The Balourdet Quartet and Rob Kapilow highlight Haydn’s brilliance
Kapilow’s critical discussion about Haydn’s final string quartets preceded the Balourdet Quartet’s energized performance
Photo courtesy of Kevin W. Condon
Haydn’s String Quartet in G Major, Op. 76, No. 1
Celebrity Series of Boston
Rob Kapilow and the Balourdet Quartet
Chamber Music
NEC Jordan Hall
Oct. 18, 2025
On Oct. 18, conductor and commentator Rob Kapilow presented a segment of his “What Makes It Great?” series, featuring the Balourdet Quartet’s performance of Joseph Haydn’s String Quartet Op, 76, No.1.
The Balourdet Quartet — comprised of violinists Angela Bae and Justin DeFilippis, violist Benjamin Zannoni, and cellist Russell Houstin — is well-known for their vibrant energy and masterful blend of technical precision and emotional depth, which were present in their performance of Haydn’s String Quartet No. 1.
Robert Kapilow is a distinguished composer, pianist, and one of America’s most popular commentators on classical music. Holding degrees from Yale University and the Eastman School of Music, Kapilow is best known to younger audiences as the composer of the Green Eggs and Ham musical. Through his “What Makes It Great?” series, Kapilow has made a career out of helping others understand how music can electrify their daily lives as he reveals the artistry behind complex and highly regarded compositions.
Before the show, Kapilow held a discussion to encourage the audience to explore one of Haydn’s greatest and final quartet compositions. He guided audiences through the inner workings of Haydn, asking the Balourdet Quartet to demonstrate themes, harmonic progressions, and structural elements before they performed the complete work. For those expecting to simply attend a concert, these interactive elements enhanced the listening experience, allowing the audience to understand Haydn’s choices and appreciate details they might have otherwise missed.
Haydn’s Op. 76 quartets, which he composed in 1797 at the age of 64, represent the culmination of over 40 years of quartet writing. Having just returned from his tours in England, Haydn was at the height of his creative career and financial independence. These final completed quartets are frequently described as his greatest works in the genre, showcasing his innovation and active passion. The Op. 76 marked the start of string quartet as music for professional performance, with bold orchestral elements and drama that would influence Beethoven and later composers.
The first movement, “Allegro con spirito,” opens with three bold tutti chords, mirroring an orchestral call to attention. The Balourdet Quartet delivered these opening gestures with commanding presence before shifting into the intricate counterpoint that followed. The cello stated the predominant theme first, joined by the viola and eventually, the first violin in reverse. A canonic imitation saturated the entire movement. The quartet navigated the complex textures with clarity, helping listeners trace the changing voices while maintaining the movement’s momentum.
The second movement, “Adagio sostenuto,” which many consider the emotional heart of the quartet, begins as a touching hymn in perfect chorale homophony. The Balourdet Quartet approached this movement with stunning sensitivity, transforming it into an operatic scene. As the texture shifted to an intimate duet between the cello and first violin, the ensemble demonstrated their ability to balance high tension with moments of repose.
The third movement, “Menuet,” is a modern scherzo in all but name. The Balourdet Quartet launched into the surging presto with energy, the initial light staccato phrases exploding with louder contrasts. The ensemble handled the syncopated offbeat echoes and sudden dynamic shifts with precision. The greatest perturbation came when the first violin played a delightful Austrian ländler to the pizzicato accompaniment of the other three players. Here, the quartet’s playfulness shone through, making the music genuinely enjoyable rather than only impressive.
The final movement, “Finale,” recalls the intracies of the opening movement with a sonata form that flickers unsettlingly between major and minor, light and dark. Beginning ominously in G minor despite the quartet’s overall G major key, this movement demonstrates Haydn’s willingness to experiment and take risks. The Balourdet Quartet embraced this ambiguity, heightening the drama of the constant tonal shifts while never losing sight of Haydn’s underlying wit.
The combination of Kapilow’s discussion followed by the Balourdet Quartet’s performance created a uniquely enriching experience. Rather than a traditional concert, the event felt more like a symposium — an opportunity to learn and explore music from another perspective. Kapilow’s insights increased the audience’s appreciation for Haydn’s innovations and compositional choices, making details audible that might have gone unnoticed in a standard concert setting. While the “What Makes it Great” series may surprise those expecting a conventional concert, it offers a deeper understanding of how great music works and why it continues to matter.