Ulrich elaborates in his book, ChamberMusic. “Here a new Schubert

stands before us. The innerjoy and vivacity that filled the earlier

work is gone, and a restlessness and concern with more serious

expression appear. A tortured, twisting chromatic theme is passed

about from instrument to instrument over rapidly shifting harmonies. The second theme, more songful, offers but little relief

from the dissatisfaction expressed by the first. [When] peace of

mind and joy of spirit...reappear in later works, it is in company

with darker moods.”

Nicholas Maw, one ofBritain’s most admired composers, was 

born in Grantham, Lincolnshire. He studied at the Royal Academy of Music from 1955 to 1958 with Paul Steinitz and Lennox

Berkeley, and in Paris with Nadia Boulanger and Schoenberg’s

pupil, Max Deutsch. His career as a teacher has included positions at Trinity College, Cambridge, Exeter University, and Yale

University. He is currently professor of composition at Milton

Avery Graduate School of the Arts, Bard College, New York.

About his String Quartet No. 3, Maw writes: “This work [is] a

single structure built offive clearly differentiated movement sections. The first ofthese, marked Moderategrazioso esemplice, opens

with a lyrical statement on the violin that forms the basis of the

whole movement section. There follows a Larghettopesante with

something of the character of a folk dirge, enclosing cadenzas for

violin, cello, and viola. At the center of the work are two fast

movements. In the first of these, marked Presto volante, the four

instruments are muted until near the end. The overall mood is

ghostly and nocturnal, but there are several violent interruptions.

The following Allegro marcato is a stamping dance in a constantly

fluctuating meter. A short reprise ofthe Larghettopesante acts as a

transition into the final movement, a passacaglia marked Lento

molto. The ground bass, repeated forty-one times, goes through

all twelve transpositions. The work ends with a short coda, consisting of a reminiscence ofthe opening movement followed by a

series of quiet triadic chords.”

The String Quartet No. 3 in C Major is the third and last of

Beethoven’s “Razumovsky” quartets. Its nickname, “Heroic,” refers to the ceremoniously heroic presentation of the opening

movement’s second theme. That theme is very close to

Beethoven’s fourth and fifth symphonies in spirit, and it culminates the overall experience ofthe three “Razumovsky” quartets,

which in turn reflect the ideas and feelings of their time.

- Program notes by Elmer Booze

The Fifty-seventh Season of

THE WILLIAM NELSON CROMWELL and

F. LAMMOT BELIN CONCERTS

National Gallery of Art

2298th Concert

THE GOULL STRING QUARTET

ROGER GOULL, violin PHILIP GALLAWAY, violin

DAVID CURTIS, viola JOHN TODD, cello

Sunday Evening, February 14, 1999 

Seven O’clock

West Building, West Garden Court

Admissionfree
Franz Schubert

(1797-1828)

PROGRAM

Quartettsatz in C Minor

D. 703 (1820)

Nicholas Maw Quartet No. 3

(b. 1935) (1994)

Moderato grazioso e semplice

Larghetto pesante

Presto volante

Allegro marcato; larghetto pesante

Lento molto

First Washington performance

Commissionedby the Coull String Quartet

forits twenty-first anniversary in 1995

INTERMISSION

Ludwig van Beethoven Quartet in C Major

(1770-1827) Opus 59, No. 3 (“Eroica”) (1805-1806)

Introduzione: Andante con moto;

allegro vivace

Andantino con moto quasi allegretto

Menuetto: Grazioso

Allegro molto

Founded in 1974 at the Royal Academy of Music in London, England, the Coull String Quartet has established itself as a favorite 

chamber ensemble with audiences in the United Kingdom and has

been invited regularly to take part in the classical music cruises that

are a popular feature ofBritish cultural life. After a highly successful

series ofLondon concerts, the quartet was appointed quartet-in-residence at the University ofWarwick, a post it currently holds. The

Coull String Quartet is represented in North America by Del

Rosenfield Associates, Incorporated, of Riverdale, New York, and in

the United Kingdom by Stephannie Williams Artists ofStratford-onAvon.

Born in Scotland, violinist Roger Coull studied at the Royal AcademyofMusic in London withTrevorWilliams and laterwith Frederick

Grinke. The founder ofthe Coull Quartet, Roger Coull is a versatile

musician who enjoys performing as a duo recitalist and soloist, in addition to conducting and teaching. He was recently elected a fellow

of London’s Royal Academy ofMusic.

Violinist Philip Gallaway, whose birthplace is Great Yarmouth, 

Norfolk, also studied at the Royal College of Music. His teachers

were Frederick Grinke, Clarence Myerscough, and Jean Harvey. Besides being a member ofthe quartet-in-residence at the University of

Warwick, Gallaway gives duo recitals with pianists Alan Schiller and

James Walker and harpsichordist ChristineWhiffen.

Violist David Curtis has performed chamber music with such international artists asJohn Lill, Fou Ts’ong, Peter Donohue, and Michael 

Collins, and has worked closely with composers and conductors, including Sir Michael Tippett, Sir William Walton, and Nicolas Maw.

Glasgow-born cellist John Todd studied at the Guildhall School in

London and the Konservatorium Luzern. He was co-principal cellist

in the Scottish Chamber Orchestra, with guest appearances in the

New Music Group of Scotland and the Scottish Virtuosi. Todd appears as a recitalist with the pianist Christopher Ross, in addition to 

his membership in a newly formed cello quartet, Quattrocelli.

The period between 1819 and 1824 was a time when Schubert produced almost no chamber music, due probably to the fact that he was

for the first time away from his beloved Vienna. Hired as a tutor to 

members of the Eszterhazy family living on the plains of Zelesz in

Hungary, he had no access to fellow musicians who would stimulate

him to play and write chamber music. This hiatus was broken just

once, in 1820, when he wrote the Quartettsatzin CMinor, D. 103, a onemovement work. (A second movement remains as a fragment.) It

presents a spirit that is new to Schubert’s chamber music. As Homer