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© Simon Fowler
RENCONTRES INÉDITES VI
Schubert & Brahms
Yuja Wang, Renaud Capuçon and Klaus Mäkelä open the first part of the concert with Schubert's Trio for Piano and Strings in B flat major, followed Brahms's Quintet for Piano and Strings in F minor from Alexander Sitkovetsky, Vadim Repin, Antoine Tamestit, Mischa Maisky and Yefim Bronfman.
Programme
FRANZ SCHUBERT (1797-1828)
Piano Trio No. 1 in B-flat major Op. 99
(Wang, Capuçon, Mäkelä)
Interval
JOHANNES BRAHMS (1833-1897)
Piano Quintet in F minor Op. 34
(Bronfman, Repin, Sitkovetsky, Tamestit, Maisky)
Distribution
- Renaud Capuçon violin
- Alexander Sitkovetsky violin
- Vadim Repin violin
- Antoine Tamestit viola
- Klaus Mäkelä cello
- Mischa Maisky cello
- Yefim Bronfman piano
- Yuja Wang piano
“A glance at Schubert’s trio, and all the miserable human condition vanishes as if by magic,” enthused Robert Schumann when Trio No. 1 Op. 99 was finally published, long after Schubert’s death. Composed around the same time as the Trio No. 2, and made famous by the Stanley Kubrick film, Barry Lindon, this first trio stands out for its more carefree character: a first movement that is “graceful, confident, feminine”, an Andante “filled with a dreamy bliss” (Schumann), a dancing Scherzo, then the final Allegro vivace with its folk-redolent melodies, ending in a galloping coda.
Brahms’ complex and magnificent Quintet for Piano and Strings is cast in the classical four-movement structure. After a sweeping Allegro, a tender, dreamy Andante, and a whimsical Scherzo, the grand Finale’s drama increases as it moves towards its conclusion.