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5th Chamber Concert

Victor Ewald: Quintet No. 1 op. 5 / Richard Strauss (arr. Clément Schuppert): »Till Eulenspiegel‘s Marry Pranks« op. 28 / Camille Saint-Saëns: Fantaisie op. 124 for Violin and Harp / Francis Poulenc: »Le bal masqué« FP 60. Cantata for Baritone and Chamber Orchestra

Concert
Alter Saal
Victor Ewald: Quintet No. 1 op. 5
Trombone
Richard Strauss (arr. Clément Schuppert): »Till Eulenspiegel‘s Marry Pranks« op. 28
Camille Saint-Saëns: Fantaisie op. 124 for Violin and Harp
Francis Poulenc: »Le bal masqué« FP 60. Cantata for Baritone and Chamber Orchestra
Baritone
N. N.
Oboe
N. N.
Clarinet
Violin
Violoncello
Percussion
Piano
Hanna Klose

A programme proposing a wide range of styles: Wind instruments take centre stage in the last chamber concert of the season. Victor Ewald (1860-1935) earned his living as an engineer, though he also studied composition at the Conservatory of Saint Petersburg and was an amateur composer. His series of quintets for brass instruments is a repertoire staple and almost the only example of original writing in the Romantic style.

Richard Strauss had planned to write an opera based on the story of Till Eulenspiegel. However, his composition then turned into a symphonic poem. Clément Schuppert, solo trumpet player of the Philharmonisches Orchester Heidelberg, has written an arrangement for brass instruments that is feared by horn players for its solo parts.

In 1907, aged 72, Saint-Saëns composed his Fantasy for harp and violin. It would become the second of three major pieces he composed for harp. The Fantasy is a virtuoso piece for both instruments, while the use of a harp instead of the more typical piano gives the instrumental duet a special, magical sonority.

»Those who don’t know it, don’t really love my music. It is 100% Poulenc,« the composer writes about his secular cantata »Le bal masqué«. 100% Poulenc means: musical humour and a virtuoso play with many genres from bel canto to opera, chamber music as well as fairground and cabaret music.