The quartet will perform an ambitious FREE series in May of twelve masterworks over six concerts, including on May 26: Beethoven String Quartet No. 6 in B-flat Major — The finale alone sets this quartet apart from everything else in Op. 18: a haunting, chromatic slow introduction marked La Malinconia repeatedly interrupts a cheerful dance in an escalating psychological tug-of-war, before the whole thing races to a breathless, whirlwind conclusion at Beethoven's fastest tempo marking anywhere in his output. AND Mozart String Quintet in E-flat Major, K. 614 (1791) — Mozart's last chamber work, yet utterly free of valediction — just open-air good humor and Haydnesque mischief.

The quartet will perform an ambitious FREE series in May of twelve masterworks over six concerts, including on May 28: Beethoven String Quartet No. 3 in D Major — The gentlest and most lyrical of the six quartets transforms completely in its finale, a blazing Presto that hijacks the entire work and then, at the last possible moment, dissolves into a teasing whisper rather than the expected triumphant close. AND Mozart String Quintet in C Minor, K. 406 (1787) — The odd one out: a transcription of a wind serenade, startlingly dark for the genre. The highlight is a minuet built on a mirror canon that Erik Smith described as "two swans reflected in still water."

The quartet will perform an ambitious FREE series in May of twelve masterworks over six concerts, closing with: Beethoven String Quartet No. 1 in F Major — This is Beethoven at his most concentrated and intense, building an entire opening movement from a single six-note idea that returns over 130 times in endlessly varied forms. Listen for the slow movement's volcanic emotional outbursts, inspired by the tomb scene from Romeo and Juliet. AND Mozart String Quintet in G Minor, K. 516 (1787) — The emotional dark twin of K. 515, one of the most searching explorations of grief in all chamber music. The muted slow movement and the finale's hard-won turn toward happiness are unforgettable.