DIVERGENCE
November 6

The string quartet has long been a format in which composers explore contrast and innovation. This program, Divergence, brings together four works that embody vastly different styles, eras, and emotional worlds. From Haydn’s wit and balance at the dawn of the Classical era to Mendelssohn’s romantic lyricism, from Shostakovich’s deeply introspective elegy to Mozart’s groundbreaking “Dissonance” Quartet, these pieces chart the evolution of the string quartet across centuries. Their juxtaposition reveals how the same four instruments can speak with remarkably different voices — diverging in style, expression, and intent, yet united in their capacity to move and inspire. Taken together, these four works reveal the astonishing versatility of the string quartet. Haydn lays the foundation with balance and clarity. Mendelssohn builds upon it with Romantic warmth and lyricism. Shostakovich provides a moment of stark, intimate reflection. Finally, Mozart pushes the boundaries of harmony and form, opening the door to the future.

J. Haydn (1732–1809)
String Quartet in B minor, Op. 33, No. 1

Often called the “father of the string quartet,” Haydn revolutionized the genre by giving each instrument a distinct voice and weaving them together in intricate musical conversations. His Op. 33 quartets, composed in 1781, marked a turning point in his style and were famously described by the composer as being written in a “new and special manner.” The first quartet of this set, in B minor, is striking for its elegance and humor. The opening movement begins with a poised, conversational theme, setting a mood of refinement. The slow movement offers lyrical warmth, while the scherzo-like third movement introduces playful rhythmic twists and surprises. The finale, full of wit and energy, showcases Haydn’s gift for balancing sophistication with spirited inventiveness. This quartet serves as a reminder of the genre’s origins — clear in form yet rich in character — and establishes the foundation from which later composers would diverge.

Fanny Mendelssohn (1805–1847)
String Quartet in E-flat major

Fanny Mendelssohn’s string quartet stands as a remarkable achievement in the history of 19th-century chamber music. Written in 1834, the work demonstrates both her deep immersion in the musical language of her time and her bold departure from convention. While her brother Felix Mendelssohn found public acclaim, Fanny composed largely within the private sphere, restricted by the gender expectations of her era. Yet this quartet reveals a composer of striking originality: harmonically daring, structurally inventive, and with impressive emotional depth. The piece is one of the few large-scale chamber works by a woman composer of the period, and it makes a persuasive case for her place among the leading musical voices of early Romanticism. The quartet opens with a restless, harmonically adventurous Adagio, its searching lines pulling the listener into a world of uncertainty and introspection. A vigorous Allegretto follows, where sharp rhythmic gestures and unexpected turns of phrase keep the music in constant motion. The Romanze, marked by lyrical intensity, offers moments of intimate songfulness, almost as if Fanny were translating her gift for lieder into the string quartet medium. The finale gathers the work’s energies into a dramatic conclusion, with bold harmonic progressions and driving momentum underscoring her command of form. Throughout, listeners will notice the quartet’s tension between classical restraint and Romantic expressivity — a reflection, perhaps, of Fanny Mendelssohn’s own struggle to reconcile personal creativity with the limitations imposed upon her.

D. Shostakovich (1906–1975)
Elegy for String Quartet in F minor

Shostakovich’s music often reflects the tension between private emotion and public expression under the repressive Soviet regime. The Elegy, adapted from his opera Lady Macbeth of Mtsensk, is a brief but deeply poignant work that captures a moment of intense sorrow. Through its haunting melody and dark harmonic landscape, the Elegy conveys a mood of profound grief. Its restrained form and intimate texture make it a powerful interlude, standing apart from the larger-scale quartets that dominate Shostakovich’s output. Here, the Elegy functions as a moment of inward reflection — a still point of deep emotion before the dramatic finale of the program.

W. A. Mozart (1756–1791)
String Quartet No. 19 in C Major, K. 465, “Dissonance”

This work is Mozart’s final quartet of his set dedicated to Haydn, and is among his most celebrated and daring chamber music compositions. Nicknamed the “Dissonance” Quartet, it opens with a slow introduction unlike anything written before it — filled with unsettling harmonic clashes and unexpected tensions that challenged listeners of his time and still sound strikingly modern today. As the quartet unfolds, this mysterious introduction gives way to Mozart’s characteristic brilliance and lyricism. The contrasting movements display humor, grace, and exuberance, culminating in a finale of joyful vitality. By pairing bold innovation with classical elegance, the “Dissonance” Quartet represents Mozart at his most adventurous. It closes the program by looking forward, showing how the string quartet could evolve beyond its origins — a fitting conclusion to an evening centered on contrast and divergence.