In the meantime, Beethoven was not at all enthusiastic about the success of his Septet op. 20, which was premiered together with the First Symphony and the First Piano Concerto in 1800: The work for seven instruments, which followed Mozart's great Divertimento K. 563 in the same key exactly in its structure, was Beethoven's most popular work at the time and also his most frequently performed until around 1830. Beethoven probably felt that this septet, which was close to the light music of his time, blocked the view of his “serious” compositions! Today, we can consider ourselves fortunate to gain a glimpse of the humorous, the youthful and mercurial Beethoven through this 45-minute piece. Of course, as always with Beethoven, this does not preclude great depth and complexity: In the Adagio, the second and longest movement, time simply stops. We juxtapose Beethoven's work with similarly large-scale, generous chamber music: Namely, the rarely played Octet by Stuttgart-born August Walter – one of those pieces that makes one wonder, in the justice of music history, why this wonderful, brilliant, deeply felt great work was not known before?

Brillant

Beethoven-Haus Bonn

The Yaron Quartet is one of the permanent chamber music formations of the Beethoven Orchestra Bonn. For years, the ensemble has been working on the extensive string quartet repertoire and keeps coming up with surprising discoveries and clever concert programs. This season, Franz Schubert's great string quartet Death and the Maiden is the core of the program: one of the milestones of literature that never leaves quartet and audience unchanged. The power of the four conceivably different movements, which go to the limits of what can be played, felt, thought, is too haunting. The Lithuanian contemporary composer Algirdas Martinaitis mirrors Schubert's work in his quartet with the same title Mirtis ir mergele – Death and the Maiden . He approaches its content, its emotional worlds, and at times breaks through barriers that separate two pieces of music. The questions of originality and individuality, of imitation and reflection, of depth and banality have been important themes for Martinaitis to confront us with in recent years. The Yaron Quartet separates the two works through Arvo Pärt's iconic composition Fratres , one of the early examples of his bell style. Endless repetitions, chord progressions similar to the ringing of entire chimes seem to establish a world between day and dream – a world where the passions, the consolation, the despair that speaks from Schubert's and Martinaitis' works can only be perceived from a distance.

Ieva Andreeva

Events

Past events

Apr 15, 2024

Brillant · Beethoven Orchester Bonn

Jan 15, 2024

Death and the Maiden · Beethoven Orchester Bonn

Future and recently performed repertoire

Violin in Septet by Beethoven

Beethoven Orchester Bonn

Violin in String Quartet No. 14 by Schubert

Beethoven Orchester Bonn

Violin in Octet by Walter

Beethoven Orchester Bonn

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