Paul Rivinius, | Schedule & Tickets 2025

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Siegfried Rivinius normally sits at the podium of the first violins with the Duisburg Philharmonic Orchestra, where he has been first concertmaster since 1985. In addition to the large symphonic repertoire, he also has a strong passion for the intimate form of chamber music. And so in 1995 he founded the RIVINIUS Piano QUARTET together with his brothers. The four have now put together an exciting program for the last chamber concert of the season. It begins with the first piano quartet by Camille Saint-Saëns, which he composed when he was just 18 years old but never published during his lifetime. Stephen Hartke follows, a composer who is even personally known to the quartet. His five tableaux from “The King of the Sun” refer to paintings by the well-known painter Joan Miró. The finale is the expansive Piano Quartet in E major by Paul Scheinpflug, who is also no stranger here in Duisburg: almost exactly 100 years ago he was the orchestra's General Music Director. The concert is therefore also an examination of Duisburg's music history, as is also the case in the 11th and 12th Philharmonic Concerts.

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»Music of human breath, it creates a world of its own, conjured up by the sorcerous forces of sounds which, summoned by an imagination rich in visions, enter and pass through our earthly bodies all the way to the soul.« (Henri Sauguet) Our chamber concert offers delightful pieces for flute and bassoon: Vivaldi‘s trio sonata in A minor is a magnificent composition full of intricate sound cascades, but also of introspective moments with expansive cantilenas. The chamber trio in F major, also baroque, was composed by Friedrich Wilhelm Zachow, who lived from 1663 to 1712 and came from a Leipzig family of town pipers: the melodic roles of flute and bassoon interact intensively on the harmonic foundation of the continuo – with expressive upswings and dynamic outbursts of virtuosity. Beethoven‘s trio is a precious early work from his Bonn days – where he confided to the Kurfürst about his early preoccupation with composing, that his muse whispered: »Just try it and jot down some of your soul‘s harmonies!« The piece was probably written around 1786 as chamber music for private use – and the passionate love for the daughter of a count‘s family might have been the impetus for the lush sounds that are interspersed throughout the otherwise very concerto-like progress of the work. Finally, Weber‘s enchanting G minor trio from 1819, when the composer was ill and obviously dealt with his mental suffering with music: the highly romantic composition is thus characterised in parts by deep melancholy, in particular in the pivotal Andante, which bears the title »Shepherd's Lament« – yet it captivates the listener with a very playful character in the framing movements.