Tokyo String Quartet performs with Ettore Causa and Jasper Quartet Oct. 2

Program includes music by Webern, Mozart, Mendelssohn

The Yale School of Music presents a concert featuring the Tokyo String Quartet and friends on Tuesday, October 2, 2012.

The concert marks the opening not only of the 2012–2013 Oneppo Chamber Music Series but also the beginning of the Tokyo Quartet’s last season before retirement. The quartet, along with guest artists Ettore Causa (viola) and the Jasper String Quartet, will perform music of Webern, Mozart, and Mendelssohn.

The program opens with Anton Webern‘s Five Movements for string quartet, and two pieces for which the Quartet invited Yale friends and colleagues. Violist Ettore Causa, a member of the School of Music faculty, joins them in Mozart‘s Quintet in C major, K. 515.

Since 1976, the Tokyo String Quartet has been in residence at the Yale School of Music, coaching chamber music and mentoring young ensembles. One of those is the Jasper String Quartet, an “impressive young ensemble” (New York Times) that was the graduate quartet-in-residence at Yale 2008–2010. The Tokyo and Jasper Quartets will join forces to perform the Mendelssohn Octet in E-flat major, Op. 20. MORE

Published September 13, 2012
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Margins and Mirrors: Dean Blocker’s Convocation Address

Robert Blocker, Dean of the School of Music, delivered this address to the incoming class at the School’s Fall Convocation on September 6, 2012.

MARGINS and MIRRORS

Tonight I want to think with you about the margins and mirrors that determine the course and quality of our lives. Margins are measurements of time and space that establish borders and boundaries, and in so doing, can unleash a transformative DNA in our lives. Some margins are flexible while others are fixed.

A margin is most frequently defined as the border of a printed page. For most of you, a more current application would be the white space surrounding text on your iPad. We make notes in the margin to expand or question the text. We extend the boundary.

I am reminded of Beethoven’s manuscript of the Grosse Fuge four-hand piano transcription. On two adjoining pages of the score, everything had been marked out – the pages were almost black. The margins were filled and also crossed out, with the exception of one boldly boxed measure. Here he writes a few notes on a handwritten staff surrounded by a bold black ink border in the furthest margin of the page where it could be seen. Beethoven characteristically stretched the boundary: one marginal measure survives from two full pages and margins of creative energy and output. MORE

Published September 13, 2012
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