Modigliani Quartet Returns with More Beethoven

When the Paris-based Modigliani Quartet made its San Francisco Performances (SFP) debut in April of 2023, they focused on the First Viennese School by coupling an early string quartet by Ludwig van Beethoven, the third (in the key of D major) of his six Opus 18 quartets, with Franz Schubert’s D. 810 quartet in D minor, best known for its set of variations on the theme from his D. 531 “Der Tod und das Mädchen” (Death and the maiden) song. Last night they returned to Herbst Theatre for their second SFP recital with another First Viennese School program. This time Beethoven was coupled with his Viennese School predecessor (and teacher), Joseph Haydn; and the ensemble is still led by first violinist Amaury Coeytaux, joined by violinist Loïc Rio, violist Laurent Marfaing, and cellist François Kieffer.

György Kurtág (from Wikimedia Commons)

The two composers were situated on either side of the intermission. Haydn was represented by the second quartet, in F major, in the Opus 77 “Lobkowitz” collection (Hoboken III:82). The intermission was then followed by the last of the three string quartets, in the key of C major, in Beethoven’s Opus 59, composed on a commission by Count Andreas Razumovsky. These two significant “sign-posts” of “the classical style” (with a nod to Charles Rosen) were preceded by music by the one living composer on the program. That composer was György Kurtág, who will turn 100 this coming February 19. The selection was “Homage à Andràs Mihàly: 12 Mikroludien für Streichquartett,” the composer’s Opus 13.

This selection presented Kurtág at his most playful. Only half of the pieces were given specific tempo markings. However, because each was brief (“mikro”), there was little opportunity to establish much of a sense of tempo. One might almost say that the Modigliani players selected this piece to “warm up” audience attention for the compare-and-contrast approach to the coupling of Haydn and Beethoven. Personally, I relish any opportunity to listen to Kurtág’s music, my most recent encounter being baritone Benjamin Appl’s Alpha album Lines of Life, which interleaved Kurtág songs with those of Franz Schubert. Last night Kurtág’s music did not interleave with the First Viennese School, but it certainly knew how to get the audience to sit up and take notice!

The Razumovsky quartet was followed by an encore of more Beethoven. The Modigliani players turned back the clock to Opus 18, playing the second movement (Adagio affettuoso ed appassionato), composed in the key of D minor, from the first of those six quartets in F major. This could not have been a better choice for sending the audience on its way with a feeling of satisfaction!