Philharmonic Chamber Music Recital
- Classical Music
The string quartet is considered the most demanding genre of instrumental music and the epitome of excellence. The special appeal both for the composer and performers lies in the balance between individualism and the overall sound, between soloistic flights of fancy and communal four-part harmony. Sofia Gubaidulina’s second string quartet demonstrates impressively that the string quartet also has the potential to convey the greatest possible artistic expression.
Her music conveys the self-image of a composer in the Soviet Union who was not willing to conform, who managed at the same time to maintain a critical distance from any kind of ideology, and yet still reveal a consistently clear attitude when it comes to humanity. Rather than communicating with words, she speaks through her music.
In contrast, one of the great artists of the written word in the 20th century found arguably the most apt description for Alban Berg’s »Lyric Suite«: Theodor W. Adorno. The composer’s faithful disciple described it as a »latent opera«. The reason that prompted Berg to make this grand operatic gesture the expression of his chamber music is presumably a private one. As the work was dedicated to a woman he had a secret love affair with: Hanna Fuchs-Robettin.
The Russian Late Romantic composer Anton Arensky also ventured off the beaten track. He was one of the few composers to break the iron rule of the string quartet. He was known to double up the cellos rather than the violins, for instance. There was a sad reason why he chose to amplify the dark timbres: Pyotr I. Tchaikovsky had died suddenly of cholera, and all of St. Petersburg was in shock. To commemorate his great role model, Arensky – still young at the time – wrote a musical homage in Moscow.
Konradin Seitzer violin
Dorothee Fine violin
Sangyoon Lee viola
Olivia Jeremias violoncello
Christine Hu violoncello
Streichquartett Nr. 2
Lyrische Suite für Streichquartett
Streichquartett a-Moll op. 35
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