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Pianist Elisabeth Leonskaja in the Boulez hall : The Dance of the sounds

The string Quartet is one of the most popular genres of chamber music. Piano quartets or piano quintets deadlines, however, are often a miserable shadow existence, because neither in number nor in importance they can compete with their big brothers and sisters. This grace, therefore, slightly exotic genus has been selected by the string Quartet of the Staatskapelle Berlin for his two-part Brahms cycle.

The program of the 2016 founded Ensembles has been limited almost exclusively to the works of Franz Schubert. Last year, the vocal leader of the Staatskapelle played on four evenings, all of the string quartets of the Austrian composer Pierre Boulez hall. Now bring you to the same place, Johannes Brahms’ piano Quartet no 3 and the piano quintet for performance.

The special feature of this evening, the cast is so. And it is not just any x-any pianist, the violinist Wolfram Brandl and Krzysztof Specjal, the Violist Yulia Deyneka and the cellist Claudius Popp supports. No, it is none other than the famous Russian piano virtuoso Elisabeth Leonskaja, who takes a seat behind the wing seat.

The Interaction is great

In the case of Brahms’ piano Quartet is, however, only a little bit in the Background. Your Interpretation is quite restrained. Maybe the strings in place but also into the stuff – especially the Allegro and the Scherzo Elisabeth Leonskaja to go with rough-percussive sound. In contrast, the delicate yet powerful sounds of the piano, because Leonskaja plays always nice footed. The sounds dance out of the back.

Krzysztof Specjal needs to expose the first piece of the Evening. In the second, the piano quintet, he is all the more important. The Interaction with Wolfram Brandl is great, its expressive, detailed Vibrato-use of embossed game hits more Specjals something no-frills and direct style. A new voltage is formed in the communing of the two violins.

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Director of Pierre Boulez's hall", The audience can feel the energy"

Frederik Hanssen

due to the occupation of the fuller Sound of the piano quintet, Elisabeth Leonskaja and the state of chapels,-a musician with an impressive sound variety. The chamber is a musical-intimate, so that you forget that you are sitting in the not-so-intimate-Pierre-Boulez-hall. Time, but also a roaring and full as an entire orchestra, Leonskaja makes the wings bubbling and creaking, the Cello grumbles, and the violins sing desperately.

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