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.

The second season will open on January 22 with future concerts on May 28, September 17 and November 12. All concerts are Sundays at 4pm, and refreshments will be available at the upper deck bar starting at 3 pm.

Each creative program will also include informative and entertaining commentary during the performance from noted UC Santa Barbara musicologist Derek Katz.

On March 26th at 1pm we will partner with So Say We All to present Seven Last Wordsin which Haydn’s epic masterpiece will be performed alongside spoken word presentations of original works by the authors themselves at Liberty Station’s historic North Chapel.

Originally written as a commission for a Good Friday service in 1783, it was adapted for string quartet by the composer and has been a treasured Easter-time tradition around the world ever since.

This concert will be open to the public at a name-your-own ticket price, with all proceeds going to support nonprofits with a local presence.

Haydn Voyages is generously underwritten by pH Projects.


Tickets available through Ticketleap –

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.”

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….”



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 the door and

To order by phone call:  619.432.2314

Nearby Parking lots for $10 a day
9 am Museum and Gift Shop open
3 pm Upper Deck Bar open for beverage and snack service
4 pm Concert


Maritime MuseumAbout 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


last season’s concerts:

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.

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.

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.

February 21: Beginning, Entr’acte, Finale

The inaugural concert will feature 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).