Accento musicale: Brahms, Prokofieff & Cyrill Greters - "rauha-(l)-linen" (UA)
Ensemble Accento musicale - Chamber music in the canton of Schwyz
Brahms, Prokofieff & a world premiere: "rauha-(l)-linen"!
A world premiere by the young Schwyz composer Cyrill Greter (commissioned by the Ensemble Accento musicale), Prokofieff and Brahms' clarinet quintet.
Donat Nussbaumer & Alicia Giezendanner, violin
Lorenz Küchler, viola
Severin Suter, cello
Urs Bamert, clarinet
Eleonora Em, piano
Program:
Sergei Prokofieff: Overture on Hebrew Themes, for clarinet, string quartet and piano (1919)
Johannes Brahms : Clarinet Quintet in B minor op. 115 (1891)
Cyrill Greter: rauha-(l)-linen, for clarinet, string quartet and piano (2026, world premiere)
"rauha", Finnish: "calm, peace", "linen", English = Linnen German, obsolete for "linen, flax", symbolizing a canvas - [rauhallinen Finnish: "calm, peaceful, serene"]
A chamber-symphonic express rhapsody on aspects of man and his inner development.
"rauha-(l)-linen" explores the inner world of the human being between tension and letting go. The music follows the search for serenity in a turbulent time and invites us to pause and listen. A sonic reflection on how inner peace can arise and why it is so valuable for human coexistence.
This "calm/peace" also closes the circle between the beginning of the program with Prokofieff's increasingly tension-building "Hebrew Overture" and Brahms' complex inner world in his late clarinet quintet. Almost all of his late works cultivate this internalized tone (although there may still be the odd outburst and certain tartness) and combine beauty of sound with melancholy and a kind of resigned serenity. But you can also hear passion, strength and even joy here. Perhaps this tension is expressed in the opposing poles of the two dominant keys of B minor and D major. Brahms works with the "developing variation" that Schoenberg admired so much in him: the themes are developed in variations; for example, the finale, a true variation movement, draws on the 3rd movement (an Andantino instead of a Scherzo) and continues it in variations. At the very end, Brahms returns to the beginning of the work with his four-bar "motto" consisting of two motifs from which all the themes of the work are derived - a mature, melancholy work that shows how well string instruments and clarinet work together. (Text according to: Kammermusik Basel)
Composition commission with financial support from the FONDATION SUISA and the municipality of Schwyz
Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.
Reservations and contact: [email protected]
Brahms, Prokofieff & a world premiere: "rauha-(l)-linen"!
A world premiere by the young Schwyz composer Cyrill Greter (commissioned by the Ensemble Accento musicale), Prokofieff and Brahms' clarinet quintet.
Donat Nussbaumer & Alicia Giezendanner, violin
Lorenz Küchler, viola
Severin Suter, cello
Urs Bamert, clarinet
Eleonora Em, piano
Program:
Sergei Prokofieff: Overture on Hebrew Themes, for clarinet, string quartet and piano (1919)
Johannes Brahms : Clarinet Quintet in B minor op. 115 (1891)
Cyrill Greter: rauha-(l)-linen, for clarinet, string quartet and piano (2026, world premiere)
"rauha", Finnish: "calm, peace", "linen", English = Linnen German, obsolete for "linen, flax", symbolizing a canvas - [rauhallinen Finnish: "calm, peaceful, serene"]
A chamber-symphonic express rhapsody on aspects of man and his inner development.
"rauha-(l)-linen" explores the inner world of the human being between tension and letting go. The music follows the search for serenity in a turbulent time and invites us to pause and listen. A sonic reflection on how inner peace can arise and why it is so valuable for human coexistence.
This "calm/peace" also closes the circle between the beginning of the program with Prokofieff's increasingly tension-building "Hebrew Overture" and Brahms' complex inner world in his late clarinet quintet. Almost all of his late works cultivate this internalized tone (although there may still be the odd outburst and certain tartness) and combine beauty of sound with melancholy and a kind of resigned serenity. But you can also hear passion, strength and even joy here. Perhaps this tension is expressed in the opposing poles of the two dominant keys of B minor and D major. Brahms works with the "developing variation" that Schoenberg admired so much in him: the themes are developed in variations; for example, the finale, a true variation movement, draws on the 3rd movement (an Andantino instead of a Scherzo) and continues it in variations. At the very end, Brahms returns to the beginning of the work with his four-bar "motto" consisting of two motifs from which all the themes of the work are derived - a mature, melancholy work that shows how well string instruments and clarinet work together. (Text according to: Kammermusik Basel)
Composition commission with financial support from the FONDATION SUISA and the municipality of Schwyz
Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.
Reservations and contact: [email protected]
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