Set your preferred locations for a better search. You can sign up here.

Chamber concert: String sextet

Date & Time
Sun, Apr 27, 2025, 17:00
Remarkable leaps and bounds for the chamber music playing that our orchestra members love: Borodin was actually a full-time chemist and physician, but his passion for music constantly rekindled, including from 1859 in Heidelberg – where he composed his romantic string sextet in D minor. Some time later, he returned to Russia and the work was lost. It did not turn up for almost 100 years until it was finally discovered in an antiquarian bookshop. And it may still be... Read full text

Keywords: Chamber Music

Artistic depiction of the event

Musicians

Minkyung SulViolin
Melina Kim-GuezViolin
Paulina RiquelmeViola
Yumi NishimuraViola
Lucie de RoosCello
Guilherme Nardelli MonegattoCello

Program

Streichsextett d-MollAlexander Borodin
Streichsextett A-Dur op. 48Antonín Dvořák
Streichsextett op. 4 »Verklärte Nacht« nach einem Gedicht von Richard Dehmel in einem SatzArnold Schönberg
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.

Artistic depiction of the event

CHAMBER CONCERT: String Sextet

Tue, Jan 31, 2023, 20:00
Konzerthalle Bamberg, Joseph-Keilberth-Saal (Bamberg)
Harald Strauss-Orlovsky (Violin), Barbara Wittenberg (Violin), Wen Xiao Zheng (Viola), Wakana Ono (Viola), Tobias Tauber (Cello), Guilherme Nardelli Monegatto (Cello)
In this concert, our musicians will present two major works for string sextet. When his Sixth Symphony was to be printed in 1809, Beethoven decided on the title “Pastoral Symphony or Memory of Country Life”. In this atmospheric work, he created a yearningly imagined world of nature – as already expressed in the title of the first movement: “Cheerful feelings awake upon arriving in the countryside”. The score contains both birdsong and a musical thunderstorm. The version for string sextet was written by Beethoven’s contemporary Michael Gotthard Fischer, and is sure to win listeners’ hearts with its fascinating combination of rich symphonic sound and the characteristic transparency of chamber music. The “Pastoral” will be followed by a masterful piece by Tchaikovsky, who was often at odds with the world around him. His works often trace the eternal cycle of becoming and passing away – and not just the changes of nature, but also the associated shifts in mood of the human psyche. Thanks to the financial support of his (pen) friend Nadezhda von Meck, Tchaikovsky was able to gain fresh strength and inspiration on numerous trips – including to Florence in 1890, a journey from which his famous sextet derives its flowery name. Its character is largely cheerful, setting it apart from the melancholy Tchaikovsky’s other gloomier compositions. Echoes of guitars and themes taken from folksong conjure up the memory of Italy – and Tchaikovsky provided the performers with helpful instructions: the first movement is to be played “with great passion and verve”, “the second lilting. The third whimsically. The fourth cheerfully and assertively."
Artistic depiction of the event

NDR Chamber Music Concert: String Sextet

Mon, May 6, 2024, 20:00
Alexander Sprung (Violin), Julius Beck (Violin), Youngdo Kim (Viola), Gabriel Uhde (Viola), Valentin Priebus (Cello), Phillip Wentrup (Cello)
Rhythm and power – two words that perfectly describe the first work of the evening, »180 beats per minute«. In the early 1990s, Jörg Widmann, who is a widely sought-after composer and clarinettist (and recently became the NDR Radiophilharmonie’s First Guest Conductor), drew inspiration from the infamous techno nights of the era. The result is a work that, as the composer himself put it, represents »pure zest for life and pure love of rhythm« – and one that is still often performed today. Erwin Schulhoff, the Prague enfant terrible of the 1920s, contributed a very special sextet to the genre. While he remained true to the four-movement structure of his predecessors, Schulhoff ends his sextet with a profound adagio rather than a fast-paced finale. Premiered in 1924, the work has now been included by the NDR ensemble Polygon on their programme again in honour of the work’s 100th anniversary. The first of the two Johannes Brahms string sextets was premiered to great acclaim in Hanover in 1860. Yet the publishers were initially sceptical – ensemble music for a sextet of strings was not very common. For the young Brahms, however, the string sextets meant the beginning of his breakthrough as a composer. Their enormous popularity continues to secure them a place on concert programmes around the world to this day.
Artistic depiction of the event

NDR Chamber Music Concert: String Sextet

Tue, May 7, 2024, 19:30
Elbphilharmonie, Kleiner Saal (Hamburg)
Alexander Sprung (Violin), Julius Beck (Violin), Youngdo Kim (Viola), Gabriel Uhde (Viola), Valentin Priebus (Cello), Phillip Wentrup (Cello)
Rhythm and power – two words that perfectly describe the first work of the evening, »180 beats per minute«. In the early 1990s, Jörg Widmann, who is a widely sought-after composer and clarinettist (and recently became the NDR Radiophilharmonie’s First Guest Conductor), drew inspiration from the infamous techno nights of the era. The result is a work that, as the composer himself put it, represents »pure zest for life and pure love of rhythm« – and one that is still often performed today. Erwin Schulhoff, the Prague enfant terrible of the 1920s, contributed a very special sextet to the genre. While he remained true to the four-movement structure of his predecessors, Schulhoff ends his sextet with a profound adagio rather than a fast-paced finale. Premiered in 1924, the work has now been included by the NDR ensemble Polygon on their programme again in honour of the work’s 100th anniversary. The first of the two Johannes Brahms string sextets was premiered to great acclaim in Hanover in 1860. Yet the publishers were initially sceptical – ensemble music for a sextet of strings was not very common. For the young Brahms, however, the string sextets meant the beginning of his breakthrough as a composer. Their enormous popularity continues to secure them a place on concert programmes around the world to this day.
Artistic depiction of the event

Chamber concert: String quartet

Sun, Feb 23, 2025, 17:00
Melina Kim-Guez (Violin), Gabriele Campagna (Violin), Paulina Riquelme (Viola), Guilherme Nardelli Monegatto (Cello)
This will be an emotionally powerful chamber concert centred around works that are close to the hearts of our four orchestra musicians. One of the composers will be on the podium himself: Gabriele Campagna has been a member of the Bamberg Symphony since 2022, but the violinist is a multi-talented musician who not only plays several instruments, but also passionately composes. His »Three Pieces« for string quartet are brand new and exciting music. Janáček’s magnificent first string quartet is entitled »Kreutzer Sonata« after Tolstoy’s novella, also taking a bow to Beethoven’s work of the same name and, in his words, revolving around »a woman, desperate, grief-stricken, exhausted to death«. He composed it in just one week in 1923 with almost searing vigour, driven by his love for Kamila Stösslová, 38 years younger than him: »note for note« fell »into his pen, glowing«. As a wonderful interlude, there is composing women’s power: the exciting artist Caroline Shaw was explicitly inspired by Haydn’s outstanding last string quartet in 2011, from which she quotes and catapults the whole into the musical world of the 21st century with »ludicrous, delicate, colourful transitions« – until a fading cello solo symbolises only the »memory of fragments of an old melody«. Finally, the dramatic quartet sounds of Schubert’s famous piece from 1824, a year of sorrow for him. It took its thematic material and name from his song of the same name to a poem by Matthias Claudius – and the central variations follow the poetic dialogue between »Death and the Maiden«. A thoroughly harrowing work, but as Schubert once said encouragingly: »Whoever loves music can never be completely unhappy.«
Artistic depiction of the event

Chamber concert: String quartet

Wed, Apr 9, 2025, 20:00
Konzerthalle Bamberg, Joseph-Keilberth-Saal (Bamberg)
Ilian Garnetz (Violin), Serge Zimmermann (Violin), Wen Xiao Zheng (Viola), Marius Urba (Cello)
A concert with impressive string quartets – because our orchestra members love to regularly step out of the big orchestra apparatus and work intensively on works close to their hearts as chamber musicians. And the first one is a real piece of work, according to contemporaries even »as incomprehensible as Chinese«, to which the composer rumbled the words »Cattle! Donkeys!«: Beethoven’s magnificent fugue op. 133 – a highly unique late work from 1825 that goes to the limits of what was possible, with monumental architectural structures and, despite some friendly tunes, with enormous inner tensions. One of the pieces to be rediscovered in this programme comes from the beloved homeland of our concertmaster: Ilian Garnetz grew up in a creative environment – and was awarded the title of »Artist of the Moldavian People« as a music mediator and representative of his country. Now, together with his fellow musicians, he would like to introduce the Bamberg audience to the fourth string quartet by his former violin professor and composer Boris Dubosarschi. It was influenced by the work of Shostakovich – with which the concert ends on a stirring note: His string quartet No. 8 was composed in 1960, during which he reflected on the destruction of the city of Dresden during the war in 1945. It expresses his shock at this and was published »in memory of the victims« of that time. However, Shostakovich felt that this subjective work of confession with its own quotations from his pieces could also be dedicated to his own commemoration – and also mentioned that it was »of such a pseudo-tragic nature that I shed many tears while composing it.«
Artistic depiction of the event

Cancelled: CHAMBER CONCERT String Quartet

Sun, Mar 12, 2023, 17:00
Konzerthalle Bamberg, Joseph-Keilberth-Saal (Bamberg)
BERGANZA QUARTETT, Aki Sunhara (Violin), Sabine Lier (Violin), Christof Kuen (Viola), Katja Kuen (Cello)
"There is no higher purpose of art than to kindle in man that desire which frees his entire being from earthly torment and elevates him to such heights that, raising his head proudly and joyfully, he is able to behold the divine, indeed comes into contact with it." This statement was made by a well-known literary character – the talking dog Berganza, whom E.T.A. Hoffmann engaged in an intense conversation one night in a Bamberg park over 200 years ago. In the spirit of Goethe’s well-known description of the string quartet as “four sensible people talking with one another”, the “four sensible people” of our Berganza Quartet, which emerged from our orchestra’s ranks, have now been engaged in a musical conversation for 20 years, their line-up unchanged. The ensemble will kick off this concert with some entertainingly ironic pieces by Britten that were first performed in 1936. These Divertimenti were inspired by youthful pastimes: the march represents sports, the waltz depicts a party, and the burlesque is all about mischief in general. Shostakovich, who often suffered under his country’s changing politics, composed his Fourth String Quartet in 1949 but held it back until after Stalin's death – for while it certainly contains sensual, elegiac passages, there are also plenty of the idiosyncratic, grotesque moments so typical of this composer. In 1824, Schubert wrote despairingly to his brother that he had had "the fatal recognition that reality is miserable, although I am trying to beautify it as much as possible by means of my imagination (thank God)." This crisis resulted in a rush of creativity, in which Schubert produced works such as the forlornly melancholy A minor quartet. This quartet is captivating despite its bleakness, quoting the lyrical "Rosamunde" theme from Schubert's own incidental music, and containing echoes of his setting of Schiller's poem "The Gods of Greece”, which contains the line: "Beautiful world, where art thou?"
Artistic depiction of the event

Chamber Concert

Sat, Jan 29, 2022, 20:00
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.
Artistic depiction of the event

Chamber Concert

Sun, Jan 30, 2022, 18:00
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.
Artistic depiction of the event

Chamber Concert

Sat, Mar 5, 2022, 20:00
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.