Chamber Concert

Date & Time

Sun, Oct 29, 2023, 18:00

Venue

Schubert’s Octet, composed in 1824, is a truly singular work: scored for five strings and three winds, it oscillates between the character of a divertimento and that of a profound, highly personal chamber music utterance, and lasts for approximately an hour. It is therefore not surprising that it served as an inspiration for other works using the same instrumentation. Texture by Toshio Hosokawa, one of Japan’s most important contemporary composers, was commissioned by the Philharmonisches Oktett Berlin and written in... Read full text

Keywords: Chamber Music

Info & Ticket (www.brso.de)

Musicians

Michael Friedrich	Violin
Anne Schoenholtz	Violin
Giovanni Menna	Viola
Frederike Jehkul-Sadler	Cello
José Sebastião Trigo	Double bass
Bettina Faiss	Clarinet
Susanne Sonntag	Bassoon
Ursula Kepser	Horn

Program

4 Moments Musicaux, D 780 arranged for Octett from Hans Abrahamsen	Franz Schubert
“Texture”	Toshio Hosokawa
Octet in F Major, D 803	Franz Schubert

Give feedback

Last update: Fri, Nov 22, 2024, 12:42

Similar events

These events are similar in terms of concept, place, musicians or the program.

Chamber Concert

Sat, Jan 29, 2022, 20:00

Max Joseph Saal (München)

Christopher Patrick Corbett (Clarinet), Tobias Steymans (Violin), Giovanni Menna (Viola), Giorgi Kharadze (Cello), Victoria Schwartzman (Piano)

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.

Info (www.brso.de)

Chamber Concert

Sun, Jan 30, 2022, 18:00

Evangelische Akademie Tutzing (Tutzing)

Christopher Patrick Corbett (Clarinet), Tobias Steymans (Violin), Giovanni Menna (Viola), Giorgi Kharadze (Cello), Victoria Schwartzman (Piano)

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.

Info (www.brso.de)

Chamber Concert

Sat, Mar 5, 2022, 20:00

Max Joseph Saal (München)

Werner Mittelbach (Clarinet), Susanne Sonntag (Bassoon), Ursula Kepser (Horn), Anne Schoenholtz (Violin), Andrea Eun-Jeong Kim (Violin), Tobias Reifland (Viola), Jaka Stadler (Cello), Teja Andresen (Double bass)

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.

Info (www.brso.de)

Chamber Concert

Sun, Mar 6, 2022, 18:00

Evangelische Akademie Tutzing (Tutzing)

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.

Info (www.brso.de)

Chamber Concert

Sat, Mar 19, 2022, 20:00

Max Joseph Saal (München)

Julie Catherine Eggli (Mezzo-Soprano), Münchner Streichquartett, Stephan Hoever (Violin), Korbinian Altenberger (Violin), Mathias Schessl (Viola), Jan Mischlich (Cello)

“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.

Info (www.brso.de)

Chamber Concert

Sun, Mar 20, 2022, 18:00

Evangelische Akademie Tutzing (Tutzing)

Julie Catherine Eggli (Mezzo-Soprano), Münchner Streichquartett, Stephan Hoever (Violin), Korbinian Altenberger (Violin), Mathias Schessl (Viola), Jan Mischlich (Cello)

“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.

Info (www.brso.de)

Chamber Concert

Sat, Jun 11, 2022, 20:00

Max Joseph Saal (München)

Lukas Maria Kuen (Piano), Christopher Patrick Corbett (Clarinet), Korbinian Altenberger (Violin), Samuel Lutzker (Cello)

A milestone of 20th-century chamber music and a top-notch blend of high and applied art: this programme deftly combines two completely different musical universes. Olivier Messiaen’s 45-minute mystical vision of the “end of time”, inspired by his reading of the Book of Revelation, leads the listener into a realm of the eternal and infinite. This meditation, brought about with ingenious rhythmic devices, contrasts with the first part of the programme under the banner of “lived music”. Here the Jewish-American composer Paul Schoenfield (1947- ) draws on a wide range of musical experiences – jazz, klezmer, ancient Hassidic melodies – combining them with classical stylistic elements and instrumental virtuosity.

Info (www.brso.de)

Chamber Concert

Sun, Jun 12, 2022, 18:00

Evangelische Akademie Tutzing (Tutzing)

Lukas Maria Kuen (Piano), Christopher Patrick Corbett (Clarinet), Korbinian Altenberger (Violin), Samuel Lutzker (Cello)

A milestone of 20th-century chamber music and a top-notch blend of high and applied art: this programme deftly combines two completely different musical universes. Olivier Messiaen’s 45-minute mystical vision of the “end of time”, inspired by his reading of the Book of Revelation, leads the listener into a realm of the eternal and infinite. This meditation, brought about with ingenious rhythmic devices, contrasts with the first part of the programme under the banner of “lived music”. Here the Jewish-American composer Paul Schoenfield (1947- ) draws on a wide range of musical experiences – jazz, klezmer, ancient Hassidic melodies – combining them with classical stylistic elements and instrumental virtuosity.

Info (www.brso.de)

Chamber Concert

Sat, Jul 2, 2022, 20:00

Max Joseph Saal (München)

Magdalena Hoffmann (Harp), Ivanna Ternay (Flute), Korbinian Altenberger (Violin), Jehye Lee (Violin), Christiane Hörr-Kalmer (Viola), Hanno Simons (Cello)

One instrument crops up with striking frequency in French music: the harp. Magdalena Hoffmann, in Debussy’s Danse sacrée et danse profane, invokes this special Debussyan inflection on her instrument, joined by a string quartet. She also creates a close but delicate exchange with the violin in Camille Saint-Saëns’s Fantaisie. But no less essential to the special French sound is the flute: when it enters an intimate dialogue with the viola in Ibert’s Interludes, the conversation takes place against the undulating ground of a harp. Wave-like arpeggios for the harp are also heard in Quintet for Harp, Flute, Violin, Viola and Cello by the composer and admiral Jean Cras, a work perhaps inspired by his long journeys at sea. The 20th-century music of Cras, Debussy and Ibert receives an exciting contemporary counterpart in Guillaume Connesson’s String Quartet, composed in 2008.

Info (www.brso.de)

Chamber Concert

Sun, Jul 3, 2022, 18:00

Evangelische Akademie Tutzing (Tutzing)

Magdalena Hoffmann (Harp), Ivanna Ternay (Flute), Korbinian Altenberger (Violin), Jehye Lee (Violin), Christiane Hörr-Kalmer (Viola), Hanno Simons (Cello)

One instrument crops up with striking frequency in French music: the harp. Magdalena Hoffmann, in Debussy’s Danse sacrée et danse profane, invokes this special Debussyan inflection on her instrument, joined by a string quartet. She also creates a close but delicate exchange with the violin in Camille Saint-Saëns’s Fantaisie. But no less essential to the special French sound is the flute: when it enters an intimate dialogue with the viola in Ibert’s Interludes, the conversation takes place against the undulating ground of a harp. Wave-like arpeggios for the harp are also heard in Quintet for Harp, Flute, Violin, Viola and Cello by the composer and admiral Jean Cras, a work perhaps inspired by his long journeys at sea. The 20th-century music of Cras, Debussy and Ibert receives an exciting contemporary counterpart in Guillaume Connesson’s String Quartet, composed in 2008.

Info (www.brso.de)