Chamber Concert: Quartett Oktett

Date & Time

Wed, Oct 16, 2024, 20:00

Venue

Konzerthalle Bamberg, Joseph-Keilberth-Saal (Bamberg)

A splendidly interwoven sound tapestry! The chamber concerts do not require a conductor – because our musicians love to count on each other in a smaller setting. This programme starts with string playing and a key work of the string quartet genre. Ravel’s piece was premiered in 1904 and is an inspiring example of the vibrant spirit in France at that time – where Cocteau advised the young avant-garde: »Cultivate what the public accuses you of, because that’s exactly what... Read full text

Keywords: Chamber Music

Info & Ticket (www.bamberger-symphoniker.de)

Musicians

Benjamin Gatuzz	Violin
Magdalena Kraus	Violin
Wolfram Hauser	Viola
Lucie de Roos	Cello
Luuk Godwaldt	Double Bass
Christoph Müller	Clarinet
Alexei Tkachuk	Bassoon
Andreas Kreuzhuber	Horn

Program

Streichquartett F-Dur	Maurice Ravel
Oktett für Klarinette, Horn, Fagott und Streicher D 803	Franz Schubert

Give feedback

Last update: Fri, Nov 22, 2024, 12:39

Similar events

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

NDR Chamber Music Concert / Elphier-Quartett

Tue, Jun 10, 2025, 19:30

Elbphilharmonie, Kleiner Saal (Hamburg)

Yihua Jin-Mengel (Violin), Ljudmila Minnibaeva (Violin), Alla Rutter (Viola), Phillip Wentrup (Cello), Benedikt Kany (Double bass), Haiou Zhang (Piano)

Shostakovich’s Eighth String Quartet in C minor is one of the composers most personal works. There are striking allusions to Wagner’s »Götterdämmerung« and Tchaikovsky’s confessional symphony »Pathétique«. But Shostakovich also immortalised himself, with themes from earlier works as well as the musical code D-Es-C-H. The piece was composed in 1960 during a visit to Dresden, which was destroyed in 1945. The horrors of the destruction shocked Shostakovich so much that he dedicated the quartet to the victims of war and fascism.

Info & Ticket (www.elbphilharmonie.de)

NDR Chamber Music Concert with the Noah Quartett

Tue, Jun 18, 2024, 19:30

Elbphilharmonie, Kleiner Saal (Hamburg)

Alexandra Psareva (Violin), Michael Stürzinger (Violin), Erik Wenbo Xu (Viola), Bettina Barbara Bertsch (Cello)

The NDR’s chamber concert season comes to a close with the ultimate genre in chamber music: the programme selected by the Noah Quartet – which is made up of musicians from the NDR Elbphilharmonie Orchestra – features three string quartets. The enigmatic standalone Quartet Movement in C minor is one of the numerous scattered pieces of individual movements that Franz Schubert never completed. Its tragic, shimmering energy makes it impossible not to lament Schubert’s failure to go further than this single movement. Beethoven’s Three Quartets Op. 59 were nothing less than a revolution for the string quartet genre. Never before had such density of motivic combination, polyphonic sleekness and thematic finesse been achieved in the form. Despite their complexity, the works were immediately successful: »In Vienna, Beethoven’s latest ¬– difficult yet tasteful – quartets are enjoying increasing popularity; their admirers hope to see them in print soon,« reported one enthusiastic reviewer. Although now very popular with artists and audiences alike, Maurice Ravel’s String Quartet was initially met not only with bafflement and amazement, but also with disapproval and hostility. Ravel had delivered an abundance of melodic and harmonic surprises for which the time was apparently not ripe. Gabriel Fauré, as a teacher and dedicatee, like many other composers, was very reserved about the work. It took some clear words from Claude Debussy to gradually pave the way for the work’s acceptance.

Info (www.elbphilharmonie.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)

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)