Kammermusikmatinee des Konzerthausorchesters

Kammermusikmatinee des Konzerthausorchesters

Kammermusikmatinee des Konzerthausorchesters

Kammermusikmatinee des Konzerthausorchesters

In addition to the eternally young classic of the narrow string octet literature by 16-year-old Felix Mendelssohn, the eight KHO string players, led by our first concertmaster Suyeon Kim, will perform a work by 19-year-old George Enescu, a The contemporary of Béla Bartók composed a key work in his own individual style: folk melodies from his native Romania meet Brahmsian Romanticism and Parisian fin de siècle.

Kammermusikmatinee des Konzerthausorchesters

The programme that contrabassist Igor Prokopets has put together with four string colleagues for our matinee two days before Christmas ranges from unusual duos to orchestral symbiosis in a quintet. Each piece combines the eight strings of two string instruments differently: sometimes very high with very low in the “sophisticated Piazzolla arrangement, in which the double bass also becomes a percussionist and the violin literally celebrates the tango” (Prokopets). Sometimes as a neighborly encounter between violin and viola, which instead of the original piano trace a short piece from Bartók's great Hungarian journey in 1905 in “Seven Romanian Dances”. Or with violin and cello, who take on the famous Passacaglia from Handel's G minor suite for harpsichord. Igor Prokopets could tell a lot about Giovanni Bottesini, whose “Gran Quintetto” forms the finale: As a musician, the Italian found his way to the lowest string instrument at an early age and wrote numerous pieces to suit it, including three concertos that are still popular today. He later became a conductor and even conducted the world premiere of Verdi's “Aida” in Cairo - but his heart definitely belonged to the double bass!

Kammermusikmatinee des Konzerthausorchesters

Kammermusik des Konzerthausorchesters

Not only as a big symphonic ensemble, but also as the Konzerthaus Chamber Orchestra our Konzerthausorchester musicians come together several times each season – this time under the direction of of our First Concertmaster Sayako Kusaka. They choose the pieces and instrumentation for their concerts themselves.

Kammermusik des Konzerthausorchesters

It was Johannes Brahms who first honoured the youngest member of the woodwind section as „Fräulein Klarinette“, for whom he wrote wonderful chamber music late in life. However, Franz Schubert and Louis Spohr had already tapped into the clarinet's feminine side before that, writing intimate duets for it and the soprano, to which only the piano, which was obligatory in the bourgeois salon, was allowed to join in with the harmony. Our principal clarinettist Ralf Forster invites you into the Kleine Saal to indulge in the intimate house music atmosphere of a Schubertiade just before Christmas that reaches far beyond the composer's time.

Kammermusik des Konzerthausorchesters

Mozart's Hoffmeister Quartet was written a year after he began composing „Figaro“ and was published by Hoffmeister in 1786. A strange mixture of cheerfulness and melancholy connects the great quartet with the opera. Alfred Einstein said of the Adagio that it „speaks of suffering never before heard in such depth“. Schubert's Quartet in G major D 887 from 1826 was ahead of its time - it took almost half a century for this „uncompromising exploration of the themes of major and minor, life and death, hope and despair“ to find an appropriate response from critics and audiences.

Kammermusik des Konzerthausorchesters

p>Chamber music is one of the great joys of life for our orchestral musicians. Here they meet up with Lera Auerbach, the composer, pianist and visual artist to whom a ‘Creative Portrait’ is dedicated this season. She will play Mozart's Piano Concerto in D minor, first performed in 1785, in a version with string quintet. As the orchestra plays the role of a partner to the solo instrument in this concerto far more than in earlier representatives of the genre, K. 466 is probably a particularly good choice for such an arrangement! Antonín Dvořák wrote three string quintets - but only included the double bass in the middle one from 1875, thus providing an additional foundation. Czech folk music, dreamy passages and ‘dance melodies carried by shimmering sonorities’ - anyone who loves the composer's string serenade will also like this quintet. The programme also includes compositions by Lera Auerbach, which are yet to be announced.

Kammermusik des Konzerthausorchesters