Name: 4. Kammerkonzert
Start: 2024-02-25T00:00:00.000Z
End: 2024-02-25T00:00:00.000Z
Location: Elbphilharmonie

Organization

Instrumentalist

Gottlieb Wallisch

Piano

Daria Pujanek

Violin

Piotr Pujanek

Yitong Guo

Viola

Arne Klein

Cello

Violin I

Violin II

Staatsoper Hamburg

Philharmonic State Orchestra Hamburg

4. Kammerkonzert

Hamburg

Germany

Elbphilharmonie & Laeiszhalle Hamburg

Elbphilharmonie

Kleiner Saal

Public

Private

Treasure Waltz, op. 418  aranj. Anton Webern

Scherzo for String Quartet in F major

Wine, Women and Song, op. 333 (arr. by Alban Berg)

Presto (C-Dur) für Streichquartett

Roses from the South (arr. A. Schoenberg)

Piano Quartet in A Minor

String Quartet No. 1 in C major, Op. 37

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 gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Conductor

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Bass-baritone

Singer

Baritone

Soprano

Bass

Contralto

Mezzo-soprano

Countertenor

Tenor

Alto

Child vocalist

Continuo

Silent

Spoken

Im 4. Kammerkonzert geht es hoch her und abwechslungsreich zu, eben ganz so wie im Wien des beginnenden 20. Jahrhunderts: Beseelte Walzerklänge treffen auf die Experimentierfreude der Zweiten Wiener Schule, Spätromantik auf Junges Polen. Ganz unterschiedliche Komponisten mit einer jeweils ganz eigenen Klangsprache, die sich doch alle um den Geist und den Ausdruck des Fin de Siècle drehen. Dabei deutet der Ausdruck mehr an als nur den bevorstehenden kalendarischen Wechsel vom 19. ins 20. Jahrhundert, der Geist der Jahrhundertwende ist ein umtriebiger: Die Romantik endet und damit verfällt eine im Grunde seit 100 Jahren gültige Musizierhaltung. Plötzlich offenbaren sich neue Auffassungen, Ideen und Visionen und aus ihnen bilden sich neue Stile: Symbolismus, Jugendstil, Impressionismus, Ästhetizismus und nicht zuletzt die Avantgarde. Eine Zeit des Widerspruchs – und der Überraschungen. Denn wer hätte gedacht, dass Anton Weber, einer der führenden Avantgardisten seiner Zeit, ein großer Veredler der Salonmusik war? Den Schatzwalzer von Johann Strauss Sohn zu bearbeiten entsprang jedoch nicht allein einem eigenen musikalischen Interesse. Die Bearbeitungen dieser Art sollten vor allem Schönbergs „Verein für musikalische Privataufführungen“ das Überleben sichern. Dass die Kunst zuweilen nicht nur künstlerischen Idealen, sondern auch kommerziellen Zwängen unterliegt, musste Arnold Schönberg schon sehr früh erkennen. So nahm er sein kompositorisches Schicksal mit der Gründung des Musikvereins in die eigene Hand und fand dort nach dem Ersten Weltkrieg eine Art Refugium für die Ideologie kammermusikalischen Klangs. Große Orchesterwerke scheiterten oftmals nicht nur am sich ändernden Geschmack des Publikums, sondern auch an der Realisierbarkeit angesichts sich reduzierender Kulturförderer. So machten Schönberg, Webern und auch Berg aus der Not also eine Tugend und nahmen sich beispielsweise die Werke des großen Sohns der Stadt Wien Johann Strauß vor. Heraus kamen Walzer-Arrangements und eigene Kompositionen, die keineswegs Zweckmusik waren, sondern ganz im Gegenteil: Ihnen entspringt eine Freude der Leichtigkeit und Experimentierfreude. Der Versuch, das sentimentale Herz der Musikstadt Wien ganz vorsichtig an den Puls der Moderne heranzuführen, gelang auf meisterhafte Weise.

Deutsch

The 4th chamber concert is lively and varied, just like in Vienna at the beginning of the 20th century: soulful waltz sounds meet the joy of experimentation of the second Viennese school, late romanticism meets young Poland. Very different composers, each with their own musical language, which all revolve around the spirit and expression of the fin de siècle. The expression indicates more than just the impending calendar change from the 19th to the 20th century, the spirit of the turn of the century is busy: Romanticism ends and with it a music-making attitude that has basically been valid for 100 years. Suddenly new perceptions, ideas and visions are revealed and new styles emerge from them: symbolism, art nouveau, impressionism, aestheticism and last but not least the avant-garde. A time of contradiction – and surprises. After all, who would have thought that Anton Weber, one of the leading avant-gardists of his time, was a great refiner of salon music? Adapting Johann Strauss Sohn's Treasury Waltz was not just a matter of personal interest in music. Arrangements of this kind were primarily intended to ensure the survival of Schönberg's "Association for Private Musical Performances". Arnold Schönberg had to recognize very early on that art is sometimes subject not only to artistic ideals but also to commercial constraints. So he took his fate as a composer into his own hands by founding the Musikverein, where he found a kind of refuge for the ideology of chamber music sound after the First World War. Large orchestral works often failed not only because of the changing taste of the audience, but also because of the feasibility in view of the decreasing culture sponsors. So Schönberg, Webern and also Berg made a virtue out of necessity and took on the works of the great son of the city of Vienna, Johann Strauss, for example. The result was waltz arrangements and his own compositions, which were by no means functional music, but quite the opposite: they emanate a joy of lightness and joy of experimentation. The attempt to very carefully bring the sentimental heart of the music city of Vienna up to the pulse of modernity succeeded in a masterful way. Webern and also Berg made a virtue out of necessity and took on the works of the great son of the city of Vienna, Johann Strauss, for example. The result was waltz arrangements and his own compositions, which were by no means functional music, but quite the opposite: they emanate a joy of lightness and joy of experimentation. The attempt to very carefully bring the sentimental heart of the music city of Vienna up to the pulse of modernity succeeded in a masterful way. Webern and also Berg made a virtue out of necessity and took on the works of the great son of the city of Vienna, Johann Strauss, for example. The result was waltz arrangements and his own compositions, which were by no means functional music, but quite the opposite: they emanate a joy of lightness and joy of experimentation. The attempt to very carefully bring the sentimental heart of the music city of Vienna up to the pulse of modernity succeeded in a masterful way.

English

4. Kammerkonzert by Strauss II, Schoenberg, Arnold, Mahler, Szymanowski, Od (2024/2024), Elbphilharmonie, Hamburg, Germany

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Program, O in Sinopsis

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