Organization

Instrument

Martin Blomenkamp

Violin I

VIolin I

Felix Heckhausen

Violin II

Hibiki Oshima

Violin III

Gideon Schirmer

Violin IV

Tomohiro Arita

Viola I

Maria Rallo Muguruza

Viola II

Clara Grünwald

Cello I

Merlin Schirmer

Cello II

Viola

Cello

Staatsoper Hamburg

Philharmonic State Orchestra Hamburg

2. Kammerkonzert

Hambourg

Allemagne

Elbphilharmonie & Laeiszhalle Hamburg

Elbphilharmonie

Kleiner Saal

Private

Public

String Quintet in A major, op. 39

Concertino for string quartet, K035

6 Bagatellen, Op.9

Octuor à cordes en mi bémol majeur, op.20

Valide

Although the form of the string quartet slowly fell out of fashion at the beginning of the 20th century and other, less well-known and more experimental instrumentations became the focus of composers, the composers were nonetheless tempted by the confrontation with the firmly established combination of instruments. Among others, Alexander Glazunov, who quickly had to realize that the implementation of new musical ideas not only required visionary power, but also courage and staying power at times: "Everything with Glazunov is done so elegantly, everything sounds so bright and juicy, everyone Colors are so rich and strong.” With these words, the Russian musicologist Viacheslav Karatygin defended Glazunov against critics who accused him of a lack of personality and creative individuality. Igor Stravinsky also had to show staying power in his search for his own original tonal language. In his Concerto for String Quartet he combines the ideas of his musical future with the spirits of the great masters in equal parts. For Anton Webern, too, chamber music was a refuge for musical experiments, in which he could create different ideas as a compositional nucleus before he continued to think about them on an increasingly large scale. His Bagatelles for string quartet, all short pieces lasting two minutes, represent a departure from the romantic sound in favor of a new, harsh sonority. His uncompromising tonal language opened the intellectual space for the musical avant-garde. The famous octet by Felix Mendelssohn Bartholdy takes us from modernity to the summery Berlin of 1825, to an address that Berliners are familiar with: Leipziger Strasse 3. Where the German Bundesrat meets today, in the 19th century the the Mendelssohn family of banks owned their property. There, where Alexander von Humboldt, Hegel, Schleiermacher and ETA Hoffman went in and out, where art-loving audiences gathered on Sunday mornings and sought relaxation with spiritual enjoyment. The octet is one of these works, which should caress the mind as well as the soul. It is not only one of the great masterpieces of chamber music, but also a first-class intellectual and musical historical document for the Berlin of idealism. Leipziger Strasse 3. In the 19th century, the Mendelssohn family of banks had their premises where the German Bundesrat meets today. There, where Alexander von Humboldt, Hegel, Schleiermacher and ETA Hoffman went in and out, where art-loving audiences gathered on Sunday mornings and sought relaxation with spiritual enjoyment. The octet is one of these works, which should caress the mind as well as the soul. It is not only one of the great masterpieces of chamber music, but also a first-class intellectual and musical historical document for the Berlin of idealism. Leipziger Strasse 3. In the 19th century, the Mendelssohn family of banks had their premises where the German Bundesrat meets today. There, where Alexander von Humboldt, Hegel, Schleiermacher and ETA Hoffman went in and out, where art-loving audiences gathered on Sunday mornings and sought relaxation with spiritual enjoyment. The octet is one of these works, which should caress the mind as well as the soul. It is not only one of the great masterpieces of chamber music, but also a first-class intellectual and musical historical document for the Berlin of idealism. where art-loving audience gathered on Sunday mornings and sought relaxation with spiritual enjoyment. The octet is one of these works, which should caress the mind as well as the soul. It is not only one of the great masterpieces of chamber music, but also a first-class intellectual and musical historical document for the Berlin of idealism. where art-loving audience gathered on Sunday mornings and sought relaxation with spiritual enjoyment. The octet is one of these works, which should caress the mind as well as the soul. It is not only one of the great masterpieces of chamber music, but also a first-class intellectual and musical historical document for the Berlin of idealism.

English

Obgleich die Form des Streichquartetts zu Beginn des 20. Jahrhunderts langsam aus der Mode geriet und andere, ungleich unbekanntere und experimentellere Besetzungen in den Fokus der Komponisten rückten, reizte die Tonsetzer dennoch die Auseinandersetzung mit der fest etablierten Instrumentenkombination. So unter anderem auch Alexander Glasunow, der schnell erkennen musste, dass die Durchsetzung neuer musikalischer Ideen nicht nur visionäre Kraft erforderte, sondern zuweilen auch Mut und einen langen Atem: „Alles bei Glasunow ist so elegant gemacht, alles klingt so hell und saftig, alle Farben sind so satt und kräftig.“ Mit diesen Worten verteidigte der russische Musikforscher Viacheslav Karatygin Glasunow gegen Kritiker, die ihm Mangel an Persönlichkeit und schöpferischer Eigenart vorwarfen. Einen langen Atem musste auch Igor Strawinsky unter Beweis stellen auf der Suche nach seiner eigenen originären Klangsprache. In seinem Concerto für Streichquartett verbindet er zu gleichen Teilen die Ideen seiner musikalischen Zukunft mit den Geistern der großen Meister. Auch für Anton Webern war die Kammermusik ein Refugium der musikalischen Experimente, in denen er unterschiedliche Ideen als kompositorische Keimzelle anlegen konnte, ehe er sie in größer werdenden Maßstäben weiterdachte. So bilden seine Bagatellen für Streichquartett, lauter kurze Stücke, die zwei Minuten dauern, die Abkehr vom romantischen Klangbild hin zu einer neuen, herben Klanglichkeit. Seine kompromisslose Tonsprache öffnete den Geistesraum für die musikalische Avantgarde. Mit dem berühmten Oktett von Felix Mendelssohn Bartholdy geht es von der Moderne ins sommerliche Berlin des Jahres 1825, an eine Adresse, die den Berlinern wohl vertraut ist: Leipziger Straße 3. Dort, wo heute der Deutsche Bundesrat tag, hatte im 19. Jahrhundert die Bankiersfamilie Mendelssohn ihr Anwesen. Dort, wo Alexander von Humboldt, Hegel, Schleiermacher und E.T.A. Hoffman ein- und ausgingen, wo kunstliebendes Publikum sich am Sonntagvormittag einfand und Erholung bei geistigem Genuss suchte. Zu diesen Werken, die gleichermaßen Geist wie Seele umschmeicheln sollte, gehört auch das Oktett. Es ist nicht nur eines der großen Meisterwerke der Kammermusik, sondern auch ein geistes- und musikgeschichtliches Dokument ersten Ranges für das Berlin des Idealismus.

Deutsch

2. Kammerkonzert by Glazunov, A., Stravinsky, Webern, Mendelssohn, Du (2023/2023), Elbphilharmonie, Hambourg, Allemagne

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