Chamber Concert

Date & Time

Sun, Dec 15, 2024, 18:00

Venue

The sequence of fourths in Schönberg’s First Chamber Symphony represents a “fanfare of new music”: it marks both a decisive moment in which the extended tonality of late Romanticism was on the verge of dissolving and a turning point for the “dissonant experimenter,” who was proud of this work. But success did not come: “There is nothing I long for more intensely than to be taken for a better sort of Tchaikovsky. Or if anything more, that people should know... Read full text

Keywords: Chamber Music, Symphony Concert

Info & Ticket (www.brso.de)

Musicians

Korbinian Altenberger	Violin
Samuel Lutzker	Cello
Henrik Wiese	Flute
Christopher Patrick Corbett	Clarinet
Lukas Maria Kuen	Piano

Program

Chamber Symphony No. 1 in E major, op. 9	Arnold Schönberg
Piano trio A minor, op. 188 (Arr. by Henrik Wiese)	Carl Reinecke
Piano trio in B flat major, op. 97 (“Archduke Trio”)	Ludwig van Beethoven

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, Jun 10, 2023, 20:00

Max Joseph Saal (München)

Korbinian Altenberger (Violin), Samuel Lutzker (Cello), Lukas Maria Kuen (Piano), Raymond Curfs (Timpani), Guido Marggrander (Percussion), Felix Kolb (Percussion)

The BRSO’s chamber music programs center on works whose unusual instrumentation has prevented them from being frequently performed in concerts. One such work is pianist Viktor Derevianko’s arrangement of Dmitri Shostakovich’s Fifteenth Symphony for piano trio and three percussionists, which creates an exciting timbral and rhythmic alternative to Shostakovich’s original. The Fifteenth Symphony is Shostakovich’s last contribution to the symphonic genre, and is considered to be an eloquent summation of his artistic life. Shostakovich references music of the past with quotations from Rossini and Wagner. The concert will commence with Anton Arensky’s rarely performed Piano Trio, composed in 1894: it is an unjustly neglected masterpiece that is in no way inferior to the compositions of German Romanticism. And Serbian percussionist and composer Nebojša Jovan Živković composed the percussion trio “Trio per uno” to showcase his favorite instruments. This is a program full of discoveries for inquisitive music lovers.

Info (www.brso.de)

Chamber Concert

Sun, Jun 11, 2023, 18:00

Evangelische Akademie Tutzing (Tutzing)

Korbinian Altenberger (Violin), Samuel Lutzker (Cello), Lukas Maria Kuen (Piano), Raymond Curfs (Timpani), Guido Marggrander (Percussion), Felix Kolb (Percussion)

The BRSO’s chamber music programs center on works whose unusual instrumentation has prevented them from being frequently performed in concerts. One such work is pianist Viktor Derevianko’s arrangement of Dmitri Shostakovich’s Fifteenth Symphony for piano trio and three percussionists, which creates an exciting timbral and rhythmic alternative to Shostakovich’s original. The Fifteenth Symphony is Shostakovich’s last contribution to the symphonic genre, and is considered to be an eloquent summation of his artistic life. Shostakovich references music of the past with quotations from Rossini and Wagner. The concert will commence with Anton Arensky’s rarely performed Piano Trio, composed in 1894: it is an unjustly neglected masterpiece that is in no way inferior to the compositions of German Romanticism. And Serbian percussionist and composer Nebojša Jovan Živković composed the percussion trio “Trio per uno” to showcase his favorite instruments. This is a program full of discoveries for inquisitive music lovers.

Info (www.brso.de)

Chamber Concert

Sat, Oct 26, 2024, 20:00

Max Joseph Saal (München)

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

The sequence of fourths in Schönberg’s First Chamber Symphony represents a “fanfare of new music”: it marks both a decisive moment in which the extended tonality of late Romanticism was on the verge of dissolving and a turning point for the “dissonant experimenter,” who was proud of this work. But success did not come: “There is nothing I long for more intensely than to be taken for a better sort of Tchaikovsky. Or if anything more, that people should know my melodies and whistle them.” With his Archduke Trio, on the other hand, Beethoven gazes far into the 19th century. However, the premiere in April 1814 marked the end of his performing career; it was his last concert as a pianist. And what about Reinecke? Perhaps the audience has to make a choice here. According to BRSO flautist Henrik Wiese, “you simply have to open your ears and heart, and let this music work its magic.”

Info (www.brso.de)

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)