Chamber music, perhaps the most subtle and intimate form of musical expression, has inspired many great composers to create some of their most sublime works. Originally designed for the private enjoyment of its players in a drawing room, it is now heard in recital and concert halls throughout the world.
Classical music and opera expert Saul Lilienstein explores and analyzes some of the chamber repertoire’s greatest works composed by such masters as Mozart, Beethoven, Schubert, Brahms, Dvorak, and others. Each weekly talk is highlighted by music and video recordings.
January 28 Haydn and Mozart
Haydn’s joyful awareness of his own audience is evident in his Opus 33 quartets, and a distinct awareness of the larger world confers special value to the “Emperor” Quartet, Opus 76. The heart of Mozart’s lyrical genius is found in his String Quintets, K. 515 and K. 516 of 1787 and in the Clarinet Quintet of 1789.
February 4 Beethoven
His quartets and trios bring the Classical style to a summit of intensity and experimentation. Examine excerpts from the “Razumovsky” Quartets, Opus 59; the “Archduke” Trio, Opus 97; and a deep analysis of the Grosse Fugue, Opus 133.
February 11 Schubert
A treasure of melody and romantic yearning permeate the chamber music of this beloved master. Listen to excerpts from the Piano Trio in B-flat Major, Opus 99; the String Quartets, Nos. 13 and 14, the “Trout” Quintet and his final piece of chamber music, the C-Major Cello Quintet of 1828.
February 18 Brahms and Dvorak
Brahms’ soulful romanticism is often combined with the pleasure he found in Romani rhythms and rhapsodies. Lilienstein highlights his early Piano Quartet #1, Opus 25 and the very late Clarinet Quintet, Opus 115. Dvorak’s melodies of Bohemian and Slavonic culture are found in excerpts from his trios, quartets and quintets.
February 25 Bartok and Shostakovich
Hear the vibrant spirit of Hungarian music in excerpts from Bartok’s String Quartet #2 of 1917 and in his final, #6, from 1939. For Shostakovich, the spirit of defiance against the Soviet regime and all totalitarianism inspired the great String Quartet #8, Opus 110, written in 1960.
5 sessions
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