Steffen Dillner, Friederike Fechner and Mari Namera play J. Brahms and M. Bruch.
The Robert Kahn Trio from Stralsund plays on this Sunday morning
Max Bruch 1838-1920 Eight pieces op. 83 and Johannes Brahms (1833-1897) Clarinet Trio op. 114 in A minor
on clarinet, piano and violoncello in the STRAZEsaal.
he Robert Kahn Trio from Stralsund plays on this Sunday morning
on clarinet, clavir and violoncello in the STRAZEsaal.
That his name would be associated only with "the" violin concerto at the end of the 20th century was foreseen by Max Bruch. In a conversation in 1907, he said of himself in comparison to Brahms: "In only 50 years, his brilliance will shine brightly as that of the most outstanding composer of all time, while I will be remembered mainly only for my G minor Violin Concerto." Bruch enviously acknowledged Brahms as the more original, but tried to justify the popular tone of his music by his "economic situation": "I had a family to feed and children to educate. I had to earn money with my compositions. I was therefore forced to write pleasing and easily understandable works.... I always wrote good music, but music that was easy to dismiss."
The Eight Pieces, op. 83, for clarinet, viola, and piano, premiered in Bonn in 1909, also belong in this category. Bruch composed them for his son Max Felix. He had developed into an outstanding clarinetist, whose playing was praised by contemporaries for its "pure, slag-free tone and phrasing." One can imagine that the father, who had the education of his children at heart, was particularly inspired by his son's playing. In addition, the soft alto register of the clarinet and viola suited Bruch's ideas about sound.
Incidentally, the inspiration for this cycle came from some of Robert Schumann's late chamber music cycles. Schumann's fairy tale pictures, fairy tale narratives and romances were of the greatest influence on the music of his time. They created their own "little genre" of chamber music that stood independently in opposition to the sprawling piano trios, quartets, and quintets. Composers such as Carl Reinecke, Heinrich von Herzogenberg and Max Bruch were inspired by Schumann's model in their legends, fantasies, etc. In 1908, Bruch composed his eight pieces for clarinet, viola and piano, which were based on Schumann's fairy tale narratives in terms of instrumentation and style.
Three of the pieces were originally performed with harp accompaniment, which can still be heard in No. 5 Romanian Melody and No. 6 Nachtgesang. Bruch dropped this instrumentation, however, because it would have made the pieces "no longer easy to dismiss."
Admisson starts at: 10.30 amStart: 11 amAdmission: 7€ (pupils), 10€ (students), 15€ (regular)Tickets can be purchased online in advance at mvticket.
Total duration approx. 70 minutes, no intermission.
Robert-Kahn-Trio