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The sequence of fourths in Schönberg’s First Chamber Symphony represents a “fanfare of new music”: it marks both a decisive moment in which the extended tonality of late Romanticism was on the verge of dissolving and a turning point for the “dissonant experimenter,” who was proud of this work. But success did not come: “There is nothing I long for more intensely than to be taken for a better sort of Tchaikovsky. Or if anything more, that people should know my melodies and whistle them.” With his Archduke Trio, on the other hand, Beethoven gazes far into the 19th century. However, the premiere in April 1814 marked the end of his performing career; it was his last concert as a pianist. And what about Reinecke? Perhaps the audience has to make a choice here. According to BRSO flautist Henrik Wiese, “you simply have to open your ears and heart, and let this music work its magic.”
The sequence of fourths in Schönberg’s First Chamber Symphony represents a “fanfare of new music”: it marks both a decisive moment in which the extended tonality of late Romanticism was on the verge of dissolving and a turning point for the “dissonant experimenter,” who was proud of this work. But success did not come: “There is nothing I long for more intensely than to be taken for a better sort of Tchaikovsky. Or if anything more, that people should know my melodies and whistle them.” With his Archduke Trio, on the other hand, Beethoven gazes far into the 19th century. However, the premiere in April 1814 marked the end of his performing career; it was his last concert as a pianist. And what about Reinecke? Perhaps the audience has to make a choice here. According to BRSO flautist Henrik Wiese, “you simply have to open your ears and heart, and let this music work its magic.”
Following its early heyday during the Baroque era, it took until the 20th century for the flute to be fully rediscovered as a solo instrument—thanks, in part, to works such as Prokofiev’s 1943 Sonata. Emmanuel Pahud and Yefim Bronfman also perform Carl Reinecke’s “Undine” Sonata, inspired by Friedrich de la Motte-Fouqué’s eponymous fairy tale and one of the few 19th-century works of its kind, and an adaptation of Mozart’s Violin Sonata K. 378. Philippe Manoury’s solo piece Soubresauts, which is dedicated to Pahud, completes the program.