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Visual artists captured the exhilaration, drama, and deadliness of the hunt, and composers were similarly inspired, replicating the sonics and spirit of the chase through music. Indeed, Joseph Haydn’s very first quartet is subtitled La chasse, which opens with the iconic sound of hunting horns. Wolfgang Amadeus Mozart’s quartet bears the same nickname, for good reason. A century later, Johannes Brahms alluded to the hunt in his final quartet, and in Jörg Widmann’s delightfully macabre Hunting Qu ...
Spieker Center for the Arts, San Francisco, CA, United States