kamara.hu/3 A Zeneakadémia saját szervezésű programja

Schubert’s meditative Notturno dates from his late creative period and promises a transcendent experience in which the experience of the mystique of night is substituted by the security of its tranquillity. Debussy’s Sonata for Cello and Piano is a late composition of this prominent figure of the turn of the last century, already physically failing but always rejuvenated in spirit; it is an almost random series of unpredictable and elusive musical ideas. Nonetheless, this is without doubt a masterpiece, which in many respects anticipates the contemporary approach to strings and at the same time is a serious challenge for cellists. Chausson’s Chanson originally written for soprano and orchestra was the last work he completed; its cathartic profundity is completely spellbinding. The two closing compositions are the ideal occasion for relaxed and pleasant music-making: the attractive Strauss work is in fact part of a pleasant stroll through the sonata form, and it is obvious why Mozart’s Clarinet Quintet (the first and at the same time last from him in this genre) is one of the most frequently played pieces for woodwinds. The lightness and exceedingly ‘democratic’ division of the parts gives every participant ample opportunity to prove their musicality. And a glance at the list of performers allows one to expect a true international parade of scintillating, young artists; Veronika Eberle is a fine representative of graceful elegance, Claudio Bohórquez instinctive passion, Katja Skanavi an inward looking ancient force, Ib Hausmann analytical precision, and the Casals Quartet are renowned for vibrant and rich tonal variations.