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Izmir Festival > Program > WIENER KAMMERSYMPHONIE

Thursday, June 22, 2023 • Celcus Library • 21.00
 
WIENER KAMERSYMPHONIE
 
Luis Morais, violin
Estelle Demetria Weber, violin
Giorgia Veneziano, viola
Sergio Mastro, cello
Damian Saul Posse Robles, double bass
 
Program
 
Franz Schubert (1797-1828) 
Impromptu in c minor op. 90/1 (D 899)
-Allegro molto moderato
 
Joseph Haydn (1732-1809)  
Symphony Nr. 82 in c major  “the bear” (String Quintet version by Marco Ozbic)
Vivace assai/ Allegretto/ Menuet/ Vivace
 
Intermission
 
Stefan Pelzl (1955- ) 
Portrait in three colours (dedicated to the Wiener Kammersymphonie)
 
Erich Wolfgang Korngold (1897-1957) 
Fairy Tales (Märchenbilder)
-Holzapfel und Schlehwein.Grotesker Trauermarsch
-Die Prinzessin auf der Erbse.Andantino
-Wichtelmännchen.Molto vivace
-Im Garten.Andante
-Mummenschanz.Vivace
 
 
WIENER KAMERSYMPHONIE
 
The String Quintet Wiener Kammersymphonie (WKS) comprises five highly talented musicians based in Vienna. The group brings to its audiences a vast musical repertoire from classics to 19th century to contemporary compositions, often performing works by (unjustly) forgotten and overlooked composers, and bringing out the very best of the Ensemble. The WKS was founded in March 2006 in the
“Year of Mozart” and made an outstandingly successful debut with a series of concerts in Spain. These met with both public and critical acclaim describing the group as the best performers of a long season entirely dedicated to Mozart.
From that moment on the WKS performed throughout Europe (Spain, France, the UK, Poland, the Netherlands, and Denmark, very often receiving new invitations) and Latin America (Brazil, Argentina, Chile,Colombia, Peru, Uruguay, and Panama).
Future performances include further Latin American and European engagements, always developing their special symphonic/opera/concerto repertoire "revisited" in a chamber music version for String Quintet.
The performance of Piano concertos holds a special place in their repertoire of unique chamber versions, particularly those of Mozart and Beethoven.
 
… the string quintet of the Wiener Kammersymphonie, unrivaled performers for intonation, soft timbre and ironic descriptive thickness…
(Giornale dell'Umbria)
 
..Mozarts Zauberflöte with rich string sound instead of trombones and violin spiccato instead of Papageno's glockenspiel…
At the same time, the coloratura of the Queen of the Night was for once enjoyed in a different way, performed by the first violin... respectable as the ensemble, then with Ernst Krenek's “Seven Easy Pieces” "from 1955 the sound and articulation changed. So came the short miniatures as a special treat…. (Saarbrücken Kultur)
 
FRANZ PETER SCHUBERT 
Impromptu, in C, Op.90
Allegro molto moderato
 
It really isn’t fair that such weighty compositions as the four pieces contained in Franz Schubert’s Op. 90 (D. 899) were given the rather inappropriate title “Impromptus” by their publisher when the first two went to press in late 1827; it wasn’t until 1857 that Op. 90, Nos. 3 and 4 appeared in print. These are not just pieces of higher-grade musical meat than the average short piano piece of the 1820s. These are pieces of considerable length, three of them even spanning more than 200 bars, each a well thought-out expression of pianism that creates no sense of improvisation. The four Impromptus, D. 899 were probably composed at least in part during the composer’s stay in Dornbach in the summer of 1827; they seem all to have been put to paper by the time Schubert arrived in Graz in September.
The first piece, in C minor, is marked Allegro molto moderato and starts off with a firm double-octave utterance, the likes of which would pop up again some five decades later at the start of Johannes Brahms’ C minor Piano Quartet. Instantly, however, Schubert pulls this solid rug out from under our feet and proffers a limber, pianissimo melody -- initially unaccompanied, but soon harmonized in march-like fashion -- that, in one form or another, will saturate the entire piece, most notably in the shape of a warm A flat major melody that rides on top of triplet arpeggios in first the left and then the right hand. The piece falls into two loose halves, the second of which starts off with a reworking of the opening measures of the first -- the continuous triplets now propel the music forward in dramatic fashion -- and then recasts the A flat major melody in G major.
There is something etude-like about the far-flung, continuous eighth notes in Op. 90, No. 2 in E flat major/minor. During the middle section of this “da capo” piece these eighth Schubert breaks the eighth notes up a bit to set up some powerful sforzandos. Somewhat surprisingly, the piece veers into the minor mode during its ever-faster coda and never escapes back into the major mode.
If you took the Adagio cantabile of Beethoven’s Pathétique Piano Sonata and mated it with any of a dozen Chopin Nocturnes you’d probably come up with something very like the Andante in G flat major, Op. 90, No. 3. In fact, Schubert lifted the cadential gesture of this lovely melody straight from that heavenly Beethoven movement.
The last impromptu of D. 899 is an Allegretto in A flat minor/major that more or less assumes the form of a scherzo and trio (Schubert even goes so far as to call the less-frantic middle section a “trio”). At the start of the piece, all attention is fixed on the cascading sixteenth note arpeggios, but midway through the “scherzo” portion -- which is of course reprised “da capo” after the trio -- Schubert inserts a delightfully swinging melody into the upper voice of the left hand. Description by Blair Johnston
 
FRANZ JOSEPH HAYDN
Symphony No. 82 in C major
(“The Bear”), H. 1/82
Vivace assai / Allegretto/ Menuet ve Trio / Final: Vivace
 
In 1784, the Board of Directors of the Concerts de la Loge Olympique in Paris asked Haydn to write six symphonies for their concert series; this was the composer’s first foreign commission, having spent most of his professional life in service at the Esterházy court. The Loge Olympique concerts, instituted in 1780, were among the most prestigious in France; Marie Antoinette was an occasional attendee, as were various officials from the court at Versailles. Over the next two years Haydn composed the Symphonies Nos. 82 through 87, now known collectively as the “Paris” Symphonies, for the large orchestra -- the largest Haydn ever had at his disposal, featuring up to 40 violins, ten double basses, and as many as four of each woodwind -- of the Loge Olympique. Despite its numbering as the first of the six, the Symphony No. 82 was in fact the last of these works to be written; it was completed in 1786.
The first movement (Vivace assai) alternates between the festive, extroverted mood of its opening theme, and the more thoughtful, graceful tone of the second (which makes its first appearance in the strings over a quiet drone from the bassoon). Development section and recapitulation are especially inventively blurred, even by the high standards of this period of Haydn’s career. The second movement isn’t a true slow movement but rather an Allegretto -- a theme and variations based on a theme in two parts, the first flowing, the second with a tinge of agitation.
The Menuetto third movement opens and closes with pomp and ceremony; this music frames a playful, graceful trio section in which Haydn’s colorful woodwind scoring comes to the fore. The final movement is the one that provides this work its nickname, “The Bear.” It features a rustic tune played over a comical drone, which suggested to its early listeners the sound of bagpipes and the dancing bears which frolicked to their sound at village fairs. Haydn moves from these rustic sounds into some exciting contrapuntal development that builds up to a false ending, giving him the opportunity for one last exciting drive to the real conclusion. Description by Chris Morrison.

 

 

WIENER KAMMERSYMPHONIE - Program - Izmir Festival | İKSEV - İzmir Foundation For Culture Arts And Education