Repertoire

“keine faden Leyersachen”

Ludwig van Beethoven (1770 – 1827):

Trio for piano, clarinet or violin and Violoncello, Op. 38 (1802/03):

Adagio. Allegro con brio

Adagio cantabile

Tempo di Menuetto

Andante. Thema con Variazioni

Scherzo. Allegro molto e vivace – Trio – Scherzo

andante con moto alla Marcia – Presto –  Termpo I

 

Trio für piano, clarinet or violin and Violoncello, Op. 11 (1798):

Allegro con brio

Adagio

Thema con Variazioni: Pria ch`io l`impegno. Allegretto

 

classical pianoforte, 430 Hz, 6 octaves, 1h

a sentimental journey

The novel A Sentimental Journey Through France and Italy from Laurence Sterne (1768) describes the journey-adventures of a young man. The new thing about his way of travelogue was the emphasis on his personal feelings and taste in spite of classical learning. With this diverting program we want to present music, which is –like Sternes novel– full of subjective feelings in contrast to objective norms. Our centerpiece is the trio from Carl Philipp Emanuel Bach. On the one hand this was the first piece especially composed for our instrumentation. On the other hand it shows the different characters of the three instruments. Besides Haydn -as a representative of the epoch-, we have also chosen quite unknown composers whose individual way of figuration we affiliate with Sterne’s novel. Next to the nearly romantical trio of Kreutzer you will hear a humorous discussion between clarinet and bassoon in Tausch’s duo.

Carl Philipp Emanuel Bach
(1714–1788)
Six sonatas for piano, clarinet and bassoon, Wq92/1-6
Franz Tausch
(1762–1817)
Duo III from „Trois duos pour Clarinette et Basson“, op. 21 (~1813)
Joseph Haydn
(1732–1809)
piano sonata e-minor, Hob. XVI:47bis
Conradin Kreutzer
(1780–1849)
Trio E-flat-major for piano, clarinet and piano, op. 43

classical pianoforte, 430 Hz, 6 octaves, 1h

Ode to youth: The way to early romanticism

Youth can have many different faces: the first unfulfilled love or the hope for a better tomorrow. Sometimes it has the face of longing for past times, another time tears of desperation. But most of all, youth is pure joy! At least that is what we feel in Kreutzer’s trio, whose cheerful, nearly folksong-like melodies bring to our minds an idyllic landscape. The duo of Lefévre does not destroy this mood and additionally invites us  to the French world of elegance. When Mendelssohn wrote the sonata for clarinet and piano, he was only 15 years old. It shows brilliant and brave sounds as well as subtle melodies and polyphonic strictness which lead us back to the earth. The program closes with the Trio Pathetique, which was written by the 28-year-old Glinka, who then was unhappily in love, ill and exhausted. He refers to his own youth preceding the piece with the words “I knew love only from all sorrows it causes.”

Conradin Kreutzer
(1780–1849)
Trio E-flat-major for piano, clarinet and bassoon, op. 43
François-René Gebauer (1773 – 1845) Nocturne pour PIANO et BASSON
BREAK
Felix Mendelssohn
(1809–1847)
Sonata E-flat-major for clarinet and piano (1824)
Xavier Lefevre
(1763–1829)
Trois Grandes Sonates pour Clarinette e Basse op. 12: Troisième Sonate
Michail Glinka
(1804–1857)
Trio Pathétique d-minor for piano, clarinet and bassoon (1832)

early-romantic pianoforte, 430 Hz, 6 ½ octaves, 1’30h + break

Les goûts réunis: Germany in the 18th century

This concert attends to German baroque music. All composers, besides Handel -who worked mainly in London- lived in different German courts, which were generally orientated towards the French court. But they were also inspired by Italian examples. Handel travelled ca. 1706 to Italy and Telemann tells us in his autobiography (1731) that he got to know the different styles already as a youngster. Thus the „gouts réunis“ was shaped. Quantz (1752) decribes it proudly as „German taste“ and as generally good and writes that one must choose the best parts of the different styles. This mixture enables us to present a vastly varied program:

Christoph Graupner
(1683–1760)
Trio-sonata GWV 201 for bassoon, chalumeau and harpsicord
Johann Friedrich Fasch
(1688–1758)
Sonata C-major for bassoon and b.c.
Christoph Graupner Partita E-major for harpsicord
BREAK
Georg Philipp Telemann
(1671–1767)
Partita B-major TWV 41:B1 from Kleine Cammer-Music for chalumeau and b.c.
Georg Fridrich Händel
(1685–1759)
Sonata a Flauto e Cembalo a-minor (~1730)
Georg Philipp Telemann Trio-sonata C-major TWV 42:C2

harpsicord, possibly positive organ, 415 Hz, 1’10h + break