NOSPR/Varga/Kim/Muller-Schott/Fire and Crystal
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Symphony in F minor (in Haydn's time, a key symbolizing mourning lament, deep depression, mournful moans, thirst for the grave) is the peak achievement of the first Viennese classic of the period of “storm and strain”. The rhetorical musical tricks used in the elaborations of works related to passion are mixed here with a dramatic and violent personal tone that leads straight to Beethoven. However, in our case, the continuation will be not a development, but a contrast. The Symphony Concerto in E flat major (1778) for four wind instruments is the quintessence of the style in which Mozart composed “public” works: it is music that is nobly simple, refined in details, extremely melodic, perfect formally, radiating that particular beauty that eludes words. After the break, another contrast. The Double Concerto (1887) is Brahms's last symphonic work and at the same time a gesture of reconciliation towards Joseph Joachim, who disagreed with him, for whom the work was composed. The dialogue of violins and cellos is like this
About the event
The symphony in F minor (in Haydn's time, the key symbolizing mourning lament, deep depression, mournful moans, thirst for the grave) is the peak achievement of the first Viennese classic of the period of “storm and strain”. The rhetorical musical tricks used in the elaborations of works related to passion are mixed here with a dramatic and violent personal tone that leads straight to Beethoven. However, in our case, the continuation will be not a development, but a contrast. The Symphony Concerto in E flat major (1778) for four wind instruments is the quintessence of the style in which Mozart composed “public” works: it is music that is nobly simple, refined in details, extremely melodic, perfect formally, radiating that particular beauty that eludes words. After the break, another contrast. The Double Concerto (1887) is Brahms's last symphonic work and at the same time a gesture of reconciliation towards Joseph Joachim, who disagreed with him, for whom the work was composed. The dialogue between violins and cellos is as close as if they were a single eight-stringed instrument. The energetic finale bears a clear mark of the “Hungarian” style, as it is a consequence of the popularity of Hungarian Dances. Brahms combines in the Double, as Bernstein intended, the storm of feelings with the iron discipline of form, which Borges described even more succinctly: “fire and crystal.”
Piotr Matwejczuk (Polish Radio)
Duration of the concert (including the break): approx. 110 minutes
More concerts as part of the S1 symphonic concert series.
Performers: NOSPR; Sarang Seohyun Kim — violin; Daniel Muller-Schott — cello; Maksymilian Lipino — oboe; Aleksander Tesarczyk — clarinet; Krzysztof Fiedukiewicz — bassoon; Mariusz Ziętek — horn
Program: Joseph Haydn — Symphony No. 49 in F minor La Passione Hob. I:49; Wolfgang Amadeus Mozart — Sinfonia concertante in E flat major KV 297b; Johannes Brahms — Double Concerto in A minor for violin and cello, Op. 102
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