Conductor Honna Tetsuji
Ludwig van Beethoven | Triple Concerto in C-major, Opus 56 (for piano, violin, cello and Orchestra)
Ludwig van Beethoven | Symphony No.3 „Eroica“ in E flat major, Opus 55
Pianist Karla Haltenwanger, violinist Birgit Erz and cellist Ilona Kindt made their dream come true when they founded the Boulanger Trio. From now on they devoted their lives to chamber music. The trio is based in Hamburg and Berlin. It has earned an excellent reputation in the German chamber music scene. The name of the Boulanger Trio refers back to the French sisters Nadia and Lili Boulanger, who through their exceptional personalities and their uncompromising dedication to music are still a great source of inspiration for the musicians.
The trio captures audience and the press alike through their passionate playing and intelligent interpretations. Through their unbiased view on the musical scores, they always finds their very own musical language for every composer with whom they are concerned. There is an tangible will of expression and an intensity with which they trace every musical detail. The distinctive sense of sound makes the concerts of the Boulanger Trio unforgettable moments.
The Boulanger Trio has produced an impressive discography. Eight CDs document their extensive work. The CD "Solitaires" and the latest recording of Beethoven's Scottish and Irish songs together with the baritone Andrè Schuen were each voted CDs of the month. The Beethoven CD and the Shostakovich-Vasks CD were honored with the Supersonic Award, in 2010 the trio received the coveted Excellentia Award in Luxembourg for their Brahms Schönberg Liszt CD. The recent release with works by Juon and Tchaikovsky was in August 2018.
Greetings from the Boulanger Trio on the first part of the concert evening
Ludwig van Beethoven (1770 – 1827)
Triple Concerto in C-major, Opus 56 (for piano, violin, cello and Orchestra)
In a letter to his publisher (1803/4) Beethoven called this work “Konzertant”. This reminds of the sinfonia concertante
, which had evolved from the concerto grosso
of the Baroque. Here is a group of soloists faced by the orchestra. The genre was at that time popular music in the best sense. But Beethoven had something new in mind: he wanted to combine a piano trio with an orchestra in the style of an instrumental concert. A trio offered him different combinations and thus a delightful play with timbres
For us, who see our piano trio as one body of sound, as one independent instrument, this concert is always a special joy and a beautiful challenge. The change between solo parts, the togetherness of chamber music up to an accompaniment for one of the colleagues requires great flexibility and empathy. It is as if our ensemble has grown around many other players from the orchestra with whom we are allowed to play "symphonic chamber music" in different combinations.
Quite unlike in his other piano trios, Beethoven gives the violoncello the leading role and thus assigns t a position of partnership with the violin, while the transparent piano movement remains more in the background. Beethoven already uses this "pattern" in the first movement Allegro: The orchestra first introduces the recitative-like theme before the cello undertakes it in the tenor position. This is then confronted with a sweeping march-like second theme. After brilliant scale and trill sequences in the performance, after surprising harmonic reversals and exciting dialogues between the solo instruments and the orchestra, the violoncello introduces yet another yearning thought in minor. Only then does the movement end in triumphant fortissimo.
The second movement Largo has almost a chamber musician character. The solo cello presents a wonderful cantabile theme accompanied only by the strings, then all solo instruments play and are only accompanied by the soloists winds from the orchestra. Particularly exciting is the Attaca transition directly into the finale, where the solo cello seems to entangled with one sound.
Nun folgt das schwungvolle Rondo alla Polacca, ganz unbeschwert in seinen thematischen Einfällen. Die Finalgestaltung ist ganz typisch für den „mittleren“ Beethoven: Nach einem Wechsel in den Zweiertakt schon fast am Ziel, nimmt Beethoven den ursprünglichen Polonaisenrhythmus im Dreiertakt wieder auf, ehe er das Tripelkonzert mit einer wirkungsvollen Stretta beschließt.
Then Rondo alla Polacca
follows, which is quite carefree in its thematic ideas. After a change in the two-stroke is almost at the end, Beethoven takes the original Polonaise rhythm in three-beat again, before he concludes the Triple Concerto with an effective Stretta.
This work is once more proof of Beethoven's revolutionary spirit and the search for a new chamber music combined with a large orchestra, which is a very special symbiosis to this day! "
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