Podcasts about belcea quartet

Inside The Music continues the exploration of Ludwig van Beethoven's genius through chamber works of his middle period. Join Derek Delaney, Artistic Director of Capital Region Classical, as he examines these works of Beethoven with live CRC performances by pianists Emanuel Ax and Christian Zacharias, the Belcea Quartet, and Trio Cavatina.Piano Sonata in F Minor, Op. 57, AppassionataAllegro assaiEmanuel Ax [2/29/2008 performance]Quartet in E Minor, Op. 59, No. 2, RazumovskyMolto adagioBelcea Quartet [1/17/2004 performance]Piano Trio in G Major, Op. 70, No. 1, GhostAllegretto ma non troppoTrio Cavatina [11/2/2007 performance]Piano Sonata in E Minor, Op. 90Mit Lebhaftigkeit und durchaus mit Empfindung und AusdruckNicht zu geschwind und sehr singbar vorgetragenChristian Zacharias [10/30/2016 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

Inside The Music presents Ludwig van Beethoven's Opus 10 and 18, Nos. 3 in their entireties. Join Derek Delaney, Artistic Director of Capital Region Classical, for live CRC performances by pianist Yefim Bronfman and the Belcea Quartet.Piano Sonata in D Major, Op. 10, No. 3Yefim Bronfman, piano [11/20/2002 performance]Quartet in D Major, Op. 18, No. 3Belcea Quartet [10/16/2014 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

Inside The Music explores the work of composer Leoš Janáček. Join Artistic Director of Capital Region Classical Derek Delaney as he explores works of Janáček through live CRC performances by pianist Zoltán Fejérvári, Members of the Chamber Orchestra of Europe, and the Belcea Quartet.Janáček: In the MistsAndanteMolto adagioZoltán Fejérvári, piano [11/7/2018 performance]Janáček: Mladi for WindsMembers of the Chamber Orchestra of Europe [3/1/1997 performance]Janáček: Quartet No. 2, ‘Intimate Letters'Belcea Quartet [10/14/2018 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

Inside The Music continues its exploration of composer Franz Schubert through his late works. Artistic Director of Capital Region Classical Derek Delaney explores selections from Schubert's celebrated Death and the Maiden quartet, Winterreise, and A-major Piano Sonata through live CRC performances by the Belcea Quartet,  tenor Ian Bostridge, and pianist Jonathan Biss.Schubert: Quartet in D Minor, D. 810, Death and the Maiden – Andante con motoBelcea Quartet [10/16/2016 performance]Schubert: Selections from Winterreise, D. 911 Der Lindenbaum Wasserflut Die Post Die Nebensonnen Der Leiermann Ian Bostridge, tenor; WenWen Du, piano [4/19/2015 performance]Schubert: Piano Sonata in A Major, D. 959 – Rondo: Allegretto–PrestoJonathan Biss [3/12/2017 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

George Enescu legte eine märchenhafte Karriere hin. Das Märchen beginnt in einem kleinen Dorf in Rumänien. Es folgen Aufenthalte in Wien und im Paris des Fin de Siècle, ein Künstlerdasein mit amourösen Abenteuern und schließlich die große Liebe. Aber fangen wir von vorne an…

Mit 16 Jahren schrieb Felix Mendelssohn Bartholdy sein Oktett in Es-Dur op. 20. Dazu inspiriert hat ihn ein Ensemble magischer Musikanten.

Brahms, der "Streber": Der beste Beweis, dass dieses Vorurteil schlicht und einfach Blödsinn ist, sind die beiden Streichsextette. Und eine der allerschönsten Aufnahmen dieser emotional überwältigenden und unwiderstehlich sinnlichen Musik ist die neue Aufnahme des Belcea-Quartets.

Für Streichsextette gibt es nur wenige Spezialformationen. Oft trifft man auf ein zusammengewürfeltes Ensemble aus sechs Solistinnen und Solisten. Das Ergebnis ist dann nicht immer zufriedenstellend, denn wie bei der Quartettkunst geht es auch bei dieser größeren Besetzung um das vollendete Zusammenspiel. Das Belcea Quartet, Tabea Zimmermann und Jean-Guihen Queyras beherrschen aber diese hohe Kunst. Sie haben die beiden Streichsextette von Johannes Brahms für Alpha Classics aufgenommen. Hier „werden Grenzen berührt, die bei anderen Einspielungen nicht einmal in Sicht kommen“ - dieser Meinung ist Autorin Susanne Stähr.

Das Belcea Quartet hat mit prominenter Unterstützung die beiden Streichsextettte von Johannes Brahms veröffentlicht.

Als eines der besten Streichquartette unserer Zeit kennen und schätzen Kammermusik-Aficionados und Musikkritiker in aller Welt das Belcea Quartet. Im Rahmen des digital stattfindenden Internationalen Musikfests Hamburg 2021 beschäftigt sich das Ensemble an zwei aufeinanderfolgenden Abenden mit Johannes Brahms' Werken für Streichquartett, -quintett und -sextett. Im Talk mit Elbphilharmonie-Pressesprecher Tom R. Schulz plaudert das Quartett über Brahms und die Chemie im Streichquartett.

Wie zaten dit jaar achter de programmering van Leve Beethoven? Vandaag: Henk Hylkema. Pauline Verburg spreekt hem.   1. 6 Deutsche Tänze, WoO 42 Sachiko Kobayashi, Michael Wagner 2. Strijkkwartet no. 8, in e, opus 59, no. 2. Razumosvky. deel 3 allegretto Belcea Quartet 3a. Lob auf den Dicken” WoO 100 b. Instrumentale canon in […]

Beethoven 2020 en de Salzburger Festspiele.   1. Pianosonate no 26 in Es op. 81a “les Adieux” Igor Levit-piano 2. Strijkkwartet no 11 in f op. 95 Belcea Quartet 3. An die ferne Geliebte Matthias Goerne-bariton; Jan Lisecki-piano.  

Jonathan Biss, following the December concert in his Beethoven Piano Sonata Cycle, is joined by Antoine Lederlin and Krzysztof Chorzelski of the Belcea Quartet (who are currently performing the complete Beethoven String Quartets) for a discussion on their programmes. The conversation includes comparisons between the string quartets and piano sonatas, the co-existence of contrasting elements - human & superhuman, complex & banal - in the works, and what it's like performing a complete cycle by one composer ("living with" Beethoven).

Violinist Nicola Benedetti leads an international career as a violinist but she is also one of the world’s leading advocates for high quality music education and the transformational effect music can have on all young people. She talks to presenter Sara Mohr-Pietsch about her Foundation and her passion to inspire and enrich the lives of children across the UK. And in Beethoven’s 250th anniversary year, the Belcea Quartet marks a quarter century of its own by performing all of the composer’s string quartets at Wigmore Hall. Corina, Krzysztof, Axel and Antoine take time out from their rehearsals at London’s iconic venue, and speak to Sara backstage about the intensity of ensemble life and their lived experience as four individual musicians. Belinda Sykes is the founder of London-based ensemble Joglaresa and is living with terminal cancer. She talks to Sara about her determination to continue performing onstage and her love for making music with her fellow band members. And as Opera North’s new production of Kurt Weill’s Street Scene opens this weekend in Leeds, Sara visits the final rehearsals at the city’s Grand Theatre and meets the cast and creative team including leading Weill exponent, conductor James Holmes. He explains why the composer remains relevant to modern audiences. Producer Marie-Claire Doris

Tom Klaassen verkent iedere zaterdag en zondag tussen 23.00 en 24.00 uur de grenzen van de klassieke muziek. Met nieuwe releases, concerttips, reportages, actuele ontwikkelingen in de muziekwereld, een vaste plek voor jong talent, en natuurlijk: adembenemende muziek! Muziek van Bertali, Schnittelbach, Bach, Benjamin, Sjostakovitsj, Jon Hassell.

Das neue Album des Belcea Quartet ist erstmals der Musik von Dmitrij Schostakowitsch gewidmet. Gemeinsam mit dem polnischen Pianisten Piotr Anderszewski stellen die vier Musiker zwei gewichtige Kammermusikwerke Schostakowitschs aus den 1940er Jahren nebeneinander. "Den Musikern gelingt mit ihrer Interpretation die Gratwanderung zwischen unbändiger Ausdruckskraft und verinnerlichtem, dynamisch fein abgestuftem Zusammenspiel einfach großartig", sagt Meret Forster.

Streichquartette Nr. 1-3 | Klavierquintett f-Moll, op. 34 | Belcea Quartet | Till Fellner (Klavier)

Work for string quartet by Beethoven performed by Belcea Quartet on November 4, 2012.Beethoven: String Quartet in A Minor, Op. 132In April of 1825, Beethoven became seriously ill. Bedridden, and in declining health, he feared his end might be near. As his health worsened, he wrote many of his so-called “Late Quartets” – his incredible final contributions to the art of the string quartet.But as the weeks passed, Beethoven made a remarkable recovery. The piece we’ll hear today—his fifteenth string quartet—celebrates his return to health.The piece’s center—emotionally, musically, and structurally—is the third of its five movements. The movement is subtitled, “Heiliger Dankgesang,” or in full: “A holy song of thanks to the divine, from one who has been healed.” The movement begins with chorale-like chords and depicts a slow but steady move from weakness to vitality and health. It is a radiant hymn of gratitude from a person who’s been given a second chance at life.The recording we’ll hear features the Belcea Quartet, from a performance in 2012. In full, the piece runs about 45 minutes.

James Jolly talks to Corina Belcea and Antoine Lederlin from the Belcea Quartet about recording Beethoven

Works for chamber orchestra and string quartet perfomed by A Far Cry and the Belcea String Quartet.Handel: Concerto Grosso in A Major, Op. 6, No. 11Haydn: String Quartet in D Major, Op. 20, No. 4Today’s podcast of music by Handel and Haydn is a real breath of fresh air, a virtual, auditory holiday, the perfect thing to cure the winter doldrums.We start with Handel’s Concerto Grosso in A Major, the 11th of his opus six set of a dozen concerti grossi. We’ll hear it as performed by A Far Cry, the Gardner’s chamber-orchestra-in-residence.True to the concerto grosso style, the piece alternates between solos, duos, or quartets (the “concertino” group) and full orchestra sections (the “ripieno”).This concerto was likely the last of the 12 in the set to be composed. After Handel’s delightful concerto, we’ll turn to Haydn’s String Quartet in D Major, Op. 20, No. 4. Haydn’s Op. 20 was a set of six string quartets, the group that, many scholars agree, firmly established Haydn as the “father of the string quartet.” The last two movements of the fourth quartet, the one we’ll hear today, have a hefty dose of folk influence, featuring “gypsy style” syncopated rhythms and scales.We’ll hear the Belcea Quartet’s rendition of this quartet. First, the pastoral-sounding concerto grosso of Handel.

Works for solo piano and string quartet performed by Seymour Lipkin, piano, and the Belcea Quartet.Schubert: Impromptu in E-flat Major, Op. 90, No. 2Schubert: String Quartet No. 14 in D minor, D. 810 (“Death and the Maiden”)Once you get to podcast 131, we figure you earn the right to repeat yourself. And we’re doing just that with this encore performance of one of the great string quartets: Schubert’s “Death and the Maiden.” In contrast to certain other titled works, which were appended with descriptive names by publishers trying to sell sheet music, the title “Death and the Maiden” was given, in this case, by the composer himself. It was very much intended as a descriptive, alluding not just to Schubert’s quotation of his own song of the same title (which appears in the second movement), but to the thematic content of the entire piece. Written at a time when Schubert was suffering from a prolonged battle with syphilis, many scholars have suggested that the quartet exposes his own longing for the relief of death. Before jumping into this work, we’ll hear Schubert’s Impromptu in E-flat Major, a brief keyboard work written a few years after “Death and the Maiden,” near the end of Schubert’s life.

Works for violin and piano duo and string quartet performed by violinist Bella Hristova, pianist Ieva Jokubaviciute, and the Belcea Quartet.Beethoven: Sonata No. 8 in G Major, Op. 30, No. 3Beethoven: Quartet in B-flat Major, Op. 18, No. 6The two chamber works on this podcast showcase a somewhat more jovial side of Beethoven. We begin with the perky eighth sonata in G Major for violin and piano, one of the pieces composed in Beethoven's surprisingly productive period following the Heiligenstadt Testament. Although written during the time that Beethoven began to seriously recognize his worsening hearing, the eighth sonata doesn't give any hint of inner turmoil. Next, we'll hear Beethoven's sixth string quartet, Opus 18, number 6, another mostly lighthearted chamber piece that also owes a great debt to Haydn.

Works for solo piano and string quartet performed by pianist Paavali Jumppanen and the Belcea Quartet.Beethoven: Piano Sonata in C minor, Op. 13, “Pathétique”Bartók: String Quartet No. 1 in A minor, Op. 7Surely the feeling of the catharsis is one of the great gifts of art. The arc from darkness towards light provides an opportunity for the listener to savor a satisfying taste of peace, and perhaps a chance for the creator to work through his or her own demons as well. Bartok’s first String Quartet was likely the product of the composer’s own grieving process, after discovering that his love for the violinist Stefi Geyer was unrequited. Bartok is often quoted as describing the first movement as a “funeral dirge,” and though the entire work has a sort of abiding angst, the propulsive final movement certainly expresses a strong will to go on. First, though, we’ll hear one of the best-known solo piano pieces of the repertoire, Beethoven’s “Pathetique” sonata. A sense of melancholy pervades the piece—which accounts for the title—but the glimmering moments of resolution, particularly in the second and third movements, are so deliciously wonderful that they make it a sort of melancholy worth savoring.