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TONIGHT’S PERFORMANCE

FIRE, SHADOW, LIGHT: THE OPUS 76 QUARTET AT KING’S PLACE

Experience the London debut of the internationally acclaimed Opus 76 Quartet, hailed by Gramophone for their ‘gripping and passionate’ performances and praised by The Strad and The Spectator for their ‘unmistakably traditional sound, expressive clarity and warmth that harkens back to the golden age of quartet playing.’


Known for their electrifying interpretations and complete Beethoven cycles broadcast by Kansas Public Radio, U.S.-based ensemble Opus 76 Quartet has captivated audiences across the globe — and now brings its dynamic artistry to Kings Place.

In this unforgettable recital, the Quartet presents a program that charts a powerful emotional arc: from the radiant optimism of Haydn’s Op. 76 No. 4 Sunrise, through the stormy romanticism of Brahms’s Quartet in C minor, to the spiritual transcendence of Beethoven’s late masterpiece, Op. 132. Each work offers a distinct emotional world — light, shadow, and fire — showcasing the full expressive range of the string quartet.


Fire, Shadow, Light is not only a celebration of masterworks, but a rare opportunity to hear a rising American ensemble at the height of its powers in an intimate London setting. Be there for an evening of timeless music-making, profound interpretation, and the vibrant energy of a quartet redefining tradition.

JOSEF HAYDN | 1732 - 1809


OP.76 NO.4 in B flat Major - “SUNRISE”


Joseph Haydn (1732–1809) was born into modest circumstances in the Austrian village of Rohrau, the son of a wheelwright and a cook. Recognized early for his musical talent, he joined the choir at St. Stephen’s Cathedral in Vienna. However, his spirited nature and mischief—including an infamous haircut prank—led to his expulsion as a teenager. Undeterred, Haydn lived hand-to-mouth for several years, teaching himself composition while scraping by as a street musician and teacher.


Through relentless dedication and undeniable genius, Haydn rose to become one of the most celebrated composers of his age. He spent much of his career as Kapellmeister to the Esterházy family, a position that gave him stability and a platform for innovation. His music often reflects his dual nature: tender in its emotional candor yet alive with wit. Haydn had an extraordinary ability to express sadness and joy with equal grace, and his famously sharp musical humor—surprising pauses, unexpected harmonies, or sudden outbursts—endears him to audiences even today.


The Sunrise Quartet, Op. 76 No. 4, composed in 1797, is a luminous example of Haydn’s late style. It opens with a radiant, slow-unfolding chord over which the first violin rises gently, like the sun climbing over a still horizon—an image that earned the piece its nickname. This serene introduction blossoms into a rich Allegro where the “sunrise” theme continues to evolve with sophistication and warmth.


The second movement, Adagio, offers a soulful, hymn-like meditation that balances repose with quiet intensity. The Menuetto that follows has a rustic swagger, tinged with earthy humor and rhythmic inventiveness. The final movement, Allegro ma non troppo, is a tightly woven tapestry of energetic motifs—joyful, buoyant, and peppered with Haydn’s signature surprises.


As the Opus 76 Quartet opens tonight’s recital with this masterwork, listeners are invited to hear not just the technical brilliance of a seasoned composer, but the voice of a man who never lost his capacity for wonder, joy, and heartfelt expression. Haydn’s music, like the sunrise itself, offers light in both its exuberance and its serenity.

JOHANNES BRAHMS | 1833 - 1897


QUARTET NO.1 in C minor, op. 51 no. 1


After the radiant optimism of Haydn’s Sunrise Quartet, the Opus 76 Quartet continues with one of the 19th century’s most monumental chamber works: Johannes Brahms’ String Quartet No. 1 in C Minor, Op. 51 No. 1. This quartet stands as a testament to Brahms’ fierce self-criticism and his reverence for the classical tradition—a bold and emotionally charged piece that grapples openly with the legacy of Beethoven.


Born in Hamburg in 1833 to a modest family—his father a double bassist and wind player, his mother a seamstress—Brahms showed precocious musical talent. He played piano in taverns as a teenager to help support his family, a task that exposed him to both popular music and hardship. His breakthrough came in his early twenties, when he was championed by Robert and Clara Schumann, who declared him a genius and spiritual heir to Beethoven. Yet this acclaim came with burdens. Brahms felt intensely the weight of expectation, especially in genres dominated by Beethoven: the symphony, the sonata, and above all, the string quartet.

Brahms destroyed dozens of early quartet drafts over the course of two decades, unwilling to publish until he had achieved a level of mastery and personal voice he deemed worthy. Only in 1873, at age 40, did he finally release his Op. 51 pair of quartets. The C minor work, the more stormy and dramatic of the two, became the first.


The first movement opens with a tense, driving figure in the viola that quickly permeates the quartet’s texture, creating a mood of urgency and struggle. Brahms’ characteristic technique of developing variation—transforming and reworking small motivic cells—gives the music an organic cohesion. Themes evolve seamlessly from one another, often cloaked in rhythmic ambiguity and harmonic richness. The entire movement has a relentless forward motion, its structure tightly coiled, culminating in a coda that intensifies rather than resolves the underlying unrest. The influence of Beethoven is palpable, particularly in the use of dramatic contrasts and motivic economy, but Brahms’ voice is unmistakably his own: autumnal, restless, and darkly lyrical.


The second movement offers welcome repose—a gentle, lyrical Romanze in A-flat major. It begins with a tender melody in the first violin over warm, undulating accompaniment, creating an atmosphere of nostalgic intimacy. Yet even here, Brahms resists simple sweetness: moments of chromatic tension and fleeting shadows remind the listener of the deeper emotional terrain beneath the surface. The movement reflects Brahms’ gift for writing heartfelt slow movements that convey longing, dignity, and introspection without sentimentality. The textures are lush but restrained, inviting the listener into a quiet world of inward reflection.


Neither a true scherzo nor a minuet, the third movement functions as a kind of intermezzo—an ambiguous, rhythmically elusive dance in C minor with a contrasting trio in major. Brahms creates a gently pulsing rhythm that suggests a slow-motion waltz or lullaby, subtly tinged with melancholy. The trio section, brighter and more pastoral, provides a brief shaft of sunlight before the return of the darker main theme. The use of syncopation and subtle metric shifts is masterful; beneath its calm surface, the movement reveals a complex emotional ambivalence typical of Brahms’ middle-period works.


The finale returns to the dramatic intensity of the opening, but with even more propulsion and urgency. It is structured as a modified sonata form, but Brahms conceals this architecture under sweeping phrases and dense counterpoint. The fiery main theme, built from the same restless energy as the first movement, is developed with contrapuntal rigor and rhythmic bite. A fugato passage in the development section heightens the tension before the final stretch drives the work to a blazing, uncompromising conclusion. There is no triumphant resolution—only a kind of grim defiance, a closing gesture that echoes the Beethovenian tradition while asserting Brahms’ personal aesthetic of tragic nobility.


With this quartet, Brahms positioned himself at once as a student and challenger of Beethoven—carrying forward the weight of the past while forging his own distinct language of passion, melancholy, and intellectual rigor. As performed tonight by the Opus 76 Quartet, listeners will experience a work that burns with emotional intensity, guided by a composer who balanced classical form with deep psychological depth.


LUDWIG van BEETHOVEN | 1770 - 1827


QUARTET NO. 15 in A minor, op.132


After the interval, the Opus 76 Quartet concludes tonight’s recital with one of the most transcendent works in the chamber music repertoire: Ludwig van Beethoven’s String Quartet No. 15 in A Minor, Op. 132. 


Composed in 1825, this quartet is part of Beethoven’s remarkable late period—a body of work written in near-total deafness and physical decline, yet bursting with spiritual introspection, radical form, and expressive daring.


By the time he composed Op. 132, Beethoven had recently recovered from a serious illness that left him physically and emotionally shaken. His confrontation with mortality is etched into the very structure of this quartet, particularly in the third movement, which bears the title “Heiliger Dankgesang eines Genesenen an die Gottheit” (“Holy Song of Thanksgiving of a Convalescent to the Deity”). This music is more than a personal confession—it is a meditation on suffering, grace, and transcendence.


Movement I – Assai sostenuto – Allegro

The quartet opens with a solemn chorale-like introduction in A minor, establishing a mood of gravitas and uncertainty. When the Allegro arrives, it does so restlessly, with surging phrases that rise and fall like questions unanswered. The motivic unity and contrapuntal layering lend the movement an organic intensity: ideas grow from one another as if through an internal logic rather than adherence to conventional form. The struggle between shadow and light, characteristic of Beethoven’s late style, is palpable throughout, though resolution remains elusive.


Movement II – Allegro ma non tanto

The second movement is cast as a kind of country dance, a minuet in form though colored by Beethoven’s characteristic asymmetry and rhythmic invention. Its rustic charm is interrupted by offbeat accents and a trio section in drone-like fifths that imitates a musette—a bagpipe-style folk instrument. The effect is curiously pastoral, even naïve, though tinged with a deeper melancholy that undercuts its surface cheer. Beethoven’s genius lies in making even a stylized dance feel existential.


Movement III – Molto adagio – Andante

At the heart of the quartet lies its spiritual and emotional core: the Heiliger Dankgesang. Written in the ancient Lydian mode (akin to F major but with a raised fourth), the movement unfolds as a devotional hymn. It alternates between slow, solemn chorales and more flowing, animated passages marked “Neue Kraft fühlend” (“feeling new strength”). This binary structure captures the cycle of suffering and renewal—fragility followed by grace. The music breathes with an otherworldly stillness, as though time itself has paused to reflect. Few pieces in all of Western music approach this degree of personal and spiritual revelation.


Movement IV – Alla marcia, assai vivace – Più allegro

From the sacred atmosphere of the third movement, Beethoven jolts the listener into a short but vibrant march. Rhythmic, terse, and abrupt, it serves as both a release of tension and a dramatic pivot. This interlude may be brief, but it brims with kinetic energy—an eruption of will that anticipates the final movement’s intensity.


Movement V – Allegro appassionato – Presto

The finale resumes the work’s passionate, searching tone. Themes from earlier in the quartet are transformed, now driven by urgency and fire. Beethoven blends rondo and sonata forms in a swirl of fugal writing, dynamic shifts, and harmonic complexity. While the movement retains a sense of instability, its ending in a brighter, more affirmative A major feels earned—a hard-won ascent rather than a conventional resolution. The journey ends not in triumph, but in transcendence.


With Op. 132, Beethoven wrote not merely a string quartet, but a monument to the human spirit. It is a piece born of pain, yes—but also of profound gratitude, endurance, and renewal. As performed tonight by the Opus 76 Quartet, this work brings the evening to a close with music that speaks not only to the intellect, but to the soul.


We thank you for attending our London debut this evening, and hope you have had a pleasant evening.

2025 -2026 Program

Celebrating the 250th Anniversary of the United States

In honor of the United States' 250th anniversary, the Opus 76 Quartet's 2025–26 season embarks on a sweeping musical journey through America’s chamber music heritage. This commemorative series will highlight landmark works that have shaped the nation's musical identity, including vivid recreations of some of the first professional string quartet recitals ever performed in the U.S. — originally brought to life by the pioneering Kneisel Quartet. Adding to the season's grandeur, the Quartet will be joined by internationally celebrated violinist Alexander Markov, renowned for his electrifying performances and virtuosic interpretations of Paganini. Together, they will celebrate the pinnacle of violin artistry, performing a selection of Paganini's works arranged for quartet and solo violin that showcase the dazzling flair and expressive depth that have become Markov's signature. Join us as we pay tribute to the roots of American chamber music, celebrating its evolution from intimate salons to concert halls, and envisioning the bold future still to come.​


Benjamin Franklin

Ludwig van Beethoven

Ludwig van Beethoven

Founding Father, Unexpected Composer


What do bifocals, the lightning rod, and a string quartet in E-flat have in common? Benjamin Franklin. Join the Opus 76 Quartet as we bring history to life with a rare performance of Franklin’s very own quartet — a charming and witty piece that proves America’s first diplomat also had serious musical chops. Don’t miss this unforgettable blend of history, humor, and harmony!

Ludwig van Beethoven

Ludwig van Beethoven

Ludwig van Beethoven

From U.S. Premieres to a Bold New Performance 


In tribute to the trailblazing Kneisel Quartet — who gave America its first taste of Beethoven’s string quartets — the Opus 76 Quartet will perform two of the master’s most iconic works: the sublime Op. 18 No. 3 and the heroic Op. 59 No. 1 (“Razumovsky”). These pieces stunned audiences at their U.S. premieres over a century ago, and we’re honored to bring them to life once again as part of our 250th anniversary season. Experience the music that helped ignite America’s love affair with chamber music!

Josef Haydn

Ludwig van Beethoven

Antonin Dvorak

The Father of the String Quartet, Reimagined 


Step into the sound world that helped define a nation’s classical voice. The Opus 76 Quartet proudly presents Haydn’s Op. 76 Nos. 2 (“Fifths”) and 3 (“Emperor”) — two masterpieces once introduced to American ears by the legendary Kneisel Quartet. As we celebrate the 250th anniversary of the United States, these works remind us how timeless elegance, invention, and spirit laid the groundwork for America’s chamber music journey. Come hear the quartets that helped start it all — as vibrant today as ever!

Antonin Dvorak

Edward MacDowell

Antonin Dvorak

A Czech Masterpiece, Born on American Soil 


Few works capture the spirit of America quite like Dvořák’s “American” Quartet op.96 — composed during his transformative stay in the U.S. and infused with the rhythms, melodies, and optimism of a young nation finding its voice. As part of our 250th anniversary season, the Opus 76 Quartet brings this iconic piece to life, celebrating the fusion of Old World mastery and New World inspiration that helped shape America’s musical identity. Join us for a performance that’s as soulful as it is celebratory!

Johannes Brahms

Edward MacDowell

Edward MacDowell

Brahms in America — A Legacy of Passion and Precision


Brahms’ String Quartet No. 1 in C minor is a storm of intensity, lyricism, and structural brilliance — a cornerstone of the Romantic chamber music repertoire. First introduced to American audiences by the pioneering Kneisel Quartet, this work helped elevate chamber music to new heights on U.S. soil. As part of our 250th anniversary season, the Opus 76 Quartet honors that legacy with a fresh performance of this monumental piece — fierce, fiery, and profoundly expressive. Come hear the quartet that helped define a musical era.

Edward MacDowell

Edward MacDowell

Edward MacDowell

An American Voice, Intimate and Enduring 


A rare gem of the American chamber music repertoire, Edward MacDowell’s “Romanza” for string quartet offers a glimpse into the lyrical heart of one of America’s first great composers. Deeply expressive and unapologetically romantic, this intimate work reflects the budding cultural confidence of a young nation. As part of our season honoring the United States’ 250th anniversary, the Opus 76 Quartet is proud to revive this seldom-heard treasure — a poignant reminder that America’s musical voice has always been rich, nuanced, and deeply human.

the opus 76 quartet: music of regency

Step into the Salon with Opus 76

‘Transport yourself to the elegance of 18th-century Britain with Music of Regency — an immersive concert experience by the Opus 76 Quartet. Performed in the round, with the audience surrounding the musicians seated at an authentic antique chamber music table, this intimate setting recreates the way chamber music was first heard and shared among friends. Featuring works premiered during and around the British Regency era (1730’s -1830’s), the program is paired with aperitifs and Regency-inspired cocktails, allowing guests to sip and savor while seated just inches from the ensemble. With the freedom to change seats at intermission for a new view, each listener experiences the music from a unique, personal perspective — a celebration of timeless music, elegant design, and the art of true listening.

2026/2027 SEASON PROGRAM:

BEETHOVEN 200: THE COMPLETE STRING QUARTETS

A Monumental Tribute


In the 2026/27 season, the Opus 76 Quartet embarks on one of classical music’s most profound journeys — performing the complete string quartets of Ludwig van Beethoven in honor of the 200th anniversary of his death. Having recorded the full cycle for Kansas Public Radio and brought it to audiences around the globe, the Quartet brings profound insight, passion, and reverence to these iconic works. From the fiery early quartets and heroic middle works, through the transcendent late masterpieces, this season is a once-in-a-generation celebration of Beethoven’s genius — experienced through the music that forever changed the art of the string quartet.

Copyright © 2024 The Friends of the Opus 76 Quartet


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