Name: Faust Schreiber Tamestit Queyras Poltéra
Start: 2024-10-23T00:00:00.000Z
End: 2024-10-23T00:00:00.000Z
Location: Laeiszhalle

Organization

Admin

Elbphilharmonie & Laeiszhalle Hamburg

Instrumentalist

Isabelle Faust

Violin I

Anne Katharina Schreiber

Violin II

Antoine Tamestit

Viola

Jean-Guihen Queyras

Cello

Christian Poltéra

Cello II

Cello I

Faust / Schreiber / Tamestit / Queyras / Poltéra

Hamburg

Germany

Laeiszhalle

Faust / Schreiber / Tamestit / Queyras / Poltéra: String Quartet No.15 in G Major, D. 887 Schubert (+1 More)

Public

String Quartet in G Major, D. 887

String Quintet, D.956,  Op.163

Delfina Gago

Approved

TOP-CLASS SCHUBERTIADE
The first chamber music evening in the Laeiszhalle sets standards for the season: five musicians, all of whom have great solo careers, celebrate their love for making music together in an intimate setting. They have just recorded a Schumann album with an almost identical line-up, which the Guardian hailed as “chamber music at the highest level in every respect”. Now Isabelle Faust, Anne Katharina Schreiber, Antoine Tamestit, Christian Poltéra and Jean-Guihen Queyras are organizing a true “Schubertiade,” as Franz Schubert and contemporaries called performances of his works in friendly circles.

The program includes two of the composer's late works, which the music world deeply admires to this day: Schubert composed the Quartet in G major after he had witnessed the premiere of a Beethoven Quartet (Op. 130) in 1826. At first he was so impressed by his great idol's work that he didn't put anything down on paper for months. But then he wrote a string quartet in just eleven days, which broke with many listening habits with many changes between major and minor, sharp contrasts and more sound than melody.

Two years later, just a few months before his death, Schubert wrote his Quintet in C major, an otherworldly “swan song” in anticipation of the afterlife. Two cellos provide a dark tone, the slow, mysterious passages undermine any sense of time and even the fast movements fluctuate between driving energy and pause. Both works were only published and premiered several years after Schubert's early death - and even then their musical language had not lost any of its radicalism.

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