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JOHANNES BRAHMS
The Complete Chamber
music for Clarinet
Die gebür tige Spanierin L aura Ruiz außerdem beim Tumbridge Wells Interna- Hamburger Philharmonikern, der Deut- Mit dem Mozartpreis und dem Schumann-
Ferreres gilt als eine der talentiertesten tional Young Artists Competition (England) schen Kammerphilharmonie Bremen und preis beim Géza Anda Concours 2003 in
Klarin ett ist innen ihrer Generation. Sie und beim Internationalen Klarinetten mit der Staatskapelle Berlin. Zürich konnte Christoph Berner seinen
konzertiert regelmäßig als Solistin, Kam wettbewerb Marco Fiorindo (Italien). Laura Ruiz Ferreres studierte in Barce Ruf als einer der führenden österreichi-
merm usikerin und Orchestermusike A ls S olistin konzer tier te sie mit lona, London, Basel und Berlin bei Joan schen Pianisten seiner Generation eta
rin. Zudem gehört sie zu den wenigen Orchestern wie der Komischen Oper Enric Lluna, Anthony Pay, François Benda blieren. Zuvor hatte er sich mit dem Sieg
Solisten, die beide Griffsysteme der Berlin, dem Deutschen Kammerorchester und Karl-Heinz Steffens. Meisterkurse beim Bösendorferwettbewerb (1995) sowie
Klarinette – Französisch und Deutsch – Berlin, der Sinfonietta Genève, den Bran- u.a. bei Dame Thea King, Andrew Mar- mit dem 2. Preis beim Internationalen
brillant beherrschen. Seit 2010 ist sie Pro- denburger Symphonikern, dem Philhar- riner, Karl Leister, Michael Collins, Larry Beethoven Klavierwettbewerb Wien (1997)
fessorin für Klarinette an der Hochschule monischen Orchester der Stadt Heidel Combs, Alois Brandhoffer und Walter bereits einen Namen gemacht.
für Musik und Darstellenden Kunst Frankfurt berg, dem Orquestra de Cambra de Boeykens rundeten ihre Ausbildung ab. Der gebürtige Wiener studierte an der
am Main. Granollers, dem Orquestra Simfònica del Von 2006 bis 2010 war Laura Ruiz Fer- Universität für Musik und Darstellende Kunst
Laura Ruiz Ferreres gewann zahlreiche Vallès und dem Jove Orquestra Nacional reres Erste Soloklarinettistin im Orches- seiner Heimats tadt bei Imola Joo, Hans
Preise bei internationalen Wettbewer de Catalunya. ter der Komischen Oper Berlin, von Graf und Hans Peterm andl. Von 1993
ben, darunter der 1. Preis beim Concours Regelmäßig tritt Laura Ruiz Ferreres 2007 bis 2010 unterrichtete sie an der bis 1995 besuchte er die Meisterschule von
d’Execution Musical de Riddes (Schweiz), auch als Soloklarinettistin in Orchestern Universität der Künste Berlin eine eigene Maria Tipo in Fiesole (Italien). 1997 schloss
der 1. Preis beim Primer Palau Wettbe- auf, so an der Bayerischen Staatsoper, mit Klarinetten-Klasse. er seine Studien mit Auszeichnung ab.
werb (Spanien) und der 2. Preis beim Con der Sächsischen Staatskapelle Dresden, Christoph Berner ist regelmäßig Gast
curso Internacional Ciudad de Dos Herma dem Deutschen Symphonie Orchester im Wiener Musikverein und im Wiener
nas (Spanien). Sonderpreise erhielt sie Berlin, dem Orquestra de Cadaques, den Konzerthaus. Er erhielt Einladungen zu
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Danjulo
Ishizaka
renommierten Festivals wie dem Carin- der Wiener Kammerphilharmonie, dem Der Deutsch-Japaner Danjulo Ishizaka, ge- Er konzertiert mit Künstlern wie Gidon
thischem Sommer, dem Klangbogen Wien, Orquestra de Valencia, dem Radiosin- boren 1979, studierte bei Boris Pergamen- Kremer, Lisa Batiashvili oder Lars Vogt und
den Wiener Festwochen, der Schubertiade fonieorchester Madrid und dem Mahler schikow und Tabea Zimmermann an der Orchestern wie dem Symphonieorchester
Schwarzenberg, dem Menuhin Festival Chamber Orchestra aufgetreten. Neben Hochschule für MusikHanns Eisler in Berlin. des Bayerischen Rundfunks, dem Baltimore
Gstaad, dem Gubbio Festival (Umbrien), seiner solistischen Tätigkeit liegt ein Er gewann zahlreiche internationale Preise, Symphony Orchestra, dem NHK Sympho-
dem Helsinki Festival und dem Kammer- weiterer Interessensschwerpunkt in der darunter 2001 den 1. Preis beim Internatio- ny Orchestra, den Wiener Symphonikern
musikfestival Lockenhaus. Konzertauftritte Kammermusik. nalen Musikwettbewerb der ARD in München und dem London Philharmonic Orchestra
führten ihn in die meisten Länder Euro- und 2002 den Grand Prix Emanuel Feuermann. unter Dirigenten wie Christoph Eschen-
pas, nach Japan, Mexiko und in die USA, Danjulo lshizaka gastiert regelmäßig bei bach, Mstislav Rostropovich, Sir Roger
wo er 1995 u.a. mit großem Erfolg in der bedeutenden Festivals wie z.B. dem Kron- Norrington und Krzysztof Penderecki.
Carnegie Hall, New York, debütierte. berg Cello Festival, Schleswig-Holstein Musik Danjulo Ishizaka wurde für das New
Christoph Berner ist als Solist Festival, Rheingau Musik Festival, Jerusalem Generation Artists Scheme der BBC ausge-
mit Orchestern wie dem Moskauer Chamber Music Festival, Kissinger Sommer, wählt. Er spielt das von Wolfgang Schnabl
Tschaikowski Orchester, dem Orchestre The BBC Proms, HongKong Arts Festival und erbaute ex Boris Pergamenschikow Cello
National du Capitole de Toulouse, dem den Osterfestspielen Salzburg. Tourneen der Kronberg Academy sowie das Stradivari
Royal Scottish Philharmonic Orchestra, führen ihn in alle EU Staaten, die USA, Cello Lord Aylesford (1696), das ihm von
dem Göteborg Symphony Orchestra, China, Russland und Japan. 2006 gab er der Nippon Music Foundationzur Verfügung
dem Bergen Philharmonic Orchestra, sein Debut in der Carnegie Hall in New gestellt wird. Danjulo Ishizaka ist Profes-
der Dresdner Philharmonie, den Stutt- York. Im selben Jahr wurde er mit dem sor für Violoncello an der Hochschule für
garter Philharmoniker, dem RSO Wien, Echo Klassik ausgezeichnet. Musik Carl Maria von Weber in Dresden.
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manDeLrInG
QuarTeTT
Markenzeichen des Mandelring Quartetts Einstieg in die internationale Karriere. Zahlreiche CD-Aufnahmen, die wieder- Leoš Janáček erhielt zahlreiche Auszeich-
ist seine Expressivität und phänomenale Konzertreisen führen das Ensemble in eu- holt den Preis der Deutschen Schallplatten- nungen. Aktuelles Projekt ist die Gesamt-
Homogenität. Die vier Individualisten ropäische Musikzentren wie Amsterdam, kritik erhielten und für den Midem bzw. In- einspielung der Streicherkammermusik
verschmelzen im gemeinsamen Willen, Brüssel, London, Madrid, Paris und Wien; ternational Classical Music Award nominiert von Mendelssohn auf vier CDs.
stets nach dem Kern der Musik zu suchen die Metropolen New York, Washing- wurden, belegen die außergewöhnliche Das HAMBACHER MusikFEST, das
und sich der musikalischen Wahrheit ton, Los Angeles, Vancouver und Tokio Qualität und das breite Reper toire des Festival des Quartetts, ist jedes Jahr Treff-
zu stellen. Durch Erfassen der geistigen fi nden sich ebenso im Konzertkalender Quartetts. So wurde die Gesamteinspie- punkt für Kammermusikfreunde aus aller
Dimen sion, Ausloten der emotionalen wie regelmäßige Tourneen nach Mittel- lung der Streichquartette von Schostako- Welt. Seit 2010 gestaltet das Mandelring
Extreme und Arbeit am Detail machen und Südamerika, in den Nahen Osten witsch vielfach mit Preisen ausgezeichnet Quartett eigene Konzertreihen in der
die Musiker die Vielschichtig keit der und nach Asien. Das Quartett ist zu Gast und von der Presse als eine der heraus- Berliner Philharmonie und in seiner Hei-
Werke erlebbar. Dabei ist ihr Zugang zur beim Schleswig-Holstein Musik Festival, ragenden Gesamteditionen unserer Zeit matstadt Neustadt an der Weinstraße.
Musik immer emotional und persönlich. dem Oleg Kagan Musikfest, den Festivals beurteilt. Produktionen mit Werken von 2011 und 2012 führte das Mandelring
Der Gewinn großer Wettbewerbe – in Montpellier, Lockenhaus und Kuhmo, Schubert und Schumann wurden als neue Quar tett mehrfach einen Zyklus mit allen
München (ARD), Evian und Reggio Emi- dem Enescu-Festival Bukarest und bei den Referenzaufnahmen gewürdigt und auch 15 Schostakowitsch-Quartetten auf, u.a. in
lia (Premio Paolo Borciani) – war der Salzburger Festspielen. die Aufnahme der Streichquartette von Berlin und bei den Salzburger Festspielen.
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Late works with Mühlfeld Fourth Symphony, whose slow move- chose to overlook the sometimes extro- Moonlight music and
It may seem strange that a composer ment in particular is dedicated to the vert appearances of the soloist. And in a Magyar finale –
should conclude his oeuvre six years clarinet. Even then, in 1885, when the the spring of 1891, following an invitation the Trio Op. 114
before his death and henceforth only composer conducted the première and from the ducal couple at the Thuringian In the first movement of the Trio Op. 114
wish to examine, organise and arrange then took the work on tour, the play- residential city, Brahms had Mühlfeld Brahms uses an elegiacally rising A minor
his legacy. In fact, Johannes Brahms, as ing of the principal clarinettist, Richard play his solo repertoire and explain the triad in the cello to prepare the entry of
early as 1891, at the age of 58, felt frail Mühlfeld, must have struck him as being clarinet’s peculiarities to him. the clarinet in A, which corresponded to
(he probably suffered from pancreatic exceptional. Mühlfeld (1856-1907) was At a later occasion, Brahms once his general preference for middle and low
cancer) and at the end of his creative originally from Salzungen in Thuringia introduced the musician as “Fräulein registers. But he demanded of the solo-
powers. He made his will, attempted to and had joined the Meiningen Court von Mühlfeld, my prima-donna”. At that ist not just the statement but also the
gain an overview of his oeuvre and had Orchestra as a violinist, before switching point, he had retracted his decision to considerable range and the surprising
his publisher Simrock manage his assets; to the clarinet, which he had taught him- stop composing and had written the fortissimo which Mühlfeld, according to
the String Quintet, Op. 111, written dur- self. With his rounded, noble tone which most wonder ful chamber music for contemporary accounts, was able to pro-
ing the summer of 1890, was to remain raised every clarinet part to an evoca- Mühlfeld which even today enriches the duce. After a stylised march-like episode
his final work. But the German music tive sound speech, Mühlfeld enchanted clarinet repertoire. Whilst on holiday and a development of the initial idea, the
world, who had almost given up on this his listeners not only in the Bayreuth at Bad Ischl in Austria in the summer cello intones the secondary theme – this
much performed master of concertos, Festival Orchestra but also on many of 1891, he had composed a trio and time in descending broken triads. The
symphonies and choral works, was able tours, travelling as far as Britain. He a quintet for clarinet and string quar- elaboration on the themes in the devel-
to heave a sigh of relief when Brahms played instruments by the Munich maker tet which continued the tradition of opment section generates more fluidly
began working on a “final” late work, this Georg Ottensteiner which can today be Mozart’s and Weber’s quintets, whilst ascending and descending movements
time not inspired by a poet or patron, seen at the Meiningen Museum: instru- Brahms replaced the viola of Mozart’s in the Allegro which otherwise is remote
but a by musician – or should we say, an ments with a big range which Brahms “Kegelstatt Trio” with a cello. Prior to from technical brilliance. Brahms artfully
instrument? felt necessary, especially for taking part the public performance in Berlin both veils the return to the recapitulation of
For a long time, Brahms had main- in chamber music – a genre which, since works were premièred in the private the opening section, to the extent that
tained very good relations with the Mei- the days of Weber and Schumann, has circle of the Meiningen ducal family it is almost unrecognisable – a technique
ningen Court Orchestra and its music- somewhat abandoned t he cl arinet . on 24 November 1891 with Mühlfeld, with which, in his late oeuvre, he repeat-
loving duke, Georg II. For this extraor- Brahms, and also his friend Clara Schu- Brahms at the piano and the quartet of edly undermined the academic norm of
dinary orchestra Brahms had written his mann, saw promising potential and thus his old friend Joseph Joachim. the sonata form.
16 17
A dreamy moonlight music in the Miraculous blending of sound – In addition, Brahms’ Op. 115 is another los before everything sinks back into a
Adagio produces long dialogues bet the Quintet Op. 115 document of his artful variational tech- resigned B minor.
ween the clarinet and cello with endless Again and again Mozart’s clarinet quin- nique, which makes an impact not only The Adagio, whose muted string sound
chants, yearning gestures and folksong- tet for Anton Stadler is cited as being on the final movement but on the devel- and supernatural clarinet theme, wafting
like tunes – though not without subject- the model for Brahms’ work, which has opment of the music as a whole. Two amongst morbid harmonies, making it
ing the motifs to constant variants and the same scoring; and perhaps the final motivic elements determine the first appear like a farewell, also contains pas-
transformations. A slow, elegant and movement with variations really does movement and reappear, like a memory, sages which stubbornly separate them-
salon-like waltz opens the third move- pay homage to Mozart’s K581, which at the very and end of the work: the selves from the cultivated ambience. For
ment, but the Viennese inflection takes also ends with (entirely different) vari- afore-mentioned thirds in the violin and in the middle section the clarinet begins
a surprising turn towards the “tootling” ations. On the other hand, the work of the subsequent lullaby motif, which is an expressive and richly ornate solo,
of a Ländler in the middle section, as the 33-year-old Mozart hardly bears the transformed into a theme after the first evoking improvisations of Hungarian
one might expect from Schuber t or characteristics of the serene, mature lyri- entry of the clarinet. This is followed by peasants with the accompaniment of a
Bruckner, but hardly from the reserved cism which can be observed in Brahms’ several more – the most conspicuous cimbalom (imitated by tremolos in the
Brahms. The rural simplicity ends in swaying chains of thirds at the beginning, surely being a distinctive theme with strings). Brahms thus sets against his
the finale, which is faintly reminiscent the moderate tempi and, particularly, the a chivalrous character whose proud tender angelic music of the beginning the
of Hung arian folk music but whose melancholy, darkened timbre of the clari- appearance is later lost completely in subjective perspective of the single voice,
rhythmic games of deception betw een net. And it is a small miracle how Brahms the development section, having trans- who speaks up with great passion.
6/8 and 2/4 would be too demanding treats this clarinet sound – seldom as formed itself into one of the most inti- The third movement also has an origi-
for any tavern band. In this instance, concerto-like as Mozart, but instead, for mate episodes of all romantic chamber nal design; the Andantino exudes a peace-
the trio does not deny a generally harsh the soloist, by using ingenious changes in music. At this point, in the middle of the ful, folksong-like atmosphere which soon,
and unsentiment al tone which w as register and precise dynamic markings, movement, time seems to stand still. however, turns into a Presto (“reserved,
more popular with connoisseurs than and also by frequently blending it with the But could the entire quintet not be con- but with feeling”) in which a miniature
the general public, who preferred his string sound. Richard Mühlfeld must have strued as being an attempt to oppose sonata form, based on the Andantino
clarinet quintet. understood this message of equal cham- the impending standstill and collapse theme, unfolds – an eccentric form which
ber music without any soloistic affecta- once more with life? Particularly so, is rounded off harmonically with a short
tions, for many earwitnesses confirmed since this is suggested by the coda of the quotation of the opening. Following this
that he did not take himself more seri- first movement with its final outburst eventful movement, the song-like theme
ously than the strings. of the main theme over wild tremo- of the variations in the finale is presented
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in an almost leisurely “con moto”. The afterwards in Berchtesgaden with Mühl serene, comfortable rondo of efferves- coda as the conclusion to his last cham-
five transformations seem astonishingly feld, who had come from Bayreuth. cent energy. ber music work. In January 1895 both
modest for a genius of variations such At the end of the century, Brahms In the Sonata in E flat major Brahms clarinet sonatas were performed publicly
as Brahms: the symmetrical layout and thus bestowed upon the instrument two tried out a new dramaturgical concept in Vienna for the first time by Brahms and
(despite the fourth variation being in a prominent examples of the sonata – even of arranging the movements: the begin- Mühlfeld.
major key) the elegiac bearing are main- if this, ever since the death of Beethoven ning of the sonata is not a dramatically
tained throughout. The fifth variation, and Schubert, was no longer seen as the impassioned Allegro but a restrained Michael Struck-Schloen
finally, is combined with the main theme genre of the future. But Brahms breathed Allegro amabile which demonstrates its Translation: Viola Scheffel
of the first movement; whilst Mozart new life into the endangered species of “amiability” immediately at the beginning
closes his quintet with a turbulent finale, the sonata by continuing the romantic with a beautifully cantabile main theme
Brahms lets the music collapse at the concept of artistic unity within variety in the clarinet. The enormous intellec-
end, with the pallid final chord comple- through the technique of variational deri- tual accomplishment of the rhythmic and
mented only by an open fifth from the vation from a core motif with an almost motivic filigree work, created from only
clarinet. unsurpassable sense of combinatorics and a few elements, never imposes itself, but
corollary. Whilst the first movement of blends entirely into the lyrical tone of an
Sonatas the first Sonata in F minor is an unobtru- “instrumental aria”. The following Allegro
Thus at the end of his life, the 58-year- sive example of this technique of deriv- appassionato is more concise and urgent,
old Brahms broke through the august ing combinatorics, the Andante, with its with a hymn-like Sostenuto middle section
hermeticism of chamber music for sensitive ornaments, creates an atmos- whose dramatic piano chords evoke the
strings by adding an “orchestral instru- phere of effusive other-worldliness which sound of an organ – for which Brahms
ment”. The success of the trio and the Brahms, in his chamber music, often set composed his final works, the Chorale
quintet inspired him, three years later, against the demanding motivic work of Preludes Op. 122. In the last movement,
to compose two more works, which he the outer movements. As a second inter- he returns once more to his preferred
created under the influence of his clari- mezzo, a “grazioso” Ländler evokes once form – a series of variations. Six times
net “prima-donna”, Richard Mühlfeld. In again the stylised folkloristic style with a folk-like theme is transformed in all
the summer of 1894 he completed both sturdy, but also elegiac, characteristics. musical dimensions – density of writing,
Clarinet Sonatas, Op. 120, at Bad Ischl, The finale, after the boastful, contrapun- key, tempo, expression and sound – until
which Brahms would rehearse shortly tal importance of its opening, proves a Brahms has created a brilliant and worldly
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Laura Christoph
Ruiz Ferreres Berner
Born in Spain, Laura Ruiz Ferreres has cial prizes at the Tunbridge Wells Interna- Deutsche Kammerphilharmonie Bremen Christoph Berner was awarded the
established herself as one of the most tional Young Artists Competition (England) and the Staatskapelle Berlin. Mozartpreis and the Schumannpreis at the
talented clarinettists of her generation. and at the International Clarinet Compe- She studied in Barcelona, London, Géza Anda Competition 2003 in Zurich,
She regularly gives concerts as a soloist, tition Marco Fiorindo (Italy). Basel and Berlin with Joan Enric Lluna, underlining his position as one of the
chamber musician and orchestral musi- As a soloist she has performed with Anthony Pay, François Benda and Karl- leading Austrian pianists of his genera-
cian. She is also one of the few soloists ensembles including the Orchester Heinz Steffens. She rounded off her tion. Prior he already had made a name
to master brilliantly both the French and Komis c he O pe r B e r lin , De u t sc he s training by attending master classes given for himself by winning the Bösendorfer
the German systems of clarinet keywork Kammero rchester Berlin, Sinfonietta by such eminent musicians as Dame Competition (1995) and Second Prize at
and fingering. Since 2010 she has been Genève, Brandenb urger Symphoniker, Thea King, Andrew Marriner, Karl Leis- the International Beethoven Piano Competi-
professor of clarinet at the Hochschule für Philharm onisches Orchester der Stadt ter, Michael Collins, Larry Combs, Alois tion Vienna (1997).
Musik und Darstellende Kunst in Frankfurt Heidelberg, Orquestra de Cambra de B r andhof fer and Walter B oeykens. Born in Vienna, he studied at the Uni-
am Main. Granollers, Orquestra Simfònicadel- From 2006 to 2010, Laura Ruiz Ferreres versität für Musik und Darstellende Kunst
Laura Ruiz Ferreres has won numer- Vallès and the Jove Orquestra Nacional was first principal clarinet of the Orches- of his home town with Imola Joo, Hans
ous prizes at international competi- de Catalunya. ter Komische Oper Berlin, and from 2007 Graf and Hans Petermandl. From 1993 to
tions, including first prize at the Concours Laura Ruiz Ferreres also regularly to 2010 she taught her own clarinet class 1995 he studied with Maria Tipo in Fie-
d’Exécution Musicale de Riddes (Switzer- performs as principal clarinet for the at the Universität der Künste Berlin. sole (Italy). In 1997 he finished his studies
land), first prize at the Primer Palau Com- Bayerisches Staatsorchester, Sächsische with distinction.
petition (Spain) and second prize at the Staatskapelle Dresden, Deutsches Sym- Christoph Berner plays regularly in
Concurso Internacional Ciudad de Dos Her- phonie-Orchester Berlin, Orquestra de the Vienna Musikverein and the Vienna
manas (Spain). She was also awarded spe- Cadaques, Hamburger Philharmoniker, Konzerthaus. He was invited to renowned
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Danjulo
Ishizaka
festivals such as Carinthian Summer, Klang- phony Orchestra, the Orquestra de The German-Japanese cellist Danjulo Ishi He performs with many renowned art-
bogen Wien, Wiener Festwochen, Schuber- Valencia, the Radio Symphony Orchestra zaka, born in 1979, studied at the Hochschule ists, including Gidon Kremer, Lisa Batiashvili
tiade Schwarzenberg, the Menuhin Festival Madrid and the Mahler Chamber Orches- für Musik Hanns Eisler in Berlin with Boris Per- and Lars Vogt as well as with leading or-
Gstaad, the Gubbio Festival (Umbria), the tra. In addition to his solo career Chris- gamenschikovand and Tabea Zimmermann. chestras including the Bavarian Radio Sym-
Helsinki Festival and Gidon Kremer’s Kam- toph Berner devotes himself to cham- Among many other international prizes, he phony Orchestra, the Baltimore Symphony
mermusikfestival Lockenhaus. His concert ber music. won the 1st prize at the renowned ARD Inter- Orchestra, the NHK Symphony Orchestra,
tours have taken him to most European national Music Competition in Munich in 2001 the Vienna Symphony Orchestra and the
countries as well as to Morocco, Japan, and the Grand Prix Emanuel Feuermann in 2002. London Philharmonic Orchestra under the
Mexico and to the U.S., where he gave Danjulo Ishizaka is regularly invited to baton of conductors such as Christoph
a successful debut concert at Carnegie perform at international festivals including Eschenbach, Mstislav Rostropovich, Sir Roger
Hall, New York, in 1995. the Kronberg Cello Festival, Schleswig-Hol- Norrington and Krzysztof Penderecki.
As a soloist Christoph Berner has stein Music Festival, Rheingau Music Festival, Danjulo Ishizaka was selected for the BBC
played with orchestras such as the Mos- Jerusalem Chamber Music Festival, Kissinger New Generation Artists Scheme. The Kronberg
cow Tchaikovsky Orchestra, the Orches- Sommer, The BBC Proms, HongKong Arts Academy provides him with the Wolfgang
tre National du Capitole de Toulouse, the Festival and the Salzburg Easter Festival. His Schnabl cello, formerly played by Boris Per-
Royal Scottish Philharmonic Orchestra, international concert schedule regularly gamenschikov. In addition, he plays the 1696
the Philharmonic Orchestras in Bremen, takes him throughout Europe, the USA, Stradivarius Cello Lord Aylesford, on loan to
Dresden and Stuttgart, the RSO Vienna, China, Russia and Japan. He made his Car- him from the Nippon Music Foundation. He is
the Vienna Chamber Orchestra, the Ber negie Hall debut in New York in 2006.The Professor of Violoncello at the Hochschule
gen Philharmonic and Goteborg Sym- same year he was awarded the Echo Klassik. für Musik Carl Maria von Weber in Dresden.
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manDeLrInG
QuarTeTT
The Mandelring Quartet’s trademark is Evian and Reggio Emilia (Premio Paolo Numerous CD recordings, which have quartet is recording Mendelssohn’s com-
its expressivity and phenomenal homo- Borciani) – initiated the Mandelring won the German Record Critics’ Prize on plete chamber music for strings.
geneity. The four individual musicians are Quartet’s international career. The en- several occasions and have been nomi- The HAMBACHER MusikFEST, the
as one in their shared determination al- semble has appeared in Amsterdam, nated for the Midem respectively the Inter- quar tet’s own festival, is an annual
ways to seek out the innermost core of Brussels, London, Madrid, Paris and national Classical Music Award, bear witness meeting-point for lovers of chamber
the music and confront musical truth. By Vienna. The cities of New York, Washing- to the quartet’s exceptional quality and music from all over the world. Since 2010
grasping the spiritual dimension, explor- ton, Los Angeles, Vancouver and To- the breadth of its repertoire. Their re- the Mandelring Quartet has presented its
ing emotional extremes and working on kyo are also on their agenda, alongside cording of the string quartets of Shosta- own concert cycles in the Chamber Music
detail, these musicians probe far beneath frequent concert tours to Central and kovich has been hailed by the press as one Hall of the Berlin Philharmonie and in its
the surface, revealing complex meanings South America, the Middle East and Asia. of the outstanding complete recordings of home town of Neustadt an der Wein-
in music. At the same time, their ap- The quartet has appeared at the Schles- our time. Their discs of works by Schubert strasse. In 2011 and 2012 the Mandelring
proach to music is always both emotional wig-Holstein Music Festival, the Oleg Kagan and Schumann have been selected as new Quar tet was invited to perform the
and personal. Music Festival, the festivals in Montpellier, benchmark performances, and also their complete cycle of 15 Shostakovich string
Winning a number of prestigious inter- Lockenhaus and Kuhmo, the Enescu Festi- disc of the string quartets of Leos Janáček quartets several times, e.g. in Berlin and
national competitions – Munich (ARD), val Bucharest and at the Salzburg Festival. received several awards. Currently the at the Salzburg Festival.
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Johannes Brahms
(1833-1897)
Trio a-moll op. 114 24:05
für Klarinette, Violoncello und Klavier
❶ I. Allegro 7:52
❷ II. Adagio 7:26
❸ III. Andantino grazioso 4:31
❹ IV. Allegro 4:16