Youth & Virtuosity: Haydn & Mendelssohn

Experience a Transatlantic Musical Celebration at Lincoln Cathedral

Join us on Thursday, June 5th, at 7:30 PM for an extraordinary evening of classical music within the majestic setting of Lincoln Cathedral. This unique concert brings together exceptional talents from both sides of the Atlantic, offering a program that bridges continents and generations.

Event Details

• Date & Time: Thursday, June 5th, 2025, at 7:30 PM
• Venue: Lincoln Cathedral, Lincoln, UK

Tonight’s Program:

• Haydn’s op.76 no.4 “Sunrise”

  Nicknamed the “Sunrise” for its radiant opening, Haydn’s Op. 76 No. 4 is a masterclass in musical optimism and invention. Composed in 1797, this quartet glows with warmth and lyrical beauty, from its luminous first movement to the spirited finale. Set within the grandeur of Lincoln Cathedral, the Opus 76 Quartet’s performance of the opening movement of this work promises an uplifting encounter with one of Haydn’s finest late quartets — a work where classical elegance meets emotional depth.

• Mendelssohn’s Octet in E-flat Major, Op. 20

  Few works in the chamber music repertoire are as astonishing in origin — or as exhilarating in effect — as Mendelssohn’s Octet. Composed in 1825 when he was just sixteen years old, the piece is not merely a youthful curiosity; it is a fully formed masterpiece that reveals the composer’s extraordinary precocity and creative confidence. Commissioned as a birthday gift for his violin teacher, Eduard Rietz, the Octet quickly became a landmark in the history of chamber music — a dazzling example of how eight string instruments could be wielded with the energy and sweep of a full orchestra.

  Mendelssohn was clear in his intentions: this music should be played “in symphonic orchestral style,” with the parts fused into a unified ensemble rather than treated as two opposing quartets. The result is a richly textured, virtuosic work that explores a vast range of sonorities and moods, without ever losing its clarity or charm.

  The first movement (Allegro moderato ma con fuoco) opens with a surge of energy — a soaring, violin-led theme that sets the tone for the rest of the work. The writing is exuberant and full of interplay, with lines passed seamlessly among the instruments, creating a tapestry of vibrant counterpoint and lyrical dialogue.

  The second movement (Andante) shifts into a darker, more contemplative mood. Here, Mendelssohn crafts a gently brooding atmosphere, full of long, flowing phrases and harmonic richness. The depth of emotion is remarkable for a teenager, and the movement offers a glimpse into the composer’s future Romantic sensibilities.

  The Scherzo is perhaps the most famous movement — a gossamer-light, quicksilver creation inspired by the Walpurgis Night scene from Goethe’s Faust. Mendelssohn captures the flickering, magical quality of the supernatural, with rapid, fleeting gestures that seem to defy gravity. This movement would later so impress Hector Berlioz that he compared it to fairy footsteps in moonlight, and Mendelssohn himself would reuse the style to iconic effect in his A Midsummer Night’s Dream music.

  The finale (Presto) is a tour de force of contrapuntal writing, culminating in a brilliant fugato that brings together themes from earlier movements in a virtuosic flourish. It is a movement of immense drive and compositional finesse, where intellectual rigor meets unbounded joy.

  In the majestic setting of Lincoln Cathedral, the Octet takes on a new spatial and acoustic dimension. Its expansive structure and orchestral textures resonate beautifully within the stone vaults, turning Mendelssohn’s youthful masterpiece into a transcendent sonic experience. Performed tonight by the combined forces of the Opus 76 Quartet and the Piatti Quartet — two ensembles known for their expressive range and interpretive depth — this concert offers a rare opportunity to hear the Octet as it was meant to be heard: not as a string of solo voices, but as one radiant, unified instrument singing with joy, poetry, and boundless imagination.

• INTERVAL

• Haydn’s Symphony No. 104 in D Major (“London”)

  Joseph Haydn’s Symphony No. 104 is not just the last of his 104 symphonies — it is the glorious culmination of a life devoted to musical innovation. Nicknamed the “London” Symphony, this work crowns the second of Haydn’s two triumphant visits to England in the 1790s, during which he was celebrated as a European superstar. Written in 1795 for a public concert at London’s King’s Theatre, the symphony is at once grand, witty, and profoundly assured — a final statement from the father of the symphony at the height of his powers.

  The opening Adagio – Allegro begins with a stern, slow introduction — dramatic, almost ceremonial in its gravitas. But the mood shifts rapidly as the main Allegro bursts forth with rhythmic vigor and bright D major radiance. Haydn plays with contrasts here, moving between elegant lyricism and boisterous energy, with a mastery of orchestral color that reveals why he was revered in London concert halls.

  The Andante second movement offers something subtler: a graceful theme in G major that evolves through clever variation and delicate interplay between strings and winds. Haydn’s gift for turning simple material into rich conversation is on full display, as he layers expressive detail without ever losing the music’s underlying clarity.

  In the third movement, a rollicking Menuetto, Haydn shows off his trademark wit. The dance is rustic and bold, with the courtly grace of earlier minuets replaced by folk-like vitality. The trio section provides contrast with its lighter texture and lyrical turns, but the return of the main theme stomps back in with confident swagger.

  Then comes the rousing Finale: Spiritoso, one of the most exhilarating conclusions in the Classical repertoire. Its bounding main theme — possibly inspired by a Croatian folk tune — drives the movement forward with infectious energy. Haydn’s use of repetition and variation here creates a sense of breathless momentum, culminating in a blazing, jubilant finish.

  To hear this work in Lincoln Cathedral — one of the UK’s most awe-inspiring sacred spaces — is to experience its grandeur in an entirely new light. Haydn composed the “London” Symphony to dazzle audiences, and its bold orchestration and vibrant architecture make it an ideal match for the cathedral’s soaring acoustics. Tonight’s performance by the Youth Symphony of Kansas City adds another layer of resonance: young musicians bringing to life the legacy of a composer who, late in his career, still wrote with youthful verve. In their hands, Haydn’s farewell to the symphony becomes not a conclusion, but a celebration — of invention, joy, and the enduring power of music to uplift and unite.

About the Performers:

• The Youth Symphony of Kansas City
  The Youth Symphony of Kansas City is one of the United States’ most distinguished youth orchestra programs, nurturing musical excellence, discipline, and artistry in talented young musicians from across the Kansas City metropolitan area. Founded in 1958, the organization serves over 500 students annually through a comprehensive program of orchestral training, chamber music, and performance opportunities, led by a dedicated team of professional conductors and educators.Renowned for its dynamic energy and polished sound, the Youth Symphony has earned acclaim through regional and international tours, including recent performances in Chicago, New York’s Carnegie Hall, and Vienna’s Musikverein. The ensemble returns to the UK this summer with a special program designed to celebrate both the roots and future of the symphonic tradition.For tonight’s performance in the awe-inspiring setting of Lincoln Cathedral, the Youth Symphony proudly presents Joseph Haydn’s Symphony No. 104 in D major, “London” — a work brimming with sophistication, spirit, and Classical brilliance. As Haydn’s final symphony, it stands as a testament to his lifelong mastery and his deep connection to the English capital. Performing this iconic work in one of Britain’s most historic cathedrals offers a uniquely resonant encounter between past and present — between a Classical master and the rising generation of orchestral musicians who continue to carry his legacy forward.\Performing in the historic setting of Lincoln Cathedral is a special opportunity for the Youth Symphony of Kansas City. Sharing Haydn’s “London” Symphony — a work written for British audiences over two centuries ago — feels particularly meaningful on this UK tour. The orchestra is proud to bring the energy and commitment of its young musicians to this performance, and to connect with audiences through a shared love of great music, across countries and generations.
• Professor Steven D. Davis
  Principal Conductor – Youth Symphony of Kansas CityProfessor Steven D. Davis is a leading figure in American music education and orchestral conducting, known for his inspiring leadership, artistic integrity, and commitment to nurturing the next generation of musicians. He serves as Principal Conductor of the Youth Symphony of Kansas City, where he brings decades of experience, boundless energy, and a deep passion for connecting young performers with great music.Davis is also Professor of Conducting and Wind Ensemble Director at the University of Missouri–Kansas City Conservatory, where he is recognized internationally for his work with student ensembles and for his advocacy of contemporary and classical repertoire alike. He has conducted throughout the United States, Europe, and Asia, earning praise for his insightful interpretations and dynamic stage presence.Under his direction, the Youth Symphony of Kansas City has expanded its explored ambitious repertoire and performed in prestigious venues across the country and abroad. Tonight, Davis leads the ensemble in Haydn’s Symphony No. 104 “London” — a work that blends classical precision with vibrant expression.
• Piatti Quartet
  Resident Quartet at Kings Place, London, the distinguished Piatti Quartet are widely renowned for their ‘profound music making’ (The Strad) and their ‘lyrical warmth’ (BBC Music Magazine). Since their prizewinning performances at the 2015 Wigmore Hall International String Quartet Competition, they have performed all over the world and made international broadcasts from many countries.The Piattis are famed for their diverse programming and for passionate interpretations across the spectrum of quartet writing, and have commissioned and recorded some of the most major and impressive works added to the quartet canon in recent years.Since their inception they have always had projects in the recording studio with critically acclaimed releases through Linn, Rubicon, Somm, Champs Hill, Hyperion, Delphian, Nimbus and NMC record labels. Their wide ranging discography and repertoire is thanks to their enthusiasm and curiosity in collaborating with a broad range of artists including some of the most recognisable names in classical music such as St. Martin’s Voices, Nicky Spence, Julius Drake, Michael Collins, Barry Douglas, Janina Fialkowska, Melvyn Tan, Ian Bostridge, Katherine Broderick, Adam Walker, Simon Callaghan and the Belcea Quartet. Accolades in 2023 include a Presto Music Award as one of the ‘Top 10 Recordings of the Year 2023’, a Gramophone’s ‘Editor’s Choice for the Month’ with NMC, a five star review from BBC Music Magazine with Delphian and in 2022 they were nominated for ‘Recording of the Year’ with both Limelight and Gramophone for their collaborative disc on the Hyperion label.Contemporary music has been ever present in their repertoire and leaving a legacy to the quartet genre through commissions is one of the quartet’s central tenets. Major commissions and dedications have stemmed from Mark-Anthony Turnage, Emily Howard, Charlotte Harding, and Joseph Phibbs whilst they have premiered a mesmerising number of new works over the years beginning with Anna Meredith back in 2009. The Concertgebouw Amsterdam, Flagey Radio Hall Brussels, Wigmore Hall London, and the Aldeburgh Festival are some of the high profile occasions where new music has been presented and recordings of Turnage’s quartets 1-4 and Gavin Higgins’ chamber music has also been extensively lauded by critics.Historical research into quartet music that has been undiscovered or deserves to be better known has led to the premiere recording of Ina Boyle’s (Ireland) SQ in E minor, and performances of lesser known quartet gems by Ralph Vaughan Williams, E.J. Moeran, Rachmaninov, Ireland, Haas, Ulmann, and Durosoir.The quartet’s name is dedicated to Alfredo Piatti, a 19th Century virtuoso cellist who was a professor at the Royal Academy of Music (the alma mater of the founder’s of the quartet) and also a major exponent of chamber music and contemporary music of his time.This evening, the Piatti Quartet joins forces with the Opus 76 Quartet to perform one of the crown jewels of the chamber music repertoire: Mendelssohn’s Octet in E-flat major, Op. 20. A work of astonishing energy and imagination, the Octet takes on new life in the soaring acoustic of Lincoln Cathedral, where its shimmering textures and joyful spirit can resonate fully. The Piatti’s sensitivity and stylistic insight make them ideal collaborators in bringing this youthful masterpiece to life — a highlight of tonight’s programme and a celebration of the enduring vitality of string chamber music.
• Opus 76 Quartet
  The Opus 76 Quartet, founded in 2017, is praised for its “old-school European elegance,” “unmistakably traditional sound, expressive clarity and warmth that harkens back to the golden age of quartet playing,” and “interpretive depth reminiscent of the Amadeus Quartet” (Gramophone, The Strad, Bachtrack). Hailed as one of America’s top string quartets, they’ve earned national acclaim through performances at major festivals, broadcasts, and venues—including a 2023 Carnegie Hall debut noted as their leap from “regional excellence to national recognition” (Gramophone).  Known for their expressive power and technical brilliance, they’ve collaborated with artists including Karoly Schranz, David Kim, Paul Neubauer, Alexander Markov, Julie Coucheron, Ramona Pansegrau and David Krakauer.Hailed as “Kansas City’s Gem of a Quartet” by the Kansas City Star, the ensemble consists of prize winning musicians Keith Stanfield, Zsolt Eder, Ashley Stanfield, and Daniel Ketter.The Opus 76 Quartet’s discography is extensive, including complete cycles of Beethoven quartets and recordings of works by Brahms, Mozart, Mendelssohn, Haydn, Bartok and Schubert. Their recording of both Mozart’s “Six Quartets Dedicated to Haydn” and all eighteen Beethoven String Quartets for Kansas Public Radio are particularly noteworthy. The Opus 76 Quartet has garnered unique acclaim for their dynamic collaborations with ballet companies, notably through their performances of Alexander Ekman’s “Cacti.”Renowned publications including The Strad, Gramophone, Bachtrack, The Spectator, The K.C. Independent, and K.C. Arts Beat have consistently commended the Opus 76 Quartet for their “emotive precision” and “deeply rooted ‘old school quartet style’.” Critics have noted the ensemble’s “striking blend of technical finesse and heartfelt expression,” emphasizing the quartet’s gift for forging a powerful connection with audiences through performances that are both artistically refined and emotionally resonant.In tonight’s concert at Lincoln Cathedral, the Opus 76 Quartet showcases its versatility and interpretive depth in two landmark works of the string repertoire. First, they perform Haydn’s String Quartet in B-flat major, Op. 76 No. 4 “Sunrise” — a radiant and lyrical piece by the very composer whose name they bear. Full of warmth, invention, and classical elegance, the “Sunrise” quartet is a perfect match for the ensemble’s refined touch and expressive range. Later in the programme, they join forces with the UK’s acclaimed Piatti Quartet for Mendelssohn’s Octet in E-flat major, Op. 20 — a thrilling fusion of youthful exuberance and rich chamber texture. In the soaring acoustic of the cathedral, this pairing of Haydn and Mendelssohn promises a concert of brilliance, contrast, and deep musical conversation.

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