Alexander String Quartet William Kanengiser | Guitar - San Francisco ...
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Alexander String Quartet William Kanengiser | Guitar Friday, July 16, 2021 | 7:30PM
ALEXANDER STRING
QUARTET
Ensemble-in-Residence
Zakarias Grafilo | Violin David Samuel | Viola
Frederick Lifsitz | Violin Sandy Wilson | Cello
WILLIAM KANENGISER
Guitar
Friday, July 16, 2021 | 7:30pm
Herbst Theatre
BRITISH INVASION
LENNON/ Three selections from
McCARTNEY— “Beatlerianas” (1976)
LÉO BROUWER Eleanor Rigby
She’s Leaving Home
Penny Lane
IAN KROUSE Music in Four Sharps
(On Dowland’s “Frog
Galliard,” 2004)
STING— Prisms—Six Songs by Sting (2013)
DUŠAN NORTH AMERICAN PREMIERE
BOGDANOVIĆ Every Breath You Take (Prelude)
Message in a Bottle (Dance)
Shape of My Heart (Ballad)
Fields of Gold (Choral)
Desert Rose (Dance)
Roxanne (Passacaglia)
2IAN KROUSE Labyrinth on a Theme of
Led Zeppelin (1994, rev. 2019)
WORLD PREMIERE
(guitar and quartet version)
I. Fast rock tempo
II. Very fast
III. Tempo 1
IV. Quasi Passacaglia
V. Quasi Fuga
VI. Finale
The Alexander String Quartet and William Kanengiser are represented
by BesenArts LLC
7 Delaney Place, Tenafly, NJ 07670
BesenArts.com
3ARTIST PROFILES
San Francisco Performances has presented William Kanengiser 13
times, beginning in 1986, as a member of the Los Angeles Guitar
Quartet.
The Alexander String Quartet celebrates its 40th anniversary
in 2021. The Quartet has been Ensemble-in-Residence since 1989
with San Francisco Performances, the result of a unique partner-
ship between SF Performances and The Morrison Chamber Mu-
sic Center at San Francisco State University. Starting in 1994, the
Quartet joined with SF Performances’ Music Historian-in-Resi-
dence, Robert Greenberg, to present the Saturday Morning Series
exploring string quartet literature.
The Quartet has appeared on SF Performances’ mainstage
Chamber Series many times, collaborating with such artists as
soprano Elly Ameling and mezzo-soprano Joyce DiDonato; clari-
netists Richard Stoltzman, Joan Enric Lluna and Eli Eban; pianists
James Tocco, Menahem Pressler, Jeremy Menuhin, and Joyce Yang;
and composer Jake Heggie.
William Kanengiser has forged a career that expands the pos-
sibilities of the classical guitar. A prize-winner in major compe-
titions (1987 Concert Artists Guild International Competition,
Toronto Guitar ’81) he has toured throughout North America,
Asia, and Europe with his innovative programs and expressive
musicianship. He recorded four CDs for the GSP label, playing
music as diverse as Caribbean, Eastern European, and jazz. A
member of the guitar faculty at the USC Thornton School of
Music since 1983, he has given master classes around the world
and produced two instructional videos. Most recently, he per-
formed the U.S. premiere of Folk Concerto by Clarice Assad, with
fellow Los Angeles Guitar Quartet member Scott Tennant,
and the Albany Symphony conducted by David Allan Miller.
An active proponent of new music, he recently received a
grant from the Augustine Foundation for his Diaspora Project,
commissioning seven new works focusing on issues of migra-
tion and assimilation. It includes new pieces by Sergio Assad,
4Dusan Bogdanovic, Golfam Khayam, and others. An advocate
for musician’s wellness, he serves as Chair of the Thornton Mu-
sician’s Wellness Committee, curating their Wellness Initiative
with health screenings and a lecture series, as well as creating
a Musician’s Wellness course.
A prolific arranger, he has created dozens of transcriptions
for solo guitar and guitar quartet, and composed a number of
works for four guitars. In 2009 he created the stage production
The Illustrious Gentleman Don Quixote for narrator and guitar
quartet, writing the stage script and adapting music from the
Spanish Renaissance. It was premiered with Monty Python
member John Cleese, and extensively toured with Firesign The-
ater founder Phil Proctor.
As a founding member of the Los Angeles Guitar Quartet,
William Kanengiser has given hundreds of recitals and concer-
to appearances around the world and has recorded over a dozen
releases. Their Telarc release LAGQ Latin was nominated for a
Grammy, and it was their Telarc title LAGQ’S Guitar Heroes which
won a Grammy in 2005 as the best classical crossover recording.
Most recently, their recording of the title work on Pat Metheny’s
Road to the Sun hit #1 on the Apple Music Classical chart.
The Alexander String Quartet has performed in the major
music capitals of five continents, securing its standing among
the world’s premier ensembles, and a major artistic presence in
its home base of San Francisco, serving since 1989 as Ensem-
ble-in-Residence of San Francisco Performances and Directors
of The Morrison Chamber Music Center Instructional Program
at San Francisco State University. Widely admired for its inter-
pretations of Beethoven, Mozart, and Shostakovich, the quar-
tet’s recordings have won international critical acclaim. They
have established themselves as important advocates of new
music commissioning dozens of new works from composers in-
cluding Jake Heggie, Cindy Cox, Augusta Read Thomas, Robert
Greenberg, Cesar Cano, Tarik O’Regan, Paul Siskind, and Pulitzer
Prize-winner Wayne Peterson. Samuel Carl Adams’ new Quintet
with Pillars was premiered and has been widely performed across
the U.S. by the Alexander with pianist Joyce Yang, and will be in-
troduced to European audiences in the 2021–2022 season.
5The Alexander String Quartet’s annual calendar includes
engagements at major halls throughout North America and
Europe. They have appeared at Lincoln Center, the 92nd
Street Y, and the Metropolitan Museum; Jordan Hall; the Li-
brary of Congress; and chamber music societies and univer-
sities across the North American continent including Yale,
Princeton, Stanford, Lewis and Clark, Pomona, UCLA, the
Krannert Center, Purdue and many more. Recent overseas
tours include the U.K., the Czech Republic, the Netherlands,
Italy, Germany, Spain, Portugal, Switzerland, France, Greece,
the Republic of Georgia, Argentina, Panamá, and the Phil-
ippines. Their visit to Poland’s Beethoven Easter Festival is
beautifully captured in the 2017 award-winning documenta-
ry, Con Moto: The Alexander String Quartet.
Distinguished musicians with whom the Alexander String
Quartet has collaborated include pianists Joyce Yang, Rog-
er Woodward, Menachem Pressler, Marc-André Hamelin,
and Jeremy Menuhin; clarinetists Joan Enric Lluna, Richard
Stoltzman, and Eli Eban; soprano Elly Ameling; mezzo-so-
pranos Joyce DiDonato and Kindra Scharich; violinist Mi-
dori; violist Toby Appel; cellists Lynn Harrell, Sadao Harada,
and David Requiro; and jazz greats Branford Marsalis, David
Sanchez, and Andrew Speight. The quartet has worked with
many composers including Aaron Copland, George Crumb,
and Elliott Carter, and enjoys a close relationship with com-
poser-lecturer Robert Greenberg, performing numerous lec-
ture-concerts with him annually.
Recording for the FoghornClassics label, their 2020 release
of the Mozart and Brahms clarinet quintets (with Eli Eban) has
been praised by Fanfare as “clearly one of the Alexander Quar-
tet’s finest releases.” Their release in 2019 of Dvořák’s “Ameri-
can” quartet and piano quintet (with Joyce Yang) was selected
by MusicWeb International as a featured recording of the year,
praising it for interpretations performed “with the bright-eyed
brilliance of first acquaintance.” Also released in 2019 was a
recording of the Late Quartets of Mozart, receiving critical
acclaim. (“Exceptionally beautiful performances of some ex-
traordinarily beautiful music.” —Fanfare), as did their 2018
6release of Mozart’s piano quartets with Joyce Yang. (“These
are by far, hands down and feet up, the most amazing perfor-
mances of Mozart’s two piano quartets that have ever graced
these ears” —Fanfare.) Other major releases have included
the combined string quartet cycles of Bartók and Kodály (“If
ever an album had ‘Grammy nominee’ written on its front
cover, this is it.” —Audiophile Audition); the string quintets
and sextets of Brahms with Toby Appel and David Requiro (“a
uniquely detailed, transparent warmth” —Strings Magazine);
the Schumann and Brahms piano quintets with Joyce Yang
(“passionate, soulful readings of two pinnacles of the chamber
repertory” —The New York Times); and the Beethoven cycle (“A
landmark journey through the greatest of all quartet cycles”
—Strings Magazine). Their catalog also includes the Shosta-
kovich cycle, Mozart’s Ten Famous Quartets, and the Mahler
song cycles in new transcriptions by Zakarias Grafilo.
The Alexander String Quartet formed in New York City in
1981, capturing international attention as the first Ameri-
can quartet to win the London (now Wigmore) International
String Quartet Competition in 1985. The quartet has received
honorary degrees from Allegheny College and Saint Lawrence
University, and Presidential medals from Baruch College
(CUNY). The Alexander plays on a matched set of instruments
made in San Francisco by Francis Kuttner, known as the Ellen
M. Egger quartet.
PROGRAM NOTES
In tonight’s program, I join the Alexander String Quartet to
pay tribute to a group of English musicians who conquered
the musical world with their revolutionary explorations.
From the Elizabethan lutenist John Dowland to the pop/
rock icons Sting, The Beatles, and Led Zeppelin, these art-
ists made a lasting impact far from the shores of their small
island. Their music served as inspiration for a set of compo-
sitions for guitar and string quartet by some of the most tal-
ented composers writing today, and it is especially appropri-
ate that the guitar sits squarely at the center of these works,
7as the plucked string was the primary musical voice of these
British innovators.
Born in Havana in 1939, Léo Brouwer is now regarded as the
preeminent contemporary composer for the guitar, although
he has also written extensively for orchestra, choir, and cham-
ber ensembles, and has composed over 50 film scores. Coming
of age in post-Revolutionary Cuba, he was entranced not only
by classical and avant-garde music, but also by the popular mu-
sic of the day; The Beatles, in particular, were an important in-
fluence on his musical personality. When a Cuban Minister of
Culture undertook a program of avoiding “Western” influence,
Léo found his music, as well as his beloved Beatles, banned in
his homeland. As a reaction, he arranged seven Beatles classics
in 1976, grouping them as Beatlerianas, which have been scored
for guitar duo, guitar with chamber orchestra, and the present
version for guitar and string quartet.
The Alexander String Quartet and I have chosen three of
these settings, all of which contain enough new and extrap-
olated material to straddle the distinction between pure ar-
rangement and new composition. The three pieces also share
a commonality in theme: they all are pieces that The Beatles
wrote in their mature period, capturing memories of their early
years growing up in Liverpool. Eleanor Rigby is a heartbreaking
character study of the loneliness of anonymity and old age, and
Brouwer interjects brisk passagework and a quasi-fugal exposi-
tion of the tune before the more familiar setting emerges. She’s
Leaving Home captures the poignant moment of a daughter
leaving the nest, from both her and her mother’s perspective;
Brouwer begins it with a fluid introduction and a swinging coda
in his delicate treatment. And Penny Lane gives a vivid portrait
of a day in the life on the bustling streets of Liverpool; Brouwer
captures the energy of the scene with a vibrant syncopated in-
troduction and crisp rhythmic countermelodies to the jaunty
tune.
John Dowland was the undisputed master of the Elizabethan
lute, and through his vast catalogue of compositions and fre-
quent travels abroad, could be said to be one of the first “rock
stars” of the plucked string. One of his most popular pieces is
8his Frog Galliard, which may have been written in reference to
one of Elizabeth I’s French suitors, the Duc d’Alençon. Dowland
also set the piece to text in his lute song Now, O Now, I Needs
Must Part. (The triple meter and cyclical harmony of the piece
have suggested to some that Herr Pachelbel might have lifted
it for his famous Canon in D theme.) The contemporary com-
poser Ian Krouse used this theme as a springboard for a major
work, first written for two guitars under the title Portrait of a
Young Woman, and then re-cast for solo guitar and string quar-
tet (it was later re-arranged for four guitars, and I recorded it
with the Los Angeles Guitar Quartet on our New Renaissance
album).
Ian Krouse, a Distinguished Professor of Composition at
UCLA, is prolific and lauded composer of symphonies, cham-
ber works and song cycles. (He is most recognized for his
magnum opus, Armenian Requiem.) But as a guitarist him-
self, he is particularly associated with that instrument, and
especially through his long and fruitful collaboration with
LAGQ. In setting the Frog Galliard, Krouse created a two-part
work that deconstructs, reconstructs, and reimagines the
theme both melodically and harmonically. Krouse also used
the conceit of limiting himself to the seven notes of the key
of E major, to see how much contrast and formal develop-
ment could be achieved within that constraint: hence the title
Music in Four Sharps. The first half of the piece owes a debt to
Benjamin Britten’s masterwork for solo guitar, Nocturnal after
John Dowland, Opus 70, which also happens to be a setting of
a Dowland theme (Come, Heavy Sleep); like the Nocturnal, Mu-
sic in Four Sharps presents a set of variations that reveals the
theme at the end, rather than at the outset. While the state-
ment of the theme was the endpoint for Britten’s setting, for
Krouse it marks the middle point. From then on, the piece
becomes a quasi-minimalistic fracturing and rhythmic over-
lay of snippets of the tune that gradually builds to a searing
climax. As the dust settles, the theme returns as a faint echo,
fading out a niente.
Sting (born Gordon Sumner) has re-defined what a pop art-
ist can be over his multifaceted career; he is a rock star, a jazz
9musician, a world-music advocate, an early music aficionado,
an actor, and now, a Broadway playwright and headliner in
his musical The Last Ship. Along the way, he created a cata-
logue of songs that have become anthems for a whole gen-
eration. In 2013, the contemporary Serbian composer Dušan
Bogdanović undertook the project of setting six of Sting’s
tunes into Prism: Six Songs by Sting for solo guitar and string
quartet. The genesis of the collaboration was through Sting’s
exploration into Elizabethan lute and the music of John Dow-
land in his project Songs from the Labyrinth. There he worked
with the Croatian lutenist Edin Karamazov, who is a frequent
performer of Dušan’s music. Edin commissioned Dušan to set
the songs, and with Sting’s blessing, the pieces have been per-
formed and recorded. Tonight’s performance will mark the
North American premiere of the set.
Bogdanović chose six songs that highlight the stylistic and
emotional range of Sting’s songwriting, in adaptations that
are even more extrapolated and re-composed than the afore-
mentioned Beatles settings by Brouwer. Dušan’s iconic style
comes through clearly with a penchant for odd-meters, rich
harmonies, polymeter, and jazz textures, making it a perfect
foil to Sting’s pop-infused multistylistic approach. The sim-
plest of the settings is Every Breath You Take, with the time sig-
nature set to a more Balkan 7/8, and a cello ostinato reminis-
cent of the Prelude of Bach’s Cello Suite No. 1. Next is Message
in a Bottle, churning with an African-inspired polyrhythm,
which climaxes in a highly syncopated 12/8 groove. Shape of
My Heart is a duet for cello and guitar, with a mournful, bluesy
setting of this lovely ballad. Fields of Gold is a dialogue be-
tween guitar and the string quartet, with luscious harmonies
over the hymn-like melody. Desert Rose begins with a short
guitar solo in a North African style, which unfolds into the
ostinato of the tune, again re-imagined in 7/8. The final move-
ment is the rock anthem Roxanne, here set as a passacaglia
that becomes increasingly complex, polytonal, and polyrhyth-
mic, culminating in a frenetic post-modern be-bop coda.
Led Zeppelin still stands as one of the most emblematic and
innovative rock groups in history, and the guitar stylings of
10Jimmy Page puts him firmly in the pantheon of “Guitar Gods”
alongside Jimi Hendrix and Eric Clapton. But while they are
most known for their commercial hits Stairway to Heaven and
Whole Lotta Love, they experimented quite a bit with world-mu-
sic elements, complex rhythms, and innovative structure, re-
defining what rock music could be. A “deep track” from their
Led Zeppelin 3 release was Friends, an Indian-inspired blues
filled with odd meters, bent pitches, and exotic scales. This
tune served as the starting point for one of Ian Krouse’s most
ambitious works, Labyrinth on a Theme of Led Zeppelin. Origi-
nally composed for LAGQ in 1994, it was rearranged for solo
guitar and string quartet in 2019 expressly for this concert
and receives its world premiere in tonight’s performance.
The piece begins with a note-for-note transcription of the
original Friends track, complete with strummed open-tuned
chords on the steel-string guitar and microtonal bends evok-
ing Robert Plant’s bluesy vocal line. After a rousing cadence,
the texture becomes ominous, with rapid string passagework
punctuated by a bottle-neck slide statement of the theme. This
gives way to a furious exposition of the octatonic scale, in a
“call-and-response” blues form, culminating in a chorale-like
recapitulation of the theme. Part 3 begins by introducing an
up-tempo rock-style blues, which become increasingly raucous
and is punctuated by an improvised slide guitar solo. Without
warning, a sudden stop ushers in Part 4, a slow and haunting
passacaglia over the blues progression. The cello then begins
Part 5 with an austere statement of the theme, as the subject of
what will become a full-blown fugal exposition. Previous ele-
ments interrupt the imitative texture with increasing inten-
sity, until the opening theme returns, this time informed by
the transfigurations of the previous material. A final swelling
crescendo erupts in the finale, as the Labyrinth returns to the
open C major chord where it began.
Notes by William Kanengiser
11All of us at San Francisco Performances extend our deep
appreciation to our many patrons who have helped keep us
going during the pandemic by donating to our Bridge to the
Future Campaign. Your generous support has ensured that
we will gather again and share many more transformative
performances together for years to come. Thank you!
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Stanlee Ray Gatti
Lt. Col. Wallace I. Levin CSMR (Ret.)
Gorretti Lo Lui
Mrs. George R. Moscone
Maj. Gen J. Michael Myatt, USMC (Ret.)
Paul F. Pelosi
Diane B. Wilsey
Brenda Wright
John Caldon, Managing Director
Jennifer E. Norris, Assistant Managing Director
Elizabeth Murray, Managing Director Emerita
HERBST THEATRE EXIT MAPS
In an emergency, follow any lighted exit sign to the street. Do not use elevator.
Walk, don’t run.
152021–2022
A Joyful Return!
S E A S O N
Download Our 2021-2022 Season BrochureYou can also read
