3 April 2018, 17.00-18.30
Solti Hall
Budapest Spring Festival
From Liszt to Bartók • 4.1
Dissolution of tonality
Wagner: Siegfried Idyll (A. Pringsheim's transcription for piano quintet)
Lisa Romain, Kristóf Tóth (violin), Péter Tornyai (viola), Tamás Zétényi (cello), Júlia Hámos (piano)
Liszt: La lugubre gondola (transcription for cello and piano)
Tamás Zétényi (cello), Balázs Demény (piano)
Liszt: La lugubre gondola (transcription for piano)
Balázs Demény (piano)
Liszt: R. W. - Venezia (ranscription for piano quintet)
Júlia Pusker, Kristóf Tóth (violin), Péter Tornyai (viola), Tamás Zétényi (cello), Balázs Demény (piano)
Liszt: Am Grabe Richard Wagners
Júlia Pusker, Kristóf Tóth (violin), Péter Tornyai (viola), Tamás Zétényi (cello), Balázs Demény (piano)
SZÜNET
Schönberg: String Quartet No. 2, Op. 10
Andrea Brassói-Jőrös (soprano)
Classicus Quartett: József Rácz, Réka Baksai (violin), Péter Tornyai (viola), Tamás Zétényi (cello)
Bartók: Sonata for Violin and Piano No. 2, BB 85
Júlia Pusker (violin), Júlia Hámos (piano)
Wagner and Liszt are known to have been pioneers of surpassing the Classical-Romantic harmonic vocabulary. In Liszt’s case, the revolutionary innovations came especially with the late works, four of which are now performed. Written in the early 1880s, they document Wagner’s death-like journal entries, giving voice to the stages of grief, from premonition through shock, despair, dissolution and release to reconciliation. Schönberg’s second string quartet was written at a time of private crisis, when Mathilde Schönberg temporarily left him for a painter. Movements 3 and 4 even cross the boundaries of the genre when a soprano soloist joins the pinnacle of chamber music, the string quartet.
Presented by
Budapest Spring Festival
Tickets:
HUF 1 900