Royal College of Music Edsberg – Gala Concert

Chamber Music Concert by the Graduates of the Fryderyk Chopin University of Music

Warsaw Philharmonic Chamber Music Hall

Great works of music

Why not play piano concertos as a chamber ensemble? It would be impossible to show rational obstacles. In the times before the phonograph, that was exactly how people learnt great works of music that were not being performed at a concert hall near them. Privately, at home, at meetings, making music together. It is the meeting of artistic individualities and their willingness to collaborate that give chamber music its sense. Hence the presence of Chopin’s Concerto in E minor in the version for five instruments today, on the 175th death anniversary of this most important Polish musician of all. For the same reason, its counterpoint will be the famous Trout, Schubert’s masterpiece which introduced the early romantic sensitivity to chamber music. This is music derived from the spirit of a simple song. These two romantic build up layers of human emotions, activate affections and pile up associations. This is all we need. Adam Suprynowicz Concert duration: approximately 100 minutes

Chamber Music Concert

Valentin Şerban (fot. P. Andrada), Sào Soulez Larivière (fot. J. Reichardt), Tomasz Daroch (photo: Ł. Rajchert), Andrzej Ciepliński (photo: W. Grzędziński), Gabriel Czopka (photo: G. Mart), Tymoteusz Bies (photo: W. Grzędziński) An aubade is a type of love song performed – as opposed to a serenade – in the morning. George Enescu turned to this genre early in his career, in the twilight of the nineteenth century. In Enescu’s piece, three string instruments take part in delightful and lazy morning banter. Also in a mood of playfulness and life affirmation is the D major Quintet for an unusual mixture of forces, composed at the same time by the slightly older Ralph Vaughan Williams. Filled with sweet, charming melody, this work by the famous English folklore scholar was first performed in the new century and was one of the works closest to his heart. It has been several decades since the works of Ernő Dohnányi, a Hungarian immigrant condemned to long years of oblivion in his homeland, were restored to the repertoire. His first compositional achievements enthralled the ageing Johannes Brahms, and as a pianist he quickly conquered the stages of Vienna, London and Paris. His Sextet in C major, Op. 37, full of symphonic grandeur, was completed while the composer recovered from illness and first performed in 1935. Unlike his famous compatriots with folkloristic inclinations – Béla Bartók and Zoltán Kodály – whose works he promoted, Dohnányi turned to the tradition of late German romanticism in his Sextet, which also displays his characteristic humour. Event within the Romania-Poland Cultural Season 2024-2025

Chamber Music Concert

Calidore String Quartett, photo: Marco Borgreve Franz Schubert’s biographers puzzle over why this brilliant composer, who was not fully appreciated during his lifetime, left so many incomplete scores and sketches. As in the case of his most famous unfinished work (the Symphony in B minor), it is unclear why Schubert abandoned the work he had begun in the winter of 1820 on a quartet in C minor (after all, the completed first movement promised a fine work). Happily, this was not Schubert’s last word in the genre, and the sole movement of the incomplete quartet functions today as the Quartettsatz in C minor. Thirty-five years earlier, Wolfgang Amadeus Mozart had received a commission from an enterprising Viennese publisher for a cycle of uncomplicated piano quartets, popular with amateur musicians performing at home. However, Mozart’s works stood out from similar repertoire and heralded the arrival of the great Romantic forms sometimes referred to as chamber piano concertos. One could hardly speak of amateur addressees of Robert Schumann’s Piano Quintet in E flat major, as he dedicated the work to an extremely talented pianist, his wife Clara. She was the soloist in the work’s public premiere at Leipzig’s famous Gewandhaus. The composition, which gives the pianist hardly a moment’s rest, was written at a time when the Schumanns were passionately engaged in analysing the keyboard music of Johann Sebastian Bach.

Chamber Music Concert

Vision String Quartet, photo: Harald Hoffmann Accustomed to the most canonical output by avant-garde composers, we sometimes react with amazement to their youthful works, which often attest to their perfect mastery of the principles of composition with which they were about to dramatically break. Such is undoubtedly the case with Langsamer Satz, a work without opus number for string quartet by Anton Webern. According to the critics, this lyrically atmospheric work, in the spirit of late romanticism, conveys the mood of the mountain trek on which the composer supposedly fell in love with his cousin and future wife, Wilhelmina Mörtl. Enchanted by the aura of Paris, Grażyna Bacewicz returned from her second stay in the French capital having composed there her String Quartet No. 3. This work is characterised by passionate vitality and a wealth of development techniques in the outer movements and a bold departure from the tonal path in the slow movement. Before Johannes Brahms considered any of his string quartets suitable for public consumption, he apparently destroyed some 20 youthful essays in the genre. His admiration for Ludwig van Beethoven’s quartets bordered on a paralysing creative phobia. The Quartet in C minor from Op. 51, sent to his publisher after years of work and revision, turned out to be one of the most groundbreaking works in his oeuvre. Even if it does contain discernible elements of the Beethovenian spirit, Brahms managed to keep a rein on them.

Chamber Music Concert

Quintessence, photo: Wojciech Grzędziński Before the Polish Composers Union commissioned Michał Spisak to write his Quintet for flute, oboe, clarinet, horn and bassoon, he had left his homeland to hone his talent under the tutelage of the famous Nadia Boulanger in Paris. Who knows to what extent the opportunity to become acquainted with French chamber music of the first decades of the twentieth century influenced the character of this piece, full of elegance, airiness and attractive – due in large part to the forces – colour? ‘No, young man, not at all like that. More rhythm. It’s a folk dance’ – that is how Edvard Grieg supposedly admonished the young Maurice Ravel as he played one of the ageing composer’s dances. Among Grieg’s numerous arrangements of native melodies, the Four Norwegian Dances, Op. 35, originally composed for two pianos and later reworked – not only by the composer – for various forces, gained great popularity. Paul Hindemith’s modernist Kammermusik cycle, the eight pieces of which are aptly described as ‘modern Brandenburg concertos’, was intended for various combinations of instruments. Drawing on the material of the first piece, Hindemith subsequently composed a smaller work for wind quintet, termed Kleine Kammermusik. György Ligeti’s cycle of six miniatures (bagatelles) for wind quintet was first performed without the last piece (dominated by the interval of a second) in Budapest in 1953 because, as the composer himself supposedly commented, ‘totalitarianism doesn’t like dissonance’.

Chamber Music Concert

Marcin Świątkiewicz, photo: Leszek Zych In the original version of Johann Sebastian Bach’s Harpsichord Concerto in D major, BWV 1054, the solo instrument was the violin. This work was likely composed in either Köthen or Leipzig, during a period when Bach was already very familiar with the works of Antonio Vivaldi and the three-movement form of the so-called Venetian concerto. The harpsichord version of the work may have been written for the famous concerts at Leipzig’s Café Zimmermann or to provide repertoire for one of his talented sons. Since the harpsichord renaissance, to which Wanda Landowska made a major contribution in the first half of the twentieth century, many new compositions for the instrument have been written. While often turning to the musical past, they sometimes also explore the capacities of contemporary models that are being built and constantly improved. Philip Glass joined the ranks of harpsichord enthusiasts at the beginning of this century, composing a concerto in which elements of Baroque texture and motifs are combined with repetitive structures and transparent harmonies, characteristic of this American minimalist. The main aim of Swedish neo-classicist Dag Wirén’s pleasant and airy Serenade Op. 11 was, as its composer wrote, to put listeners in a cheerful mood. After all, the composer’s credo, which probably also accompanied work on this piece, was ‘I believe in God, Mozart and Carl Nielsen’. Edvard Grieg’s Holberg Suite, on the other hand, is a remarkably graceful archaisation created to celebrate the bicentenary of the birth of the writer known as the father of Danish theatre. It would be hard to find a more beautiful example of a Romantic composer ‘reinventing’ the musical past.

Free Lunchtime Concert: Royal Concertgebouw Orchestra Academy

For many years now, Lunchtime Concerts have been held in the Main Hall and the Recital Hall. The concerts range from public rehearsals by the Concertgebouworkest, to chamber music performances by young up-and-coming artists.For Lunchtime Concerts you will require a free ticket, which you can buy online. Doors to the concert hall open about 30 minutes before the Lunchtime Concert starts.We offer a broad range of music: the majority of concerts include classical music, but you can sometimes hear more modern repertoire. The concert programme is announced one week in advance on our website. The concerts last thirty minutes and are free of charge. Visitors are advised that these concerts are suitable for children from six years old.

Pearls in Baroque: Christmas Gala Concert

Royal Concert Hall, Nottingham

The London Philharmonic Orchestra perform at Nottingham's Royal Concert Hall.LPO Principal Guest Conductor, Karina Canellakis, begins her first visit to Nottingham in this role with Sibelius’s En Saga. Although he described it as the ‘expression of a state of mind’ rather than a mythical adventure, there’s no shortage of action in this powerful ‘psycho-drama’. There’s an altogether more serene mood in Mozart’s most popular Piano Concerto, particularly in the ethereal central movement which gained the nickname, the ‘dream andante.’ It’s performed here by the exceptional British pianist, Benjamin Grosvenor, a perfect match for Mozart’s light-touch lyricism.Bringing the concert to an emphatic close is Tchaikovsky’s fiery Fourth Symphony. Emerging from the wreckage of his short-lived marriage, it bares its soul in a maelstrom of emotions, opening up with an arresting fanfare signalling the malign forces of fate. But there’s also heartfelt poignancy and some delightfully deft play between the separate sections of the orchestra before it all ends exuberantly with a whirling folk dance finale.