Christiane Karg, sopranoA summary from original text in German | Read the original
Keywords: Chamber Music, Recital, Vocal Music
| Christiane Karg | Soprano |
| Anna Katharina Wildermuth | Violin |
| Noémi Zipperling | Violin |
| Caspar Vinzens | Viola |
| Lukas Sieber | Cello |
| String Quartet in E-flat major, Op. 12 | Felix Mendelssohn Bartholdy |
These events are similar in terms of concept, place, musicians or the program.
Founded in 2019, the Berlin-based Leonkoro Quartett won a number of internationally recognised prizes in 2022 and attracted international attention. Since then, the young ensemble’s career has been skyrocketing: »This quartet should soon be one of the most famous quartets of our time,« according to a review of their first album. »Leonkoro« means »lion heart« in Esperanto, an allusion to the famous children’s book of the same name by Astrid Lindgren about two courageous brothers. The quartet is framed by the brothers Jonathan and Lukas Schwarz on first violin and cello. Together with violinist Amelie Wallner and violist Mayu Konoe, they studied with string quartet luminaries such as Heime Müller from the Artemis Quartet and Günter Pichler from the Alban Berg Quartet.
According to the accounts of his contemporaries, Wolfgang Amadeus Mozart was not only a gifted composer but also an enthusiastic quartet player on violin and viola, a passion he shared with his friend and mentor Joseph Haydn. One would have loved to have been there when the two unpacked their instruments to engage in joint rehearsals and music-making. What musical ideas were exchanged here? How was the timbre of Mozart’s playing composed and what ideas of articulation did he come up with? In any case, his admiration for Haydn seems to have been very great. Mozart dedicated a cycle of six string quartets in all to him in 1785. In Rudolf Kelterborn’s string quartet, styles and musical influences mix to the utmost. Complexity, plurality and stylistic diversity intertwine here and in this way create an extremely contemporary sound painting that is at the same time deeply rooted in musical tradition. In the second part, the Amaryllis Quartet will be joined by the solo flutist of the Bavarian Radio Orchestra, Henrik Wiese, and will trace the musical journey back to Mozart via the romantic-impressionist music of Albert Roussel and Mozart’s contemporary Johann Martin Kraus. Mozart’s instrumental music would be inconceivable without his opera compositions, so the evening concludes with an aria from »Le nozze di Figaro«, linking the two genres that were so important to Mozart.
Please note the change of artist: The Doric String Quartet unfortunately had to cancel its appearance in this concert due to health reasons. The outstanding Kuss Quartet has kindly agreed to step in. The programme featuring two late string quartets by Beethoven remains unchanged. Beethoven’s late string quartets are among the most fascinating that 19th century music history created: passionate, stirring and yet full of disruptions, they have asked questions of their listeners ever since and are not for nothing regarded as forerunners of the modern age. His final string quartet is a sophisticated composition with catchy melodies, unexpected twists and turns as well as an eerily beautiful slow movement consisting of variations. Its finale entitled »Der schwer gefasste Beschluss« (The Difficult Decision), in particular, made the work famous and provides conjectures to this day as to why the composer probably inwardly slaved away. The String Quartet in A minor, which he composed after a long illness, also offers an insight into Beethoven’s soul. At the centre of this five movement work is an intimate »Dankgesang eines Genesenen« (Thanksgiving of a Convalescent) – touching music which makes you forget time and space. The Kuss Quartet contrasts Beethoven’s emotional depth with a piece dedicated to them that takes a tongue-in-cheek look at the luminary: The composer Bruno Mantovani quotes the thematic material of all Beethoven quartets – within eleven minutes. »My relationship with Beethoven is very intimate, so it seemed impossible for me to compose a homage to him. For this Sixth Quartet, intimidated by the prospect of a confrontation with a corpus that for me, represents the Nirvana of musical history, I decided to turn toward a humorous project.«
The up-and-coming Alinde Quartet is regarded as one of the most exciting chamber music ensembles of its generation, as confirmed by numerous awards at international competitions (including the »Città di Pinerolo« and »Salieri-Zinetti«) and invitations to perform at Europe’s most prestigious concert halls and festivals, such as the Philharmonie and Funkhaus Köln, the Konzerthaus Berlin, the Elbphilharmonie Hamburg and the Verbier Festival. The Alinde Quartet is named after Schubert’s song of the same name, which captures the four musicians’ passionate search for musical truth and their fascination with the impermanence of the world.
Formed in 2019, after a few successful competitions, the career of this young ensemble is heading sharply upwards: »This quartet should very soon be one of the most famous quartets of present times,« it says in a review of their first album. At the Elbphilharmonie, the four musicians can prove all their qualities because their programme passes through over 200 years of music history and, consequently, calls for the greatest flexibility. In the artificial language of Esperanto, »Leonkoro« means »Lionheart«, a reference to the famous children’s book of the same name by Astrid Lindgren about two courageous brothers. Because this quartet is framed on first violin and cello by brothers Jonathan and Lukas Schwarz. Together with violinist Amelie Wallner and violist Mayu Konoe, they studied under string quartet luminaries, such as Heime Müller from the Artemis Quartet and Günter Pichler from the Alban Berg Quartett. And did so successfully: within the briefest time, they scooped up prizes at the International String Quartet Competition at London’s Wigmore Hall, at the Concours International de Quatuor in Bordeaux and the MERITO String Quartet Award. In their programme, they firstly contrast the final, very contemplative quartet by Wolfgang Amadeus Mozart with the youthful light-hearted early work of Paul Hindemith. Both composers were on the viola at their respective premiere – and so were still able to apply the finishing touch to their music. Mendelssohn gave the notes for his quartet to his brother, a passionate cellist, for his birthday. He was quite obviously happy about this and performed the work very successfully. To this day, the second movement, a true »song without words«, and the third movement, which evokes dancing fairies from Mendelssohn’s »A Midsummer Night’s Dream, are particularly delightful«.
Off to a flying start: in the 2019/2020 season, the European Concert Hall Organisation sent them through the great concert halls of the continent as »Rising Stars«. Now, the musicians of the Goldmund Quartet return to the Elbphilharmonie as a globally successful ensemble. In a varied programme, they combine repertoire classics with special insider tips. The musicians, whose shared history started as early as their school days, take a look into the musical present with a composition by Sophia Jani. On behalf of the quartet, the young composer has created a lyrical and meditative work, which also appeared on the highly acclaimed »Prisma« record in April 2023. The romance of the British late romanticist Gerald Finzi might also be new to many – a melodious movement, which also loses none of its very English and soulful expression in its adaptation for string quartet. Joseph Haydn is fondly described as the »father of the string quartet«. In just under 70 compositions, he established this supreme discipline of chamber music. The Goldmund Quartet devotes itself to his final completed string quartet, which puts forward a great urge to experiment, untamed energy and sophisticated thematic work. Even if there are still individual movements of a later quartet, this spirited F major quartet can certainly be selected as the grand finale of Haydn’s decades-long engagement with the genre. The musicians have also brought along Schumann’s final string quartet – admittedly, the Romantic composer only put a bit of it on paper. His unique cycle with three quartets is evidence of his great fascination and in-depth study of the works of his predecessors. Disguised as a scherzo, the second movement of the usually more lively A major quartet is one of the most beautiful slow movements that Schumann wrote.
Notos Quartet
»Energetic, dramatic and of crystal clear intensity,« praised the New York Times about the Tetzlaff Quartett, which celebrates its thirtieth anniversary in 2024. For its birthday, the ensemble, led by star violinist Christian Tetzlaff, has selected an emotional and demanding programme from Brahms right up to the present. There are two reasons to celebrate when the Tetzlaff Quartett returns to the Elbe river: besides their own anniversary, the musicians are also celebrating Arnold Schönberg, who celebrates his 150th birthday in 2024 and to whom the Elbphilharmonie is naturally devoting a special focus for this occasion. With his first string quartet, one of the composer’s earlier works is on the programme – radically innovative, yet still tonal, it pushes the artistic forms of the late Romantic period to their limit. In his own creative process, Schönberg studied the string quartets of Johannes Brahms in particular. Captivated and touched by his motif writing, Schönberg wanted to see himself in the Romantic tradition. How apt then that the Tetzlaff Quartett presents his work after the second string quartet by Brahms. Emotionally unsettling, incomprehensibly dense and profoundly melancholic, the composition is still one of the key works of the quartet repertoire. The musicians, however, open the evening with a fascinating insight into the musical present: for this, they provide the Second String Quartet by the successful composer Jörg Widmann, who has been closely connected with the Elbphilharmonie ever since it opened. His string quartet entitled »Choralquartett« is a unique slow and also emotionally profound movement which holds many novel sound effects.
Individuality finding harmonious expression in an ensemble – this is the quintessence of the Vogler Quartet, which has been pursuing a unique global career with an unchanged line-up since its formation in 1985. With an intelligent approach to chamber music, outstanding playing technique and interpretive sensitivity, Tim Vogler, Frank Reinecke, Stefan Fehlandt and Stephan Forck have created an unmistakable string quartet sound which consistently offers new insights into the genre. The group has had a concert series at the Konzerthaus Berlin since 1993.
Anna Lucia Richter mezzo-soprano
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