In the autumn of 1882 Sibelius joined a string quartet whose repertoire included quartets by Haydn. At the beginning of the summer Sibelius wrote to his Uncle Pehr that he was playing Kayser's études and duets with Anna Tigerstedt, the daughter of Theodor Tigerstedt, the municipal Officer of Health. In 1882 there was a rapid increase in the musicians who took part. Janne composed for piano and violin at a fairly early age, and I had to accompany him from the notes he had written down, which was not easy," Linda Sibelius later recollected. "We played together Janne played the violin, Kitti the cello, mother the piano or the harmonium. Their mother played the harmonium with the children. In 1881 Sibelius and his siblings had formed a trio in which Linda played the piano, Christian the cello and Janne the violin. Grave - Rondo (Vivacissimo) Completed in 1884.īefore Sibelius enrolled at the Music Institute (autumn 1885), he included a piano in nearly all the chamber music works he wrote for at least three musicians. Andante molto - Allegro moderato, 2.Īdagio, 3. Menuettoįor two violins, cello and piano: 1. Completed in 1883.įor violin, cello and piano: 1. Grand Ave.įor future events, call music for trios, quartets and quintetsĬhamber music with piano (composed in Hämeenlinna)įamily trio: Jean, Linda and Christian Sibeliusįor two violins and piano: 1. SIBELIUS : String Quartet in D minor, Op. And because of the superb acoustics in the Hall, the sound is so close and rich it feel like a private, personal performance for just one listener.Ī pre-concert wine reception - sponsored by Cobblestone Wine - is included, beginning at 6:30 in BP Hall. 80) with its anguished outcries and frightening dissonances. You will encounter the composer in styles that are characteristic of a broader view of his musical expression with the serious and contemplative E Minor (op. The two different teams - also excellent LA Phil players, each a virtuoso - will offer a well-chosen sampling of Mendelssohn with No. Mendelssohn’s string quartets are disputably the best examples of the genre between Schubert and Brahms, offering an exceptional balance between that Romantic emotion and the Classical sophistication, between drama and form, and two of them will open the program at Disney Hall. Still, there is a profoundly individual personality from movement to movement, and while the chordal progressions may conjure up Beethoven, the rawboned melodic lines, inner dissonances, and twisted textures should evoke Bartok. Yet the patchwork that connects all five movements of the 31-minute “Voces Intimae” is superficial, as each movement starts with an adjustment of material from those that came before. The scale of the work suggests Beethoven’s influence on the Finnish master, especially the former’s economical tendency to conserve all opening materials in some form as the work progresses. These players worked together with amazing beauty, grace, fire and syncopation for Tchaikovsky’s Souvenir de Florence at the last chamber concert. First Associate Concertmaster Nathan Cole and his wife Assistant Concertmaster Akiko Tarumoto (pictured below) will be on violins Assistant Principal Ben Ullory on viola and Assistant Principal Dahae Kim on cello. And this is the work which will close LA Phil’s Chamber Concert this Tuesday, Octoat 8. He wrote it in between the Third and Fourth symphonies, but as with the latter it is far more introspective, suggested by the subtitle, “Intimate Voices.” It has a deeply personal, even shadowy, air that would be almost impossible to achieve in a symphony. Indeed, it’s the only substantial chamber work he produced after the turn of the century. 56 (1908-1909) is one of his most mature, significant, and inspirational chamber works. Sibelius’s String Quartet in D minor, Op.
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