Monday MON 1 January 0001
Monday MON 1 January 0001
9
Thursday THU 9 May 2024
18
Saturday SAT 18 May 2024
7
Saturday SAT 7 October 2023
Julian Rachlin / Sarah McElravy

Julian Rachlin / Sarah McElravy © Julia Wesely

Eckert Runge

Eckert Runge © Nikolaj Lund

Denis Kozukhin

Denis Kozukhin © Alex Lordache

 

Rachlin / Pocitari / McElravy / Runge / Kozhukhin

Wednesday 18 October 2023
19:30 – ca. 21:30
Mozart-Saal

 

Performers

Julian Rachlin, Violine

Lilia Pocitari, Violine

Sarah McElravy, Viola

Eckart Runge, Violoncello

Denis Kozhukhin, Klavier

Programme

Dmitri Schostakowitsch

Klaviertrio Nr. 1 c-moll op. 8 (1923)

Klavierquintett g-moll op. 57 (1940)

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Johannes Brahms

Klavierquintett f-moll op. 34 (1865)

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Zugabe:

Dmitri Schostakowitsch

4. Satz: Intermezzo. Lento (Klavierquintett g-moll op. 57) (1940)

Subscription series Kammermusik

Links https://www.julianrachlin.com
https://deniskozhukhin.com
https://www.sarahmcelravy.com
https://www.eckartrunge.com

Presented by Wiener Konzerthausgesellschaft

Highlights of piano chamber music

Five accomplished chamber musicians, four masterful instruments from the workshops of the great Cremonese violin makers (Antonio Stradivari, Nicola Bergonzi, Lorenzo Storioni and Hieronymus & Antonio Amati) and three important works of piano chamber music come together in this concert. 

»It is a great mistake to believe that the circle of ideas and emotions is less extensive in chamber music than in other genres,« Dmitri Shostakovich commented in 1944. This is confirmed by Brahms' decisively style- and form-shaping Piano Quintet in F minor op. 34, in which the composer concentrated the formal principles of Viennese Classicism and Romanticism in a masterly manner, as well as by Shostakovich's own works. His early Piano Trio No. 1 in C minor op. 8, which he dedicated as a 17-year-old student to his childhood sweetheart Tatjana Ivanovna Glivenko, is already surprising for its compositional sophistication. And his Piano Quintet in G minor op. 57, written about 15 years later, which is characterised by a turn to baroque formulas and formal clarity, even Marian Victorovich Koval, a pamphleteer of Stalin, could not deny praise in a Shostakovich diatribe that it contained »truly poetic and highly inspired passages«.

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