Young, promising soloists from all over the world develop their talents in the Queen Elisabeth Music Chapel. First-class tutors and soloists nurture these young stars, to whom BOZAR is all too willing to offer its stage three times a year. During this live stream, several outstanding musicians will delight you with works by Beethoven and Schumann
Beethoven wrote his three string trios of the Op. 9 one year before dedicating himself to his impressive collection of sixteen string quartets. He was clearly looking ahead to his works for four strings as in these string trios he offers a balanced treatment of the instruments with elegant solos and a refined interplay. At times these compositions sound very orchestral, while never losing sight of the transparency of the trio.
Robert Schumann had great admiration for Beethoven's narrative strength, a quality that is much in evidence in his own 1842 Piano Quartet, composed in the course of the year when Schumann was devoting himself entirely to chamber music. By his own admission, it was a year in which he wanted to escape from the pure composition for solo piano, because – as he confided to Clara Schumann – he found it too "limiting". Clara was very excited by this work, writing in her diary that: "I am really enchanted by this work, so full of vigour and freshness". With this quartet Schumann perhaps still has one foot in Beethoven's aesthetic while at the same time preparing a path in the direction of Brahms and Fauré.
Ludwig van Beethoven (1770-1827)
String Trio no. 3, op. 9 no. 1 (1798)
- Adagio - Allegro con brio
- Adagio ma non tanto e cantabile
- Scherzo – Allegro
Robert Schumann (1810-1865)
Piano Quartet in E flat major, op. 47 (1842)
- Sostenuto assai - Allegro ma non troppo
- Scherzo: Molto vivace - Trio I - Trio II
- Andante cantabile
- Finale: Vivace