BERLIN STAATSKAPELLE STRING QUARTET & MOJCA ERDMANN

BERLIN STAATSKAPELLE STRING QUARTET

British composer Thomas Adès’s Arcadiana combines musical and non­musical influences—from Mozart’s Die Zauberflöte to the paintings of Poussin and Watteau, to Greek mythology—to evoke paradisiacal scenes. In its second concert of the season, the Berlin Staatskapelle String Quartet performs the piece, written in 1994 and already considered a contemporary classic, alongside 19th­century quartets by Schubert and Beethoven.

JUILLIARD STRING QUARTET

According to Jörg Widmann, Beethoven’s Opus 130 represents the “string quartet of string quartets.” His own Eighth and Tenth Quartets were written in response to the Viennese master’s late work, in particular its famous slow movement, titled “Cavatina.” The New York–based Juilliard String Quartet frames Widmann’s “Beethoven Studies” with their historical model, including both its traditional version and the Grosse Fuge, the work’s original finale.

DANISH STRING QUARTET

Audiences of the Danish String Quartet know that the ensemble likes to blur the boundaries between folk music and classical music. In this concert, the four Scandinavians combine traditional melodies by 18th­-century Irish harper Turlough O’Carolan with works from different eras to create a sound world that transcends styles and genres. In addition to Stravinsky’s Three Pieces for String Quartet, which evoke Russian dance rhythms and sacred chants, the program includes Mozart’s delightful F-­major Divertimento and Caroline Shaw’s Haydn­inspired Entr’acte.

BELCEA QUARTET

Continuing its close collaboration with the Pierre Boulez Saal, the Belcea Quartet returns to Berlin for two concerts. Following a performance of string quartets by Arnold Schoenberg and Ludwig van Beethoven, the four musicians will be joined by students of the Barenboim-Said Akademie two days later for the rousing String Octet by 16-year-old Felix Mendelssohn.

CHIAROSCURO QUARTET

A critic once described the first encounter with the Chiaroscuro Quartet as a “shock for the ears.” Over the past two decades, the group has come to be regarded as the leading string quartet for historically informed performance practice, and with their adventurous interpretations the four musicians transform even familiar repertoire classics into unexpected discoveries. A fixture of past Pierre Boulez Saal seasons, the ensemble has chosen works by Haydn, Beethoven, and Schubert for its latest program.

HEATH QUARTET

Josef Suk’s close bond with his composition teacher Antonín Dvořák was not merely artistic—he was also his older colleague’s son­-in-­law. The Heath Quartet juxtaposes Dvořák’s String Quartet Op. 51, known as the “Slavonic” due to its many allusions to Czech folk music, with Suk’s meditation on an ancient chorale for Wenceslas, the patron saint of Bohemia. Written on the eve of World War I, the composition is a plea for peace and protection as well as an expression of new­ found Czech patriotism. Works by Benjamin Britten and Joseph Haydn complete the program.

LEONKORO QUARTET

Over the course of two seasons, several acclaimed ensembles have performed Jörg Widmann’s String Quartets Nos. 6–10 at the Pierre Boulez Saal. Titled “Studies on Beethoven,” these five works offer a contemporary creative response to the works of one of the greatest composers of all time. The concert cycle concludes with the young Leonkoro Quartet perform­ ing Widmann’s Ninth String Quartet, which was written in 2022 as the last of the group

JACK QUARTET

Pierre Boulez’s Livre pour quatuor is among the most complex chamber music works of the 20th century. At the same time, the score—left unfinished by the composer—also has a fragmentary quality. The JACK Quartet, regularly heard at the Pierre Boulez Saal over the last few seasons, performs individual movements from Boulez’s only string quartet, pairing them with recent works by Eva­-Maria Houben and Anthony Cheung, among others, and the String Quartet in Four Parts by Boulez’s contemporary John Cage.

String Quartet