The Hausmann Quartet and the Maritime Museum of San Diego are excited to partner to present Haydn Voyages: Music at the Maritime, a quarterly concert series aboard Berkeley – an 1898 steam ferryboat that operated for 60 years on San Francisco Bay.
Concerts aboard this National Historic Landmark, docked in downtown San Diego next to Star of India, explore the evolution of the string quartet through the lens of Joseph Haydn’s quartet cycle. The programming sets his works alongside those of master composers from our own era and stretching back to his musical ancestors. As the father of the string quartet and one of history’s most innovative composers, Haydn is an ideal guide to this exploration of some of the most powerful, creative music ever written.
Each creative program will also include informative and entertaining commentary during the performance from noted UC Santa Barbara musicologist Derek Katz.
Join us for the final concert of the 2017 season on November 12 at 4pm.
November 12: Dreams and Dances
The final concert of the 2017 season features Haydn’s “Rider” quartet, an example of the composer at the true height of his powers as a master of the string quartet genre. Erwin Schulhoff’s Five Pieces (1923) are a wonderfully varied collection of dances, and Missy Mazzoli’s Quartet for Queen Mab (2015) is a fantastical journey based on a creature from folklore and literature. In the words of the composer: “I want people to find something out about themselves through my music, something that was inaccessible before, something that they were suppressing, something that they couldn’t really confront….”
Haydn Voyages is generously underwritten by pH Projects.
Further support is provided by David Spencer and Suresh Pola, Cliff Thrasher, Joe Fisch and Joyce Axelrod, Gail and Max Etschmaier, Elsa Feher and the County of San Diego’s Community Enhancement Program.
And announcing the 2018 season of Haydn Voyages, subscriptions on sale now!
February 25: Early Years
The 2018 season opens with an exploration of Haydn’s beginnings in the string quartet genre, featuring one of his opus 1 quartets along with an example of his more mature opus 9 works, written five years later. Ruth Crawford Seeger’s Quartet 1931 is an American modernist masterpiece that put the young composer on the map, and Tina Tallon’s selective defrosting from 2012 is an evocative, exciting work from an up-and- coming composer with San Diego roots.
May 6: Anniversaries
In a fascinating and varied program that will feature a world premiere by Stephen Prutsman, the Hausmann Quartet will present works celebrating significant anniversaries in 2018: Steve Reich’s seminal Different Trains (composed 30 years in ago in 1988), along with Haydn’s opus 55/1 (composed 230 years ago in 1788). Some of the earliest chamber music ever written (from 16th-century England) will round out this unique concert experience.
September 16: Form and Texture
A pair of Haydn Quartets frames two exquisitely crafted works from our modern era: Philip Glass’ Company (composed in 1983 for a dramatization of Samuel Beckett’s novella of the same name) and Marcos Balter’s Chambers from 2012, described by one critic as “a mesmerizing plunge into icy musical depths…This is a gorgeous piece, well worth hearing
again.” The singular atmosphere of the Berkeley and San Diego harbor is sure to add to this exciting program.
November 11: Journeys on the Voyager
In 1977, NASA sent the Voyager Golden Record, which included selections of images, music, speech and sounds from around the world, into outer space. Beethoven’s sublime Cavatina from his opus 130 quartet was the final piece of music, and the project was directed by Carl Sagan, whose request to turn the Voyager around portrait of Earth looking back on us as it was leaving the solar system from six billion miles away inspired David Ludwig’s 2014 work Pale Blue Dot. One of Haydn’s quartets from the time Beethoven studied with him completes this program. As Jimmy Carter said at the time of the Voyager’s launch, “This record represents our hope and our determination and our goodwill in a vast and awesome universe.”
Advanced Tickets: $50 Reserved seating, $25 General Admission, $20 Maritime Museum members, $10 students/military
Full series discount- All Four Concerts for $80 (or $160 for reserved seating)
Available at hq.ticketleap.com/haydn-voyages
Tickets at the door: $60 Reserved seating, $28 General Admission, $22 Maritime Museum members, $12 students/military
To order by phone call: 619.432.2314
Nearby Parking lots for $10 a day
9 am Museum and Gift Shop open
3:30 pm Upper Deck Bar open for beverage and snack service
4 pm Concert
About the Maritime Museum
The Maritime Museum of San Diego enjoys a worldwide reputation for excellence in restoring, maintaining and operating historic vessels. The museum has one of the world’s finest collections of historic ships, including the world’s oldest active ship, Star of India.
Receive 50% off admission on your next visit with your Haydn Voyages ticket or receipt
1492 N. Harbor Drive, San Diego, CA 92101
619-234-9153 ext 101
About musicologist Derek Katz
Derek Katz is an Associate Professor of Music History at the University of California, Santa Barbara, where he received his PhD in 2000. He also holds a degree from Harvard, and has studied at The Free University of Berlin on a Fulbright Fellowship. A specialist in Czech music, he has published articles in Musical Quarterly and multiple Czech journals, as well as chapters in Nineteenth Century Chamber Music (Schirmer, 1998), and in Janáček and His World (Princeton, 2003). His book Janáček Beyond the Borders was published by the University of Rochester Press in 2009. His more recent work deals with institutional support for professional string quartets in the United States in the mid-20th Century. Katz has also written for The New York Times and the San Francisco Opera and spoken at Lincoln Center and Carnegie Hall. He is an enthusiastic amateur violist and chamber music player.
photos by Sam Zauscher
past seasons’ concerts:
January 22: Ancient Inspirations
We trace the early music influences of two masters, Haydn and Gabriel Fauré. Adaptations of vocal works by Giacomo Carissimi and Josquin des Prez shine a new light on the old origins of two of the finest quartets ever written: Haydn’s opus 20/3 and Faure’s lone work in the genre, his final composition before his death in 1924.
May 28: Operatic Explorations
A celebration of song, as two of Haydn’s most virtuosic quartets (the opus 17/5 “Recitative” and opus 20/5), Anton Webern’s seductive Langsamer Satz and two of Dvorak’s Cypresses are paired with Thomas Adès enchanting Arcadiana, a collection of fantasies from 1994 that Adès says “evoke various vanished or vanishing ‘idylls’.” Each of the Adès movements the Hausmann Quartet will play are inspired by a body of water (real or imagined), making the Berkeley a fitting setting for this captivating program.
September 17: Reason Gone Mad
Haydn’s humor is legendary and multi-faceted. Miniatures by Ana Sokolovic (Commedia dell’Arte I), Igor Stravinsky and George Antheil frame two of Haydn’s wittiest, funniest works, the “Joke” Quartet and circus-like opus 74/2, adding up to a concert embodying Groucho Marx’s definition of humor: “reason gone mad.”
February 21: Beginning, Entr’acte, Finale
The inaugural concert features Haydn’s first and last complete string quartets, offering a vivid portrait of his development and mastery of the genre. His final quartet (opus 77/2) was completed in 1799, and inspired 2013 Pulitzer Prize winner Caroline Shaw’s Entr’acte from 2011. Shaw wrote, “I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.” The concert also includes maverick American/Mexican composer Conlon Nancarrow’s first quartet (1945) and Haydn’s very first quartet, opus 1/1 (ca. 1757).
May 15: Haydn and Cage
John Cage and Joseph Haydn may appear to be an unlikely musical couple, but they were both titans of their eras, influencing entire generations of composers and defining the style of their times: Haydn as the epitome of classicism and Cage as the trailblazer of the post-war avant-garde. Cage’s String Quartet in Four Parts from 1950 is a spare, beautiful view of the four seasons based in part on Indian philosophy, of which he wrote at the time, “This piece is like the opening of another door; the possibilities implied are unlimited.” Haydn’s first quartet in the opus 20 series (“Sun”) likewise opens a new door of possibilities, as each instrument is liberated and given equal importance, a departure from the violin-driven tradition of the past. His “Sunrise” Quartet op. 76/4 closes the program, another shining example of his mastery of the genre.
September 25: Folk Festivities
Haydn was one of the first Classical composers to incorporate popular, folk and Hungarian material into the string quartet, and the opus 42 and 54/2 quartets are some of the most evocative examples of this exploration. The influence of traditionalmusic on the string quartet continues to this day, and this concert provides two more vivid examples from the 21st century: Linde Timmerman’s Cante de Ida y Vuelta (Round Trip Songs), inspired by the folk traditions of South America and Spanish flamenco, was written for and premiered by the Hausmann Quartet in 2015. Brooklyn-based composer/violinist Colin Jacobsen’s Brooklesca is an homage to the richly diverse borough he calls home, complete with winks to his musical ancestors.
November 20: London Travels
Haydn had a wonderful association with London, with his works gaining wide appeal and his visits there giving fruit to numerous career advancements and opportunities. His opus 74/1 reflects the worldly, cosmopolitan style of his later years. The British connection continues with the String Quartet no. 1 of Benjamin Britten (arguably the Empire’s finest composer), written in the summer of 1941 here in Southern California, and opens with his teacher Frank Bridge’s hauntingly beautiful Three Idylls.