Name: 5. Kammerkonzert
Start: 2024-04-14T00:00:00.000Z
End: 2024-04-14T00:00:00.000Z
Location: Elbphilharmonie

Organization

Strumento

Christine Hu

Cello II

Konradin Seitzer

Violin

Dorothee Fine

Sangyoon Lee

Viola

Olivia Jeremias

Cello I

Staatsoper Hamburg

Philharmonic State Orchestra Hamburg

Violinista

Violin I

Violin II

Violista

Cellist

Cello

Saskia Hirschinger

5. Kammerkonzert

Amburgo

Germania

Elbphilharmonie & Laeiszhalle Hamburg

Elbphilharmonie

Kleiner Saal

Public

Private

String Quartet, op. 3

String Quartet No. 2, op. 35

Approvato

Accordionist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Clarinetist

Contrabassist

Cornettist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianista

Recorder Player

Saxophonist

Suonatore di flauto

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violino Piccolo Player

Altro

Ballando

Chefdirigent Musiktheater

Chorus Director

Composizione

Coreografia

Coro

Costumi

Direzione d'orchestra

Direzione del coro

Docente di canto

Drammaturgia

Emittente radiotelevisiva

Extra

Illustrator

Insegnante

Libretto

Luci

Maestro ripassatore

Orchestra

Orchestra Operations

Parrucco

Photographer

Poet

Produzione esecutiva

Recitazione

Regia

Scenografia

Stage Manager

Suono

Traduzione

Trucco

Video

Wig & Makeup Designer

Writer

Writing and performance

Baritono

Cantante

Mezzosoprano

Basso-baritono

Tenore

Contralto

Soprano

Basso

Controtenore

Alto

Continuo

Mimi

Narrazione

Voce bianca

It is regarded as the most demanding genre of instrumental music, as the pinnacle of music par excellence: the string quartet. The special attraction for composer and performer lies in finding the balance between individualism and overall sound, when each instrument is equally encouraged to solo flights of fancy and communal fourness. The string quartet as a genre has succeeded in transforming and emancipating itself from bourgeois domestic music to expressing the highest level of virtuosity. Sofia Gubaidulina's second string quartet impressively demonstrates that the string quartet also has the potential for the greatest possible artistic expression in the spirit of humanism. Her music shows the self-image of a composer in the Soviet Union who was not willing to conform, who managed to at the same time to keep a critical distance to any kind of political or religious ideology and yet to show a very clear attitude in the sense of the human. She does not speak with words, but through her music. In contrast, one of the great word artists of the 20th century found the most appropriate description for Alban Berg's "Lyric Suite", which none other than Theodor W. Adorno, a faithful student of the composer, described as a "latent opera". The presumable reason that prompted Berg, contrary to all expectations of the genre, to express his chamber music with the grand operatic gesture can be assumed in private. Because the "inner dedication" that the composer wrote was for a woman with whom he had a secret love affair: Hanna Fuchs-Robettin. The Russian late romantic Anton Arensky also took unusual paths and was one of the few composers who broke the iron rule of scoring the string quartet and did not double the violins, but the cellos. There was a sad reason why he decided to amplify the dark tones: Pyotr I. Tchaikovsky suddenly died of cholera, and the whole of St. Petersburg was in shock. To commemorate his great role model, the still young Arensky wrote a musical homage in Moscow. Tchaikovsky suddenly died of cholera, and the whole of St. Petersburg was in shock. To commemorate his great role model, the still young Arensky wrote a musical homage in Moscow. Tchaikovsky suddenly died of cholera, and the whole of St. Petersburg was in shock. To commemorate his great role model, the still young Arensky wrote a musical homage in Moscow.

English

Es gilt als anspruchsvollste Gattung der Instrumentalmusik, als Königsklasse der Musik schlechthin: Das Streichquartett. Der besondere Reiz für Komponist und Interpret liegt im Finden der Balance zwischen Individualismus und Gesamtklang, wenn jedes Instrument gleichermaßen angehalten ist zu solistischen Höhenflügen und gemeinschaftlicher Viersamkeit. Dabei ist dem Streichquartett als Gattung selbst die Wandlung und Emanzipation von der bürgerlichen Hausmusik zum Ausdruck höchster Virtuosität gelungen. Dass das Streichquartett dabei auch das Potenzial des größtmöglichen künstlerischen Ausdrucks im Geiste des Humanismus innehat, beweist eindrucksvoll das zweite Streichquartett Sofia Gubaidulinas. Ihre Musik zeigt das Selbstverständnis einer nicht anpassungswilligen Komponistin in der Sowjetunion, die es schaffte, gleichzeitig kritische Distanz zu jeder Art politischer oder religiöser Ideologie zu wahren und doch eine ganze klare Haltung im Sinne des Menschlichen zu zeigen. Dabei spricht sie nicht mit Worten, sondern durch ihre Musik. Im Gegensatz dazu fand einer der großen Wortkünstler des 20. Jahrhunderts die wohl treffendste Beschreibung für Alban Bergs „Lyrische Suite“, die kein Geringerer als Theodor W. Adorno, getreuer Schüler des Komponisten, als „latente Oper“ beschrieb. Der mutmaßliche Grund, der Berg dazu veranlasste, wider alle Gattungserwartungen den großen Operngestus zum Ausdruck seiner Kammermusik zu machen, lässt sich im Privaten vermuten. Denn die „innere Widmung“, die der Tonsetzer verfasste, galt einer Frau, mit der er eine geheime Liebesbeziehung verband: Hanna Fuchs-Robettin. Auch der russische Spätromantiker Anton Arensky ging ungewöhnliche Wege und gehörte zu den wenigen Komponisten, die die eiserne Besetzungsregel des Streichquartetts durchbrachen und nicht etwa die Violinen verdoppelten, sondern die Celli. Dass er sich für die Verstärkung der dunklen Klangfarben entschied, hatte einen traurigen Grund: Pjotr I. Tschaikowsky starb plötzlich an der Cholera, ganz St. Petersburg stand unter Schock. Um seinem großen Vorbild zu gedenken, schrieb der noch junge Arensky in Moskau also eine musikalische Hommage.

Deutsch

5. Kammerkonzert by Berg, Arensky, dom 14 apr 2024, Da (2024/2024), Elbphilharmonie, Amburgo, Germania

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