100 / 132
7:30 PM MONDAY, AUGUST 20, 2018
MARTIN THEATRE
MILOŠ KARADAGLIĆ,
guitar
MUSICIANS FROM THE CHICAGO PHILHARMONIC
DAVID TAYLOR,
violin
CORNELIUS CHIU,
violin
WEI-TING KUO,
viola
CAROL COOK,
viola
KATINKA KLEIJN,
cello
CALUM COOK,
cello
ROBERT KASSINGER,
double bass
Voice of the Guitar
BEETHOVEN
Allegro molto quasi Presto
from String Quartet No.
David Taylor
;
Cornelius Chiu
;
Wei-Ting Kuo
;
Katinka Kleijn
BACH
Prelude
and
Fugue
from Lute Suite,
Miloš Karadaglić
BOCCHERINI
Guitar Quintet No. (“Fandango”)
Pastorale
Allegro maestoso
Grave assai [
attacca
]
Fandango
Miloš Karadaglić
;
David Taylor
;
Cornelius Chiu
;
Wei-Ting Kuo
;
Katinka Kleijn
GRANADOS
Andaluza
and
Orientale
from Twelve Spanish Dances
FALLA
Miller’s Dance (Farruca) from
e ree-Cornered Hat
Miloš Karadaglić
RODRIGO
Españoleta
from
Fantasía para un gentilhombre
ANONYMOUS
Spanish Romance (from
Jeux Interdits
)
*
PIAZZOLLA
Libertango
*
Miloš Karadaglić
;
David Taylor
;
Cornelius Chiu
;
Wei-Ting Kuo
;
Katinka Kleijn
;
Robert Kassinger
–
–
BEETHOVEN
Allegro con brio
from String Quartet No.
David Taylor
;
Cornelius Chiu
;
Wei-Ting Kuo
;
Katinka Kleijn
VILLA-LOBOS
Selections for solo guitar
Miloš Karadaglić
HARRISON
“Here Comes the Sun”
LENNON/McCARTNEY
“ e Fool on the Hill”
LENNON/McCARTNEY
“Eleanor Rigby”
Miloš Karadaglić
;
David Taylor
;
Cornelius Chiu
;
Wei-Ting Kuo
;
Carol Cook
;
Katinka Kleijn
;
Calum Cook
;
Robert Kassinger
DOMENICONI
Koyunbaba
Moderato
Mosso
Cantabile
Presto
Miloš Karadaglić
*
First performance at Ravinia
Ravinia expresses its appreciation for the generous support of
Sponsor
e Fisher and Marks Families, in memory of James and Roslyn Marks
.
LUDWIG VAN BEETHOVEN (1770–1827)
Allegro molto quasi Presto
from String
Quartet No. in G major, op. , no.
Allegro con brio
from String Quartet No. in
B- at major, op. , no.
Beethoven composed his rst string quartets (the
six quartets of op. ) between
and
, a
relatively late debut in this traditional chamber
music genre.
ese quartets were published in
two volumes, each containing three pieces, in
June and October of
by the Viennese rm T.
Mollo. e published sequence di ers from the
order of composition, although there is consid-
erable disagreement over the original chronolo-
gy. ese early quartets demonstrate a con dent
handling of the string resources and are rmly
rooted in the Classical quartet tradition of Mo-
zart and, more particularly, Haydn. e dramat-
ic, extroverted character found in abundance
in Beethoven’s later compositions is noticeably
lacking in this set.
e Quartet in Gmajor, op. , no. —restrained
and balanced almost to a fault—apparently was
known among late- th-century musicians as
the “Compliments Quartet” for its a able tem-
perament and uncomplicated substance. Its -
nale (
Allegro molto quasi Presto
) enchants with
a memorable refrain and unusual harmonic
excursions.
e Quartet in B- at major, op. , no. , begins
in a Classical musical mode and ends trans-
formed into something startlingly Romantic.
Beethoven’s
Allegro con brio
demonstrates an
economical handling of sonata-allegro form.
ough he introduces two thematic ideas—the
standard number—his rst theme contains such
melodic abundance that development focuses
on it alone.
JOHANN SEBASTIAN BACH (1685–1750)
Two movements from Lute Suite,
Bach composed a small number of pieces for
the lute, some of the last compositions for this
instrument. e lute tradition continued longer
in Germany than in other countries on the con-
tinent. Bach’s writing for the lute had a great in-
uence on his harpsichord compositions, most
recognizably in the
style brisé
(broken-chord
style) that was transferred directly to the key-
board. Some of the early suites, preludes, and
partitas for lute actually may have composed
with the lute-harpsichord in mind.
Bach’s nal two compositions for
-course
lute were undoubtedly composed with two fa-
mous lutenists at the Dresden court in mind.
Johann Elias Bach ( – ), a second cousin
of Johann Sebastian, remembered two lutenists
who traveled with Wilhelm Friedemann Bach
from Dresden to the Bach household in Leipzig
in
. Both of Bach’s lute compositions from
Leipzig, the Partita in C minor,
, and
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