The history of Kronos Quartet is the history of modern music. Since their inception by founder David Harrington in 1973, they’ve eschewed traditional quartet compositions and instead aggressively courted modern composers, many who came to fame through the quartet’s efforts.
It was recently announced that Jeffrey Zeigler–cellist in the group for the last seven years–will soon be departing to teach at the prestegious Mannes College the New School for Music in New York. It is also rumored that Kronos’ performance of Terry Riley’s Sun Rings at the Carpenter Performing Art Center this Saturday evening may be its last. Sun Rings was commissioned by NASA, and is a carefully crafted multi-media event with video projections, recordings from the depth of space, and a massive choir.
Sander: I know it has been a while, but can you recall what it was like to join Kronos? The group has such a daunting schedule, and the repertoire is constantly in flux…
Jeffrey: It is true that there is a tremendous amount of repertoire that a new player must learn instantly. But looking back, the constant change in repertoire was always a help for me because, unlike music that had been in the repertoire for decades, we would actually be on the same level learning the music for the first time.
How did you adjust to the performance schedule?
J: The performing part always felt comfortable for me. We just did it more often than I had in the past. And the travel was always an adventure because most of the places were new for me. And one gets used to playing concerts completely jet lagged…
What role did you play, organizationally, in finding new works and developing relationships with composers?
J: There were a few pieces and collaborations along the way that were brought on by relationships of mine. However, David Harrington is really the person who has the most say in the projects and collaborations that Kronos takes on.
Was that ok with you?
J: Everybody in Kronos has a role to play and contributes all of the skills at their disposal. It’s really an amazing ensemble and organization and I am happy to have been able to make a positive contribution.
Are there any specific performance or recording highlights that stand out for you?
J: Many. How much time do you have? The highlights that come to mind most immediately are my first concert at the Concertgbouw, the premier of Gorecki’s 3rd Quartet, recording “The Fountain” and opening for Sigur Ros.
The Concertgebouw is probably the most amazing concert hall in the world. To be able to hear one’s sound in that hall confirmed to me the truth behind the legend. It just sounds amazing! And then to be on a great stage like that where so many of the greatest musicians have stood. It can feel intimidating. Let’s just say that all I was thinking about when we took the stage (one walks down a flight of steps on the way to the stage) was “don’t trip!”
Gorecki’s 3rd quartet was a different kind of amazing. Here, the legend was the man. And in this quartet he shared some of his most intimate feelings. Gorecki was and still is a national hero and you could really see that by the way the the premier was covered. He was larger than life.
What is it like to meet someone, and get to know them so intimately, through their music?
J: I find that one’s music is generally the place where one finds the most honesty and one’s most sincere thoughts and ideas. Music is a very intimate place.
You mentioned recording the soundtrack for Darren Aronofsky’s beautiful film, The Fountain.
J: The Fountain was a special project for me because I’m a huge fan of Darren Aronofsky. Requiem for a Dream was great, but I was a fan since Pi. It was an amazing experience to have been able to meet and work with Darren. I am very proud of the soundtrack and it was fun to work with Clint Mansell. One thing that people probably don’t know is that we did not record the music at the same time as Mogwai. They laid down their tracks first then we recorded on top of that about a week later. We didn’t actually meet until last summer in a music festival in the Czech Republic! But since then Mogwai and Kronos have become pretty good friends.
I know that Sun Rings premiered prior to your joining Kronos, but what is your relationship with the piece?
J: Sun Rings is one of the pieces that I will miss playing the most. It’s a really big piece. But when I speak of intimacy, I think that that piece contains some of Terry’s most intimate writing. And he wrote a really great cello part! But at the same time, my relationship with Terry is much larger than the work. Terry and I will collaborate again. I have definitely grown into the work over the years.
Why are you leaving the group?
J: There are really three main reasons. First of all, there are a number of exciting projects and collaborations that I am embarking upon. From Hauschka to Vijay Iyer to Alessio Bax. And commissions from composers like Nico Muhly, Bryce Dessner and Anna Clyne. There is really so much that I would like to do, artistically, and it really isn’t possible as long as I am playing with the quartet.
The second reason is that I had never really imagined a career without teaching. We all belong to a musical continuum. I feel that it’s our duty to share our knowledge and experience to the next generation. The quartet does do some teaching, but we do not actually take on students long term and actually nurture their development. I am really looking forward to taking on this new role.
The third reason is that the quartet tours five and a half months a year. I firmly believe that touring is a reality that is a part of being a musician. That being said, I am looking forward to finding a healthier balance between touring and time with my family.
Do you had any advice for Sunny Jungin Yang, who will be stepping into your rather big shoes?
J: We have not yet met. But from everything that I’ve heard I think that she’s going to be terrific. It’s very clear that she’s a stellar cellist and that she has a great quartet sense. My only advice to her would be to believe in her gifts. She’s going to be great!
Kronos has ventured into the arena of ‘difficult music’ from time to time. Do people feel like they have to like it?
J: I have found over the years that people don’t have a problem telling me that they aren’t into something that the quartet is doing. But I think that overall, the quartet does so many different things that one is bound to like something and dislike something. It just so happens that most of what Kronos does is great. So I don’t really agree that people can’t be critical. It’s just that it takes a great deal of space to discuss the gazillion things that the quartet does well.
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To learn more about Jeffrey, visit JZCello.com.
To learn more about Kronos Quartet, visit KronosQuartet.org.
For tickets and information about this and other performances at the Carpenter, visit CarpenterArts.org.
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