4th Chamber Concert
28. February 2027
4th Chamber Concert
Chamber Music Hall of University of Music | 11:00
Tickets from Nov 3, 11 am
iCal
Semesterticket Mainfranken Theater
Für die Nutzer*innen des "Semestertickets Mainfranken Theater" gibt es in dieser Vorstellung noch freie Plätze! Für weitere Informationen zum "Semesterticket Mainfranken Theater" hier klicken. Oder hier gleich Karten reservieren:
Für die Nutzer*innen des "Semestertickets Mainfranken Theater" gibt es in dieser Vorstellung noch freie Plätze! Für weitere Informationen zum "Semesterticket Mainfranken Theater" hier klicken. Oder hier gleich Karten reservieren:
Cast
FRANK BRIDGE
Fantasy Trio No. 1 in C minor, H. 79
JOSEF SUK
Elegy, Op. 23
AMY BEACH
Piano Trio in A minor, Op. 150
DMITRI SHOSTAKOVICH
Piano Trio No. 2 in E minor, Op. 67
Fantasy Trio No. 1 in C minor, H. 79
JOSEF SUK
Elegy, Op. 23
AMY BEACH
Piano Trio in A minor, Op. 150
DMITRI SHOSTAKOVICH
Piano Trio No. 2 in E minor, Op. 67
With a program featuring works by Frank Bridge, Josef Suk, Amy Beach, and Dmitri Shostakovich, the concert brings to light true gems of chamber music from the transition from the late Romantic era to the modern era.
Frank Bridge’s work largely fell into oblivion after his death. Yet it was he who opened the door to modernism for British music by being one of the first composers in Britain to reflect the music of Schoenberg and Berg in his works.
The American composer Amy Beach, too, remained in the shadows of music history for a long time despite her extensive body of work. Her Piano Trio, Op. 150, from 1938 marks, on the one hand, the dawn of an independent American musical language, yet at the same time audibly ties in with late Romantic forms of expression.
Shostakovich’s chamber music is among the most powerful testimonies of musical modernism. The Piano Trio No. 2 from 1944, composed in memory of a deceased friend, is one of his most harrowing compositions, bearing the weight of personal grief as well as the tragedy of the late war years.
Frank Bridge’s work largely fell into oblivion after his death. Yet it was he who opened the door to modernism for British music by being one of the first composers in Britain to reflect the music of Schoenberg and Berg in his works.
The American composer Amy Beach, too, remained in the shadows of music history for a long time despite her extensive body of work. Her Piano Trio, Op. 150, from 1938 marks, on the one hand, the dawn of an independent American musical language, yet at the same time audibly ties in with late Romantic forms of expression.
Shostakovich’s chamber music is among the most powerful testimonies of musical modernism. The Piano Trio No. 2 from 1944, composed in memory of a deceased friend, is one of his most harrowing compositions, bearing the weight of personal grief as well as the tragedy of the late war years.