Category Archives: Suzanne Beia

Mernier Composition Brings Pro Arte Quartet Full Circle

New Chamber Work to Premiere in Madison March 1, 2014

Contacts:

Sarah Schaffer 608/217-6786
Mike Muckian 608/287-6261

 

The Pro Arte Quartet. Left to Right: David Perry, Suzanne Beia, Sally Chisholm and Parry Karp.
The Pro Arte Quartet.
Left to Right:
David Perry, Suzanne Beia, Sally Chisholm and Parry Karp. Photo by Jim Gill.

MADISON, Wis. — Belgian composer Benoît Mernier writes music he says communicates with audience members in a variety of ways. He believes firmly that there is no single right way to experience music providing audience members are open to its messages.

Mernier’s String Quartet No. 3, commissioned by the University of Wisconsin-Madison’s Pro Arte Quartet as part of its ongoing centennial celebration, embraces a lyrical path that takes the composer in new directions.

“My favorite instrument is the voice, because the singing voice is the most expressive of all instruments,” says Mernier, who studied organ and composition at the Royal College of Music in Liege, Belgium, and records for the European label Cypres. “The song is the model for all instrumentalists, and theoretical treatises in ancient music tell the players to imitate the voice in their performances.”

Mernier’s String Quartet No. 3 will receive its world premiere by the Pro Arte on Saturday, March 1, at Mills Concert Hall in the Mosse Humanities Building on the UW-Madison campus. The 8:00 p.m. event is free and open to the public, with no tickets required.

The March 1 concert will be preceded on Thurs, Feb. 27, by an open rehearsal from 9 a.m. to noon, also at Mills Hall, during which the composer will coach the Pro Arte as they prepare for the premiere of the work, composed in honor of the quartet’s Belgian heritage.

New Chamber Work Taps Pro Arte’s Belgian Roots

Benoit Mernier
Benoit Mernier

The Quatuor Pro Arte of Brussels, first formed in 1911-1912, was performing at the Wisconsin Union Theatre on the UW campus on May 10, 1940, when Belgium was overrun and occupied by Nazi forces, turning three of its original four musicians into war orphans. By October of that year, the group had officially become the UW Pro Arte Quartet, making it the first artist ensemble-in-residence at any university in the world. Pro Arte also is the world’s oldest continuously performing string quartet.

Other events surrounding the concert include a March 1 dinner and cocktails with the composer at the Chazen Museum of Art, 750 University Ave. (for details and reservations visit info@proartequartet.org or call 608-217-6786.)  The cost is $35. There also will be a pre-concert conversation with Mernier at Mills Hall at 7:00 p.m. just prior to the March 1 performance.

In addition to the Mernier premiere, the concert will include Haydn’s String Quartet in D Major Opus 20, No. 4, composed in 1772, and Bruckner’s String Quartet in F Major, written in 1879. Frequent Pro Arte collaborator and violist Samuel Rhodes, a member of the Juilliard String Quartet, will perform with the Pro Arte’s four musicians on the Bruckner composition.

On Sun., March 2, both the Mernier and the Bruckner pieces will be performed live at the Chazen as part of the art museum’s regularly scheduled Sunday Afternoon Live from the Chazen broadcast at 12:30 p.m. on Wisconsin Public Radio.

Linear Structure, Musical Flow

Mernier’s 25-minute composition consists of nine specific movements, all of which have a compositional relationship with each other. Some movements are distinct and deliberate, while others flow into one another in an attempt to create a multi-dimensional structure, the composer says.

“The structural idea is to have a sort of linear music that moves in different directions,” Mernier says. “But at the end of the work there is a global sensation, like a story with different chapters. It will be up to the listener to structure and unify the different parts of the story.”

Mernier, who also writes opera, finds composing for a string quartet challenging, since there is only one family of instruments, limiting the voice of the composition. Employing different musical styles, from pizzicato to arco and playing sul ponticello (on the instrument’s bridge) or sul tasto (on the fingerboard), has helped the composer broaden the work’s tonal appeal.

“When you compose a string quartet, you are faced with a pure musical phenomenon,” Mernier says. “You can’t be on the periphery; you must be in the heart of things.”

Mernier’s experience writing for voice shows through the finesse applied to his string quartet, according to David Perry, one of Pro Arte’s two violinists.

“I was not surprised to hear that Mernier’s favorite instrument is voice, as there is extensive use of portamenti and glissandi,” says Perry. “I have never encountered a piece with more specific gradations of sul ponticello, or bowing close to the bridge for different shades of sounds with lots of high overtones. This technique can result in some unusual, and often beautiful colors.”

Mernier’s style and status among his European musical colleagues helped Pro Arte choose him for its fifth centennial commission. Based on the composition and its challenges, the quartet’s choice was a good one, says Sally Chisholm, Pro Arte’s violist.

“The many quick changes of sonorities from our most intimate to our most electrifying are exciting techniques that demanded much practice,” says Chisholm. “The required virtuosity of string writing in the second half of the quartet is quite challenging. Paganini would be a warm-up for some of the viola writing!”

A New CD, A Belgian Tour, A Wisconsin Public Television Special

In addition to the Mernier commission, Pro Arte Quartet’s 2013-2014 is filled with activity.

Performances of Pro Arte’s four previous centennial commissions by American composers William Bolcom, John Harbison, Walter Mays and Paul Schoenfield have been issued as an Albany Records 2-CD set. The release date was Dec. 10.

Later this spring, Wisconsin Public Television will air a one-hour documentary about Pro Arte and its work, featuring interviews with the musicians and excerpts from performances of the centennial works. The broadcast dates have yet to be determined.

The Mernier commission represents the first non-U.S. composer in the centennial series. It also brings the Pro Arte full-circle to its Belgian roots, a course that will include several concert dates in Brussels in May 2014. The Belgian connection is something that makes the String Quartet No. 3 a very special work, Mernier says.

“In the history of modern music, the Pro Arte Quartet is very important,” Mernier says. “I know the commission is a very great symbol.”

The Madison-based quartet agrees with the composer, citing Mernier’s work as a strong contribution to its long tradition of commissioning and premiering new work. Pro Arte’s list includes Samuel Barber’s famous Adagio for Strings, which the quartet premiered in Rome in 1936.

“Just like the other four commissions, this new work represents a beautiful and serious addition to the chamber music repertoire,” Chisholm says.

In addition to Chisholm and Perry, current musicians in the Pro Arte include violinist Suzanne Beia and cellist Parry Karp.

Advertisements

New Pro Arte CD featuring centennial commissions now for sale

Pro Arte Quartet Release Centennial CD

New recording features four commissioned works

by Mike Muckian

MADISON, Wis. – The Pro Arte Quartet, the string ensemble-in-residence at the University of Wisconsin, has released The Pro Arte Quartet Centennial Anniversary Commissions on the Albany Records label. The double-CD, which contains the first four compositions commissioned to celebrate the Pro Arte’s 2011-2012 100th anniversary season, is now available. 

The four new compositions recorded by the Pro Arte, considered the world’s oldest continuously performing string quartet, will soon be joined by a fifth commissioned work, the String Quartet No. 3 by Belgian composer Benoît Mernier. The world premiere of Mernier’s work is scheduled to take place March 1, 2014, in Mills Concert Hall in the Mosse Humanities Building on the UW-Madison campus, and will bring the Pro Arte full-circle to its Belgian roots.

ProArte CD

The Quatuor Pro Arte of Brussels, founded in 1911, was performing at the Wisconsin Union Theatre on the UW campus on May 10, 1940, when Belgium was overrun and occupied by Nazi forces, turning three of its original four musicians into war orphans. By October of that year, the group had officially become the UW Pro Arte Quartet, making it the first artist ensemble-in-residence at any university in the world.

Current members of the Pro Arte who perform on the new CD include David Perry and Suzanne Beia on violin, Sally Chisholm on viola and Parry Karp on cello.

The recording, produced by multiple Grammy Award-winning classical producer Judith Sherman, contains commissioned work by American composers Walter Mays, Paul Schoenfield, William Bolcom and John Harbison. The Mays and Schoenfield string quartets were recorded in December 2011 in Mills Hall, where each received its world premiere, and the Bolcom and Harbison piano quintets were recorded in May 2012, also in Mills Hall.

Mays’ String Quartet No. 2 “Dreaming Butterfly” is based on writings in the second chapter of the Zhuangzi, the ancient book of Chinese Taoist philosophy. The work is a follow-up to Mays’ String Quartet in G Minor, written for the Pro Arte during the summer of 1998. The new work takes as its inspiration Master Zhuang’s dream of being a butterfly, floating free of worldly cares, then awakening to wonder if he wasn’t really a butterfly dreaming that it was the Taoist philosopher. 

“’Dreaming Butterfly’ is laid out in five connected sections, three scherzo adventures surrounded by two ‘sleep music’ episodes,” says Mays, a member of Kansas’s Wichita State University composition faculty. “There is also a brief codetta, inspired by Zhuang’s idea that he might still be a butterfly. An important feature is the virtuosity of the first violin part, which represents the spirit of the butterfly.”

Schoenfield’s Three Rhapsodies for Piano Quintet combines three very different influences to comprise a 25-minute work inspired by literature, Yiddish ceremony and even 1950s pop music.

“Every time I sit down to compose a piece of music, a little voice in my head asks, ‘When are you going to get a real job?’” says Schoenfiled, a Detroit native and professor of music composition at the University of Michigan in Ann Arbor. “So that became the first movement of my work.”

The composition’s first rhapsody is based on the 1957 Silhouettes doo-wop hit “Get A job.” The second rhapsody takes both its title and tone from “The Beach of Desolation,” an elliptical Henry James story about unrequited love, a threatened breach-of-promise suit, and a surprise solution. The third rhapsody, “Klezmorim,” is “joyfully” composed and performed in Hasidic fashion, the composer says.

Brian (Keng-Lun) Hsu, a former University of Michigan doctoral student in piano studies and now assistant professor at Loyola University in New Orleans, performs with the Pro Arte on the Schoenfield composition.

Bolcom’s Piano Quintet No. 2 fulfills the composer’s mission to mirror society. “It’s a very broad and passionate piece,” says Bolcom, a Pulitzer Prize- and Grammy Award-winning composer who retired as musical composition teacher at the University of Michigan in 2008. “It’s kind of a warning, even a lament, perhaps, of what we’ve become in our world today.”

Bolcom’s four-movement composition features UW School of Music Professor Christopher Taylor on piano. Taylor, the recipient of numerous honors and accolades including the Van Cliburn Bronze Medal, had previously recorded Bolcom’s 12 New Etudes in 2000.

Harbison’s String Quartet No. 5, which completes the CD’s lineup, is comprised of 10 short movements. It’s an approach that Harbison, winner of the prestigious MacArthur Foundation genius award, the Pulitzer Prize and the Heinz Award in the Arts and Humanities, had never before taken in his string quartets.

“Many of these movements were longer when they started out,” says Harbison. “I retained the parts of each that were closest to the central theme.”

The composition replicates in structure the Leonard Stein Anagrams, a piano work Harbison composed in honor of the late Leonard Stein, composer Arnold Schoenberg’s personal assistant and former head of the Arnold Schoenberg Institute in Los Angeles. Stein’s predilection to turn names of friends and acquaintances into anagrams inspired Harbison’s short-movements approach to both the piano work and string quartet.

Copies may be purchased through Albany Records or at the School of Music.  Call 608.263.1900 to order from the School of Music, or check this site: http://apps.music.wisc.edu/cdstore/all.asp 

Review copies of The Pro Arte Quartet Centennial Anniversary Commissions are available to critics and journalists upon request. Please contact Sarah Schaffer at the UW School of Music, 608-217-6786 or slschaffer@wisc.edu for more information.

Older releases (dating back to 1931) by the Pro Arte Quartet can be found here.