Name: 1. Kammerkonzert
Start: 2023-11-12T00:00:00.000Z
End: 2023-11-12T00:00:00.000Z
Location: Elbphilharmonie

Organization

Instrumentalist

Manuela Tyllack

Wind quintet

Guilherme Filipe Sousa

Christian Seibold

Fabian Lachenmaier

Jan Polle

Bassoon

Clarinet

Oboe

Flute

Horn

Volker Krafft

Piano

Staatsoper Hamburg

Philharmonic State Orchestra Hamburg

1. Kammerkonzert

Hamburg

Tyskland

Elbphilharmonie & Laeiszhalle Hamburg

Elbphilharmonie

Kleiner Saal

Public

Private

Suite d'apres Corrette, op. 161

Alpbach Quintet Op 180

Humoreske

Sextet, FP 100

Approved

Accordionist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Broadcasting

Chorus Director

Dansare

Dirigent

Dramaturg

Exekutiv producent

Extra

Hårstylist

Illustrator

Kompositör

Koreograf

Kostym designer

Kör

Körledare

Librettist

Ljud designer

Ljus designer

Orchestra Operations

Orkester

Other

Photographer

Poet

Regissör

Repetitör

Scenograf

Skådespelare

Sminkartist

Stage Manager

Teacher

Tolk

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Tenor

Sångare

Mezzo-soprano

Baritone

Contralto

Soprano

Countertenor

Bass-baritone

Bass

Alto

Child vocalist

Continuo

Silent

Spoken

1. Kammerkonzert: Concert Various

The first chamber concert of the season takes you on a musical journey through the 20th century - and nonchalantly into what is probably the most sensual (music) history lesson. The music of the 20th century oscillated between impressionism and expressionism, between sweet sensuality and brittle whimsicality: Darius Milhaud, Ernst Křenek, Alexander Zemlinsky and Francis Poulenc are children and artists of a zeitgeist that, in the face of social upheavals and upheavals and political abysses, created music in equal measure of resistance, reflection and distraction demanded as well as promoted. Darius Milhaud and Francis Poulenc found fertile ground for their ideas in Paris, where they joined the Groupe des Six. This cheeky group of artists from the 1920s dared to break out of the grandiose clichés of music before the First World War and propagated a new beginning to music of everyday life, of small forms and prosaic gestures. Milhaud's suite for three wind instruments was created for the theater: for a production of Shakespeare's "Romeo and Juliet". The multicolored, intoxicating sextuor of the sound magician Poulenc, on the other hand, places the highest demands on the virtuosity of the musicians and not only encourages the desire for chamber music interaction, but also promotes the lyrical potential of new music. From Paris it goes to the avant-garde and to Ernst Křenek, whose oeuvre reflects the great stylistic arc of the 20th century. The scoring alone of his Alpbach Quintet op. 180, composed in exile in California, shows the composer's courage for new forms and colors. A composition of expressive melodies, contrapuntal percussion sounds and an extraordinary musical gesture. The humoresque by Alexander Zemlinsky shows that music can not only be expression, but also refuge. Contrary to what the title of the work suggests, the conditions under which it was created were by no means humorous. As a Jewish artist, Alexander Zemlinsky had to flee to the USA. There he died impoverished and forgotten in upstate New York in 1942. The year before he had written his Humoreske as a commissioned didactic work for wind quintet – his last instrumental piece. It is a humorous rondo as a farewell to the world. the contrapuntal percussion sounds and an extraordinary musical gesture. The humoresque by Alexander Zemlinsky shows that music can not only be expression, but also refuge. Contrary to what the title of the work suggests, the conditions under which it was created were by no means humorous. As a Jewish artist, Alexander Zemlinsky had to flee to the USA. There he died impoverished and forgotten in upstate New York in 1942. The year before he had written his Humoreske as a commissioned didactic work for wind quintet – his last instrumental piece. It is a humorous rondo as a farewell to the world. the contrapuntal percussion sounds and an extraordinary musical gesture. The humoresque by Alexander Zemlinsky shows that music can not only be expression, but also refuge. Contrary to what the title of the work suggests, the conditions under which it was created were by no means humorous. As a Jewish artist, Alexander Zemlinsky had to flee to the USA. There he died impoverished and forgotten in upstate New York in 1942. The year before he had written his Humoreske as a commissioned didactic work for wind quintet – his last instrumental piece. It is a humorous rondo as a farewell to the world. under which it was created, is by no means humorous. As a Jewish artist, Alexander Zemlinsky had to flee to the USA. There he died impoverished and forgotten in upstate New York in 1942. The year before he had written his Humoreske as a commissioned didactic work for wind quintet – his last instrumental piece. It is a humorous rondo as a farewell to the world. under which it was created, is by no means humorous. As a Jewish artist, Alexander Zemlinsky had to flee to the USA. There he died impoverished and forgotten in upstate New York in 1942. The year before he had written his Humoreske as a commissioned didactic work for wind quintet – his last instrumental piece. It is a humorous rondo as a farewell to the world.

English

Im 1. Kammerkonzert der Saison geht es auf eine musikalische Reise durch das 20. Jahrhundert – und nonchalant in die wohl sinnlichste (Musik-)Geschichtsstunde. Zwischen Impressionismus und Expressionismus, zwischen süßlicher Sinnlichkeit und spröder Wunderlichkeit changierte die Musik des 20. Jahrhunderts: Darius Milhaud, Ernst Křenek, Alexander Zemlinsky und Francis Poulenc sind Kinder wie Künstler eines Zeitgeists, der angesichts gesellschaftlicher Um- und Aufbrüche und politischer Abgründe gleichermaßen eine Musik des Widerstands, der Reflektion und der Zerstreuung forderte wie förderte. Fruchtbaren Boden für ihre Ideen fanden Darius Milhaud und Francis Poulenc in Paris, wo sie sich der Groupe des Six anschlossen. Diese freche Künstlergruppe der Zwanziger Jahre wagte den Ausbruch aus den grandiosen Klischees der Musik vor dem ersten Weltkrieg und propagierte den Aufbruch zu einer Musik des Alltags, der kleinen Formen und prosaischen Gesten. Milhauds Suite für drei Bläser ist für Theater entstanden: Für eine Produktion von Shakespeares „Romeo und Julia“. Das vielfarbige, rauschhafte Sextuor des Klangzauberers Poulenc stellt hingegen höchste Anforderungen an die Virtuosität der Musiker*innen und fordert nicht nur die Lust an der kammermusikalischen Interaktion, sondern fördert das lyrische Potenzial der Neuen Musik. Von Paris geht es in die Avantgarde und zu Ernst Křenek, dessen Œuvre den großen stilistischen Bogen des 20. Jahrhunderts widerspiegelt. Schon allein die Besetzung seines Alpbach-Quintetts op. 180, entstanden im kalifornischen Exil, zeigt den Mut des Komponisten zu neuen Formen und Farben. Eine Komposition der expressiven Melodien, der kontrapunktischen Schlagwerkklänge und eines außergewöhnlichen musikalischen Gestus‘. Dass die Musik nicht nur Ausdruck, sondern auch Zuflucht sein kann, zeigt die Humoreske von Alexander Zemlinsky. Anders als der Werktitel suggeriert, waren die Bedingungen, unter denen es entstand, keineswegs humorvoll. Alexander Zemlinsky musste als jüdischer Künstler in die USA fliehen. Dort starb er 1942 verarmt und vergessen im Bundesstaat New York. Im Jahr zuvor hatte er als didaktische Auftragsarbeit für Bläserquintett seine Humoreske geschrieben – sein letztes Instrumentalstück. Es ist ein humorvolles Rondo als Adieu an die Welt.

Deutsch

1. Kammerkonzert by Milhaud, Krenek, Von Zemlinsky, Poulenc, Från (2023/2023), Elbphilharmonie, Hamburg, Tyskland

Föreställningskrediter (Medverkande & produktionsteam )

Instrumentation

Medproducent

Program, Om & Synopsis

Foton

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Föreställningsdatum och lokaler

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