CMT 2018: BEETHOVEN PRELUDE

BEETHOVEN IMMORTAL
Monday, December 10, 2018, 8:00 p.m.
Sejong Chamber Hall
Sejong Center for the Performing Arts
175 Sejong-daero (Sejongno)
Jongno-gu, Seoul 03172

Beethoven: Trio in B-flat Major for Clarinet, Cello, and Piano, op. 11 (1797)
Anthony McGill, clarinet; David Finckel, cello; Wu Han, piano

Schoenfield: Trio for Clarinet, Violin, and Piano (1990)
Anthony McGill, clarinet; Bella Hristova, violin; Gloria Chien, piano

Schubert: String Quintet in C Major, D. 956, op. 163 (1828)
Arnaud Sussmann, Bella Hristova, violins; Mark Holloway, viola; Nicholas Canellakis, David Finckel, cellos

Artists

Notes on the Program:

The Chamber Music Today 2018 season finale explores the ubiquitous, thriving legacy of Beethoven’s consummate lifework and the ways in which his compositional and artistic innovations are celebrated today. Beethoven’s charming Opus 11 Clarinet Trio opens the program, another early composition whose unique instrumentation was likely penned in intentional contrast with his predecessor Mozart’s popular "Kegelstatt" Trio (scored for clarinet, viola, and piano). (As an aside, Johannes Brahms would go on to compose his own timeless clarinet trio using the instrumentation Beethoven established in his Opus 11.) Fast forward nearly two hundred years to the end of the twentieth century, when American composer Paul Schoenfield, undoubtedly deeply steeped in the study of Beethoven’s output, composed his own Clarinet Trio – but using the popular instrumentation most common in Klezmer music (clarinet, violin, and piano), a form of traditional Ashkenasi Jewish music. Franz Schubert’s iconic, immortal String Quintet, one of the greatest pieces of Classical music ever written, concludes the program. Unusually scored for string quintet employing two cellos rather than the Classical period standard of two violas, legend has it that Beethoven’s String Quintet in C Major, op. 29 directly inspired Schubert to compose his own string quintet about twenty-five years later. Composed near the end of Schubert’s brief life, the music evokes the vision of a divine afterlife, and continues, as it has for centuries, to provide listeners with a transcendent emotional experience.  

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