Keywords: Chamber Music, Special Concert
| Wiener Kammermusiker |
| Igor Stravinsky | Septet for Violin, Viola, Violoncello, Clarinet, Basson, Horn and Piano |
| Egon Wellesz | Octet for Clarinet, Horn, Bassoon, 2 Violins, Viola, Violoncello and Double Bass |
These events are similar in terms of concept, place, musicians or the program.
Fünf Freunde [Five Friends] is the title of the exhibition (which runs until August 17) dedicated to the works and artistic circle of Cy Twombly, Robert Rauschenberg, Jasper Johns, Merce Cunningham, and John Cage. Examining cultural politics during the Cold War as well as the issue of what it meant to be a homosexual during this time opens up new perspectives on the historiography of post-war Modernism. As part of this collaboration, the musicians of the BRSO will be joined by more than 100 friends and will focus on the composer John Cage through chamber music concerts and panel discussions as well as “BRSO und du” programs at Museum Brandhorst.
Fünf Freunde [Five Friends] is the title of the exhibition (which runs until August 17) dedicated to the works and artistic circle of Cy Twombly, Robert Rauschenberg, Jasper Johns, Merce Cunningham, and John Cage. Examining cultural politics during the Cold War as well as the issue of what it meant to be a homosexual during this time opens up new perspectives on the historiography of post-war Modernism. As part of this collaboration, the musicians of the BRSO will be joined by more than 100 friends and will focus on the composer John Cage through chamber music concerts and panel discussions as well as “BRSO und du” programmes at Museum Brandhorst.
Fünf Freunde [Five Friends] is the title of the exhibition (which runs until August 17) dedicated to the works and artistic circle of Cy Twombly, Robert Rauschenberg, Jasper Johns, Merce Cunningham, and John Cage. Examining cultural politics during the Cold War as well as the issue of what it meant to be a homosexual during this time opens up new perspectives on the historiography of post-war Modernism. As part of this collaboration, the musicians of the BRSO will be joined by more than 100 friends and will focus on the composer John Cage through chamber music concerts and panel discussions as well as “BRSO und du” programs at Museum Brandhorst.
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.
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.
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.
Concert Pulse