Musicians lives and Beethoven's 250 year celebrations in 2020 were interrupted by the pandemic. This quartet of musician-friends gathered on a porch in SF's Richmond District to play music for community and connection through the months since. We've put together a program of pieces by some composers you may not have heard of in order to look at Beethoven's life in a new way. Possibly Beethoven is the most well-known composer ever; but did you know that he honed his craft with fellow composers who were far better known in his day, Antonio Salieri, Johann Georg Albrechtsberger and Joseph Haydn? Beethoven never had it easy making friends or composing music. He was a wizard at the piano, but had to work hard at the craft of composition and the business of cultivating connections. As a young man in Bonn, Germany, Beethoven was urged by his patron Count Waldstein to leave town - he had been working as a violist in the local orchestra - and go to Vienna, Austria to meet and learn composition with the famous phenomenon, Wolfgang Amadeus Mozart, (who at that point was a composer in his early 30's). Unfortunately fate intervened, and ultimately Beethoven arrived in Vienna too late to work with Mozart who had died only months before. The young Beethoven went to the renowned composer Joseph Haydn for lessons (and for introductions into the musical world of Vienna). When Haydn left for London and a second concert tour a year later, Beethoven went to the composer Johann Georg Albrechtsberger for additional study, particularly to work on strengthening his counterpoint skills, the technique of putting together several active musical lines. The interplay of four instruments in a string quartet is the perfect medium for perfecting counterpoint. And string quartets were having a boom time in late eighteenth century Vienna. Johann Georg Albrechtsberger was a master of old-school counterpoint and reportedly a taskmaster of a teacher. Beethoven wrote his exercises for Albrechtberger into notebooks which he treasured to his death. For additional study in counterpoint, but especially in the area of vocal writing, he worked with the leading opera composer in Vienna, the elegant and well-connected Antonio Salieri. (And no, Salieri didn't poison Mozart)
“Don’t only practice your art, but force your way into its secrets, for it and knowledge can raise men to the divine.” Ludwig van Beethoven
"It is the melody which is the charm of music, and it is that which is most difficult to produce. The invention of a fine melody is a work of genius." Joseph Haydn (Instructed Beethoven 1792-95)
Johann Georg Albrechtsberger, (1736-1809) was a close friend of Haydn's. As a boy he had an exceptional soprano voice and intensely studied of works by Fux, Handel, Graun, Hasse, Pergolesi and Bach. "It is no merit of mine that I write good fugues, for no idea ever presents itself that is not fitted for double counterpoint". (Taught Beethoven 1794-95)
Antonio Salieri (1750-1825) was one of the most important and sought-after teachers of his generation, and his influence was felt in every aspect of Vienna's musical life. He dominated Italian language opera in late 18th century Vienna, and was Austrian Imperial Kapellmeister from 1788-1824. (Taught Beethoven 1800-1802)
The influence of Beethoven's teachers extended to their connections to patrons both among the aristocracy and in the public sphere. Salieri was an important connection for Beethoven and he was apparently a generous one as well. Through Salieri's influence, Beethoven was presented playing one of his piano concertos on one of the few established public concert series. In another instance, Mozart's widow kindly arranged an appearance for the young Beethoven performing a Mozart piano concerto, and months later Haydn had Beethoven as the guest soloist in his piano concerto performed at a concert along with Haydn's London Symphonies.
Playing string quartets was a leading form of home entertainment in late 18th century and early 19th century Vienna. "Private Concerts", music in well-to-do homes, were also regularly begun with a string quartet. Everyone (among the privileged classes) played music and took lessons. Prince Lobkowitz of Bohemia was a cellist and one of Beethoven's most important patrons at this time and the first quartets - opus 18 - were dedicated to him. In the years before Beethoven sharpened his quill to write the opus 18 quartets, Mozart and Haydn had brought quartet writing to its pinnacle. At this time most of the composers in Vienna were writing quartets and gathering together to play them. But even in such an active musical culture, the outlook wasn't rosy for musicians. As observed in a journal reflecting on musical life in 1800's Vienna:
"As for the artists here - all the well-to-do and wealthy houses that once had their own orchestras have dismissed them...The violinists are in the worst position of all; they are expected to play for nothing, since 10 dilettanti can readily be found who will do so with great pleasure, ably or otherwise. Paid private concerts are rare; and if one is set up, the musician for a variety of reasons, profits little."
Beethoven and His Teachers with The Porch Quartet *Noon concerts Tuesday Jan 18, Thacher Gallery @ USF's Gleeson Library and Wednesday, Jan 19, Throckmorton Theater in Mill Valley (also available via live stream)
PROGRAM:
String Quartet Op 33 no. 3 in C major “The Bird” Franz Joseph Haydn (1732-1809)
I. Allegro moderato II. Scherzo Allegretto III. Adagio ma non troppo IV. Finale - Rondo - Presto
Quartetto 1 in D major Johann Georg Albrechtsberger (1736-1809)
I. Allegro moderato II. Andante III. Menuetto IV. Finale - Andante grazioso
Overture from Les Danaïdes in D min/D maj Antonio Salieri (1750-1825)
Andante maestoso, Allegro assai, Presto
String Quartet Opus 18 no 4 in C minor by Ludwig van Beethoven (1770-1827)
I. Allegro ma non tanto II. Scherzo - Andante scherzoso quasi allegretto III. Menetto - Allegretto IV. Allegro
We look forward to performing these quartets and one opera overture. The Haydn and Beethoven quartets may be familiar to listeners, and perhaps the Albrechtsberger and Salieri will provide new adventures. Our performances made possible with the support of Throckmorton Theater Wednesday Noon Concert Series and the Thacher Gallery Chamber Concerts at University of San Francisco. With thanks to Reba Gilbert of Throckmorton and to Nell Herbert and Glori Simmons of Thacher Gallery.
HEIDI WILCOX, violin
Heidi Wilcox joined the San Francisco Opera Orchestra as Assistant Concertmaster in 1992, and joined the San Francisco Ballet Orchestra in 1993. Heidi comes from a musical family of five children, all of whom became professional musicians. She studied with her father, Edward Wilcox, who now teaches in San Francisco. Her mother accompanied her many recitals and competitions at the piano. The Congress of Strings program, directed by Paul Roland in Champaign-Urbana, Illinois, was important for Heidi's early development.
Heidi attended the North Carolina School of the Arts and the University of Miami, and participated in masterclasses with many artists, including Sydney Harth, David Nadien, and David Taylor of the Chicago Symphony. She was the Associate Concertmaster of the Omaha and Charleston, South Carolina Symphonies, and Concertmaster of the Spoleto Festival Orchestra. These positions included performing string quartets, teaching, solo appearances with the orchestras, and frequent recitals. She was also a member of the Knoxville and Seattle Symphonies.
Heidi enjoys playing a variety of music from all periods and styles. She has played with the San Francisco Contemporary Players and numerous Bay Area ensembles. She was a member of the New Century Chamber Orchestra, and for 2 seasons was acting Principal Viola with the S.F. Opera.
Heidi lives in San Francisco with her musician husband, cellist Farley Pearce, three adult sons, a cat named Ruffles and their dog named Coda. They enjoy daily walks, playing music and making good food.
MONIKA GRUBER, violin
Praised by critics for her "irresistibly melting tone, which she can also imbue with gripping fire", Monika Gruber is a versatile violinist, appearing in concerts throughout the United States and Europe. As violinist of the Eusebius Duo she was invited to perform in Weill Recital Hall at Carnegie Hall, following the duo's success as first prize winners of the CMFONE International Chamber Music Competition. Throughout her years of study she was the recipient of numerous scholarships and awards, notably the Rotary Ambassadorial Scholarship, which enabled her to continue her studies in the US.
Monika received her training at 'Hochschule für Musik' in Weimar, Germany, 'Conservatoire National Supérieur de Musique´ in Lyon, France, and at the San Francisco Conservatory of Music, where she studied with Ian Swensen. She is equally active as chamber and orchestra musician, performing lots of modern music in addition to the classical and romantic repertoire, as well as branching out into baroque music. She has worked in public master classes with musicians such as Norbert Brainin (Amadeusquartett), Samuel Rhodes (Juilliard Quartet), Menahem Pressler (Beaux Arts Trio), and Petra Müllejans (Freiburger Barockorchester).
Always eager to share her passion for music in many ways, Monika was a teaching assistant in Weimar while receiving her Teaching Degree, and she continued to teach, instill and foster the love of music in people of all ages ever since. Upon completion of her Masters Degree in San Francisco she was offered a position as violin instructor at SFCM's Pre-College Division, where she is now also coaching chamber music. Her students are doing well in competitions, and have been accepted into the SF Youth Orchestra as well as into colleges, such as Rice University Shepherd School of Music, Cleveland Institute of Music, Vanderbilt University Blair School of Music, and UCLA Herb Alpert School of Music.
DARIA D'ANDREA, viola
DARIA D'ANDREA performs with both ‘period’ and modern ensembles, cutting across stylistic borders from medieval chanson to 21st century experimental. Daria is professor of violin, viola and chamber music at the University of San Francisco and teaches privately at the San Francisco Waldorf Schools. She is a member of the California Symphony, Sacramento Philharmonic & Opera and plays with the San Francisco Opera Center Orchestra. As a baroque specialist on violin and viola, Daria performs with period instrument ensembles including Philharmonia Baroque and the American Bach Soloists. Daria was a member of the Women's Philharmonic and retains an interest in advocating for women composers of all eras. As a composer, Daria created music for the USF production of Twelfth Night and premiered her work for viola and soundscape, Oceans 2, at the inaugural Barbados International Film Festival. While living overseas, Daria studied viola in Oxford, England with noted pedagogue Kató Havas. She is President of the Northern California Viola Society and co-created their "Pandemonium Sessions" over the months of the pandemic (now available on youtube). Also during lockdown, Daria performed several times with the "Virtual Virtuoso" series at St Ignatius. Daria is an alumna of the San Francisco Conservatory of Music and Reed College.
FARLEY PEARCE, cello
Farley Pearce is a performer on both the various sizes of viola da gamba and the baroque cello. As a cellist he has performed widely in the Southeastern region of the US, most notably with the Spoleto Festival, with whom he has also played in Italy. For five years he was a member of the Charleston Pro Musica, and he has performed as a recitalist in Brazil and Uruguay. Since moving to San Francisco Farley has been an active free-lance performer with many of California’s orchestras and chamber ensembles. In the Bay Area he has performed on viola da gamba, violone, and baroque cello with Voices of Music, Magnificat, the Jubilate Baroque Orchestra, the Sex Chordæ Consort of Viols, Philharmonia Baroque Orchestra, Airs and Graces, and many other period instrument groups.
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Created with an image by firepile - "Shiny", photo credit Jakub Mosur