Schönberg, Berg & Knussen Asko|Schönberg, Pierre-Laurent Aimard, Joseph Puglia + Katrien Baerts
Who's afraid of Arnold Schönberg? His popular Kammersinfonie no. 1 is an early masterpiece that is still audibly rooted in the 19th century, although its tonality is creaking here and there. Asko|Schönberg honours its namesake tonight with a programme in which superior instrumentation is the common denominator. Hear how Schönberg's refined art is emulated by his pupil Alban Berg and by Oliver Knussen (1952 - 2018), a dear friend of Asko|Schönberg and the Muziekgebouw.
Schönberg, Berg & Knussen Asko|Schönberg, Pierre-Laurent Aimard, Joseph Puglia + Katrien Baerts
Beautiful instrumentation art from 3 masters
For his chamber symphony, Schönberg chose an unusual instrumentation, with ten wind instruments and only five strings. This rearrangement of the proportions was widely imitated, including by Alban Berg. His subtle Chamber Concerto even calls for an ensemble of thirteen wind instruments, with piano and violin as soloists. Berg wrote the work on the occasion of Schönberg's fiftieth birthday. The programme concludes with the poignant but wonderfully beautiful requiem Songs for Sue from 2006, which Knussen composed after the death of his wife.
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Schönberg, Berg & Knussen Asko|Schönberg, Pierre-Laurent Aimard, Joseph Puglia + Katrien Baerts
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