Keywords: Chamber Music
| David Nebel | Violin |
| Kosuke Yoshikawa | Violin |
| Richard Polle | Violin |
| Lydia Rinecker | Viola |
| Hans-Jakob Eschenburg | Cello |
| Yuki Inagawa | Piano |
| Rundfunk-Sinfonieorchester Berlin |
| Sonata for two violins in A minor op. post. | Eugène Ysaÿe |
| Concerto for violin, piano and string quartet in D major op. 21 | Ernest Chausson |
These events are similar in terms of concept, place, musicians or the program.
100 years of radio – 100 years of jazzIn 2023, radio in Germany will celebrate its 100th birthday – and with it the Rundfunk-Sinfonieorchester Berlin, whose members Rodrigo Bauzá and Oliver Link have come up with the programme for the concert at Ballhaus Wedding. 1923 was also the year of the first record by King Oliver’s Creole Jazz Band, on which trumpeter Joe “King” Oliver can be heard together with Louis Armstrong for the first time. Last but not least, the legendary saxophonist Dexter Gordon would also have turned 100 in 2023. The concert programme pays tribute to the two jazz giants in arrangements by Rodrigo Bauzá for saxophone/clarinet, violin, guitar and double bass.Ballrooms have had a great time in Berlin. Without the plush dance halls, the Golden Twenties would probably not have become the cult brand that it is today, and which even had an impact on the founding years of radio. The RSB opens up two of Berlin’s lovingly maintained ballrooms for selected chamber concerts: the Ballhaus Wedding and the Ballhaus Neukölln, today’s “Heimathafen”.Both mark stations on an imaginary line between the orchestra’s two radio houses during its 100-year history: the Haus des Rundfunks in Charlottenburg and the Funkhaus Nalepastraße in Oberschöneweide.
The concert with members of the Rundfunk-Sinfonieorchester and the Rundfunkchor Berlin illuminates a fascinating section of Jewish music and Jewish culture in the 1920s in Berlin.Era of the 1920s in Berlin. Until the National Socialists seized power in 1933, Berlin was considered one of the most culturally exciting cities in the world for about a decade. Right in the centre: Kurt Weill, Bertolt Brecht and their Dreigroschenoper. But the Jewish cantors Arno Nadel, Mark Warschawski and Joseph Achron also wrote Berlin music history in an endearing way. Ballrooms have had a great time in Berlin. Without the plush dance halls, the Golden Twenties would probably not have become the cult brand that it is today, and which even had an impact on the founding years of radio. The RSB opens up two of Berlin’s lovingly maintained ballrooms for selected chamber concerts: the Ballhaus Wedding and the Ballhaus Neukölln, today’s “Heimathafen”.Both mark stations on an imaginary line between the orchestra’s two radio houses during its 100-year history: the Haus des Rundfunks in Charlottenburg and the Funkhaus Nalepastraße in Oberschöneweide.
With “Herz” and MendelssohnA chamber music evening, performed by members of the Rundfunk-Sinfonieorchester Berlin, is dedicated to three female composers. Including Felix Mendelssohn Bartholdy’s sister, Fanny Hensel-Mendelssohn, the actual inventor of the “Songs without Words”. Grażyna Bacewicz was considered a musical luminary of the mid-20th century in Poland. And Maria Herz (1878-1950)? Is currently being rediscovered, for example by us! Ballrooms have had a great time in Berlin. Without the plush dance halls, the Golden Twenties would probably not have become the cult brand that it is today, and which even had an impact on the founding years of radio. The RSB opens up two of Berlin’s lovingly maintained ballrooms for selected chamber concerts: the Ballhaus Wedding and the Ballhaus Neukölln, today’s “Heimathafen”.Both mark stations on an imaginary line between the orchestra’s two radio houses during its 100-year history: the Haus des Rundfunks in Charlottenburg and the Funkhaus Nalepastraße in Oberschöneweide.
Composed in 1785, Mozart’s K 478 was his first contribution to the piano quartet genre. The emotionality of the opening movement’s minore key and the subtly wrought dialogue between strings and piano proclaim its high artistic standards. No less brilliant is the Piano Quartet composed 100 years later by the young Richard Strauss. In his youthful élan he vacillates between engagement with romantic models (especially Brahms) and harbingers of his own style. The ennoblement of the clarinet as a chamber music instrument takes us back to Mozart. To the present day, many works owe their existence to the challenge of blending its timbre with the strings. The same is true of Veress’s Trio of 1972 and Penderecki’s Quartet of 1993, whose elegiac finale also pays tribute to Schubert’s C major Quintet.
Composed in 1785, Mozart’s K 478 was his first contribution to the piano quartet genre. The emotionality of the opening movement’s minore key and the subtly wrought dialogue between strings and piano proclaim its high artistic standards. No less brilliant is the Piano Quartet composed 100 years later by the young Richard Strauss. In his youthful élan he vacillates between engagement with romantic models (especially Brahms) and harbingers of his own style. The ennoblement of the clarinet as a chamber music instrument takes us back to Mozart. To the present day, many works owe their existence to the challenge of blending its timbre with the strings. The same is true of Veress’s Trio of 1972 and Penderecki’s Quartet of 1993, whose elegiac finale also pays tribute to Schubert’s C major Quintet.
This evening of Nordic chamber music covers a wide range of styles by composers from four Scandinavian countries. The historical starting point is the Septet for Winds and Strings, written in 1817 by the Swedish romantic composer Franz Berwald. It is unmistakably modelled on Beethoven’s masterpiece for the same combination of instruments. Grieg’s unfinished F major String Quartet of 1891 exudes a lilting charm and a Norwegian hue, while the E flat major Quartet by his Danish colleague Carl Nielsen (1898) strikes out on noticeably more modern paths. Rounding off the programme are two pièces de occasion: an enchanting Serenade with a touch of Vienna, composed by Sibelius during a holiday on Finland’s Archipelago Sea, and a humorous “unrequited” nocturnal serenade by Carl Nielsen, written during a concert tour in 1914.
This evening of Nordic chamber music covers a wide range of styles by composers from four Scandinavian countries. The historical starting point is the Septet for Winds and Strings, written in 1817 by the Swedish romantic composer Franz Berwald. It is unmistakably modelled on Beethoven’s masterpiece for the same combination of instruments. Grieg’s unfinished F major String Quartet of 1891 exudes a lilting charm and a Norwegian hue, while the E flat major Quartet by his Danish colleague Carl Nielsen (1898) strikes out on noticeably more modern paths. Rounding off the programme are two pièces de occasion: an enchanting Serenade with a touch of Vienna, composed by Sibelius during a holiday on Finland’s Archipelago Sea, and a humorous “unrequited” nocturnal serenade by Carl Nielsen, written during a concert tour in 1914.
“Sorrow always – upward glance – celestial dew – recollection”: thus the words that Anton Webern set in his aphoristically short work for soprano and string quartet. They also stand as a motto for this unusual and cleverly assembled programme. The works in the first section come from completely different eras and interlock like meditations – devout, contemplative, ravishingly beautiful, yet pervaded by a “sweet” tone of sorrow. Schubert’s G major Quartet also directs its gaze into unknown dimensions. Few works of chamber music sustain the combination of sorrow and supplication with such existential force and urgency as this unique visionary creation from the year 1826.
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