A whole range of stops will be pulled out once again: This time, an experienced and acclaimed organist will be our guest at the keys and pedals of our concert organ, much loved by the audience. Together with strings from the Bamberg Symphony, he will present several works that are wonderfully fitting for this Advent Sunday. The first part is dedicated to baroque music: after three touching solo pieces by Bach, a long-lost concerto for organ and violin by Vivaldi is performed – a particularly melody-laden example of his boundless artistry. In the second part, Tomaž Sevšek offers a foray into other musical realms – including a work composed in 1951 by his compatriot Primož Ramovš, whose numerous organ pieces have only rarely been performed in Germany to date. Portuguese composer João Pedro Oliveira is a versatile and award-winning composer: »Persistent Particles« from 2021 experiments with the tonal and technical possibilities of the organ in a fascinating manner. Schumann rented a pedal keyboard for his grand piano in 1845, which gave him and his wife Clara »much delight«. One of the results was the intimate study for pedal piano – in which Schumann expressed his spiritual and compositional affinity with Bach. The French composer Alexandre Guilmant expressed his fondness for the German Romantic composer in his atmospheric work »Final alla Schumann« in 1893.

Organ Concert: Tomaž Sevšek

Bamberg Concert Hall

In 1774, the encyclopaedia »Allgemeine Theorie der Schönen Künste« (General Theory of the Fine Arts) stated that only someone could compose trios »who combined all parts of art with a fruitful and lively imagination, and exercised himself to feel every trait of a character or passion musically and to articulate it in tones«. Our concert brings together three trios by composers who truly had what it takes. Although Brahms actually told his publisher in 1890 that it was »certainly time to go«, his creative energy came back and he composed the clarinet trio op. 114 a year later. Turned in on themselves and almost withdrawn, the instruments engage in a quiet dialogue here, loosened only by the two middle movements. A friend of Brahms said: »It is as if the instruments loved one another.« Clarinet, cello and piano are also musical soulmates in Beethoven‘s trio: According to one critic, they made »quite a good ensemble« in 1799. This popular Opus 11 was named the »Gassenhauer-Trio« (popular song trio) because the fiery opening movement and the heartfelt Adagio are followed by an entertaining finale for which Beethoven adopted a popular catchy tune – from Joseph Weigl‘s opera »L‘amor marinaro« (»The Corsair of Love«). However, the fact that too great feelings can also cause suffering is dealt with in Glinka‘s trio, which he prefaced in 1832 with the motto: »I have only experienced love through the pain it causes!« The emotional work seems like an expression of mental anguish set to music: Although the composer was living a carefree life in Italy at the time, the trio reveals the darker side – unhappy love affairs as well as physical ailments, so much so that one musician called out in dismay after the premiere: »What despair!«

Indrek Leivategija

Events

Past events

Dec 8, 2024

Organ Concert: Tomaž Sevšek · Bamberger Symphoniker

Apr 11, 2024

Chamber concert: Cello, Clarinet and Piano · Bamberger Symphoniker

Future and recently performed repertoire

Cello in Clarinet Trio by Brahms

Bamberger Symphoniker

Cello in Piano Trio by Beethoven

Bamberger Symphoniker

Cello in Trio Pathétique by Glinka

Bamberger Symphoniker

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