world premieres of works by Bruce Quaglia, Wolfgang Rihm, and Jason Eckardt alongside works by Beethoven, Mozart, and Fauré. This season on the series, Hardink will be performing a cycle of Beethoven Sonatas for Violin and Piano with Utah Symphony Associate Concertmaster Kathryn Eberle.Hailed as "a triumph of ensemble playing" (New York Times), Fry Street Quartet has perfected a "blend of technical precision and scorching spontaneity" (Strad). Since securing the Millennium Grand Prize at the Fischoff National Chamber Music Com-petition, Fry Street Quartet has reached audiences from Carnegie Hall to Sarajevo and Jerusalem, exploring the medium of the string quartet and its life-affirming potential with "profound understanding, …depth of expression, and stunning technical astuteness" (Deseret Morning News). For a full biography of the FSQ and its members, schedule of upcoming events, and project descriptions, please visit frystreetquartet.com.String Quartet in G Major, Op. 76, no. 1 (c. 1797)  Franz Joseph     Haydn(1732-1809)I. Allegro con spiritoII. Adagio sostenutoIII. Menuet: prestoIV. Finale: allegro ma non troppo                 String Quartet No. 3, “Fiddlin” (written for the FSQ in 2013) Michael Ellison(b. 1968)I. Vivace marcatoII. Quarter note = 108III. Two-String (Metelik)IV. Two-barV. Mountain AngelsVI. FastVII. ZekâVIII. MississippiIX. Rills and CreeksX. Raga MalaXI. Bad Bad Blues2013-2014 STRING AREA EVENTS  9/12/13    7:30 pm   Performance Hall     The Crossroads Project--Encore performance   9/24/13    7:30 pm   Performance Hall     The FSQ at USU Series. Music of Haydn, Janacek, and Ravel 10/10/13  7:30 pm  Performance Hall    CMSL presents the Emerson String Quartet 10/11/13  10–Noon Performance Hall  String area master class with the Emerson String Quartet 10/25/13   7:30 pm   Kent Concert Hall  USU Symphony Orchestra Concert  11/7/13     7:30 pm    Performance Hall  The FSQ at USU Series:  Schubert, Britten and Beethoven 11/12/13    7:30 pm    Performance Hall  CMSL presents the Vienna Piano Trio 11/23/13    7:30 pm    Kent Concert Hall  USU Symphony Orchestra & Chorus:  Scriabin’s Prometheus11/26/13    7:30 pm.    Performance Hall  Fall String Chamber Ensembles Concert  1/14/14    7:30 pm    Performance Hall  The FSQ at USU Series:  Haydn, Ellison and Dvorak Logan premiere of Michael Ellison’s new string quartet and  the Dvorak Piano Quintet with guest pianist Jason Hardink  1/22/14   7:30 pm   St. John’s Episcopal Church  Performance Practice Institute: Handel, Telemann and Bach  1/30/14   7:30 pm  Performance Hall  CMSL presents the New York Woodwind Quintet  2/18/14   9:30 am   Performance Hall  String area master class with the Faure Piano Quartet   2/18/14    7:30 pm   Performance Hall CMSL presents the Faure Piano Quartet  2/27/14   7:30 pm Kent Concert Hall USU Symphony Orchestra concert  4/18/14   7:30 pm Performance Hall  Spring String Chamber Ensembles Concert  4/23/14   7:30 pm Kent Concert Hall USU Symphony Orchestra Concert NOVA CHAMBER MUSIC SERIES | 1.14.14 | PROGRAM NOTESTonight’s concert is the result of a collaborative effort between the NOVA Chamber Music Series and the Utah State University Music Department at the Caine College of the Arts. NOVA is enjoying its seventh season hosting the Fry Street Quartet, and we are extremely pleased to bring our January concert program to Logan audiences. A special thanks to Dr. James Michael Bankhead for making this partnership possible.This program features music by composers who were enchanted by different idioms found in folk music. Michael Ellison and Antonín Dvořák were deliberate in their use of folk models. Melodies and textures that evoke Czech, American, and Turkish folk music play a central role in the respective musical identity of each composer, and they both wrote (write) extensively about the importance of their musical source material. Recent research has begun to explore the idea that the major composers of the high Classic era were influenced by vernacular styles more than previously supposed. Haydn’s music mirrors the melting pot of influences he was exposed to in Vienna, including serious art music and vernacular styles. One could make the case that specific moments in Haydn’s opus 76, no. 1 quartet evoke or are drawn from folk sources. For example, the opening melody (after the opening three chords) has a shape and lilt reminiscent of the opening melody of Beethoven’s Pastorale Symphony, a tune scholars have traced to a Croatian folk song. But for the most part, such theorizing is merely conjectural and subjective since much of the would-be source material for 18th century composers was never recorded or written down. Instead, this introduction serves merely to point out the possibility that Haydn’s intended audience of the 18th century probably heard his works much as we hear Ellison, a kaleidoscopic blend of references to familiar styles of music.Michael Ellison has worked in Istanbul for over ten years as co-founder and director of the groundbreaking Hezarfen Ensemble, which combines Turkish instruments with the performance practices and mediums of Western music. String Quartet #3 was commissioned jointly by the NOVA Chamber Music Series and the Arizona Friends of Chamber Music. In his program note (excerpted below), Ellison discusses how his music creates a kind of parallel universe to our modern existence, seeking meaning in tradition within a global landscape that is largely post-tradition. String Quartet #3 is based on the idea of ‘fiddling’ and ‘riffs’ across traditions, primarily using North American bluegrass fiddle and Turkish/Balkan kemençe styles as starting points for a work that deals with tradition, its endlessly revitalizing energy, and its integration into a contemporary, highly ‘rhythmicized’ compositional language.  With its stream-of- consciousness, multi-movement structure, this work contextualizes ‘vernacular,’ traditional string figures and ‘riffs’ within a more abstract sound world.  For me, this is something that perhaps roughly corresponds to situations we all face today and difficulties of integration within our own consciousnesses, seeking meaning from tradition in a post-tradition, post-classical music, multi-cultural milieu—an urgent reason for creating new works that can address such paradoxes in a musical realm.    For me, this also means a give and take, and a creative tension between perceived vernacular elements and my own compositional language, for which the quartet medium provides a particular discipline while offering nearly limitless intimate and expressive freedom.Antonín Dvořák began composing music at a time when nationalistic art found increasing sympathy with the public of Bohemia. From the beginning of his career, he embraced Czech folk music by synthesizing melodic styles, dance rhythms, and phrase structures of folk models within his musical works. The Piano Quintet of 1887 was first intended as a rewrite of his opus 5 piano quintet, but Dvořák soon found himself abandoning revisions of the early piece in favor of a brand new composition. Dvořák followed the nostalgic, sweeping first movement by a characteristic pair of Czech dances, the Dumka and the Furiant. The Dumka originated in the Ukraine and was a dance adopted by most Slavic nationalities during Dvořák’s time; it usually took the form of a melancholy melody alternating with faster, sunnier episodes. The Furiant is a distinctly Czech dance that characteristically alternates duple and triple rhythms in a lively tempo, although this rhythmic complexity is masked in the Furiant of Dvořák’s quintet. The Finale of this work is the most rustic, with swinging fiddle tunes that culminate in a rousing finish. -notes by Jason HardinkPresented by the Department of MusicHAYDN STRING QUARTET OP. 76, NO. 1 · COMMISSIONED WORK BY COMPOSERMICHAEL ELLISON · DVOŘÁK PIANO QUINTET w/ GUEST PIANIST JASON HARDINKREBECCA MCFAUL, VIOLIN–ROBERT WATERS, VIOLIN–ANNE FRANCIS BAYLESS, CELLO–BRADLEY OTTESEN, VIOLA

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Fry Street Quartet

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