An exquisite line-up

An exquisite line-up

Attending a concert is a special treat in pandemic times. Disinfected and wearing masks, you are escorted to your seat in a highly personal manner. No one more coarse sits in front of you, blocking your view of the stage, because only every second row of seats is occupied.

As a listener you may quickly get used to this new situation. It is probably more difficult for musicians and organizers, who must not take a sparsely filled auditorium as a lack of interest in their program. Rainer kober pointed this out on saturday evening at the beginning of the first of four concerts in the winter season of the VHS-musikring in the kreiskulturraum.

Written while bowling

The coburg chamber trio in the exquisite instrumentation of clarinet, viola and piano played rarely heard works by schumann, bruch and beethoven. For ten years, edgar eichstadter, solo clarinetist in the orchestra of the coburg state theater and lecturer at the vocational school for music in kronach, andreas hilf, violist in the coburg orchestra, and the pianist antonio grimaldi have been cultivating music for this trio ensemble, which is reminiscent of mozart’s "kegelstatt trio is fixed. A rather light music, which mozart wrote incidentally during meetings at billiards, bowling and just at music, which should not denigrate further works in this instrumentation as superficial.

The sound of the coburg chamber trio is rather discreet. Above all through the almost consistently restrained playing style of grimaldi on the piano, who let the viola and clarinet have the musical space. In addition, edgar eichstadter cultivates an unusually warm tone with the clarinet, which does not become sharp even in the critical high registers. Andreas hilf completes this sound character in a further alto register with a likewise restrained but not nasal viola.

The rhine as a point of reference

All together the right "sound for a classical-romantic program. The reference point of the individual works of the kronach concert was the river rhine. The trio played three of max bruch’s eight opus 83 pieces, which were once performed in bonn. The "grand trio opus 38" by ludwig van beethoven, born in bonn, was heard, and the "marchenerzahlungen opus 132" were written by robert schumann, a native of dusseldorf. Schumann wrote it in only three days. At the end of his creative period, they were probably not a large-scale musical throw, but rather a reminiscence of the many small pieces that schumann wrote throughout his life in the self-conception of romanticism around fantastic and mysterious characters. A kind of fairy music in the first movement, rumbling, almost shrill tones in the second. The third movement is lyrical and gently undulating, before the work ends powerfully.

Only little known is max bruch as a composer of chamber music. From his quite extensive oeuvre, it is above all the 2. Violin concerto established through the ages. Bruch wrote music in the style of the romantic period and remained true to this sound world until the end – even with the pieces for clarinet, viola and piano from 1910, a time when the dawn of modernity was already beginning to establish itself in the concert halls. It is the broad harmonies and undulating modulations that bruch expands in the small trio instrumentation, and into which he himself inserts a "rumanian melody adapted and romanticized – quite different from later bela bartok, who orientated himself more on dry sprodheit in the eastern european folk songs.

Symphony for three

Finally, beethoven’s piano trio opus 38: it is based on his septet in e-flat major from 1799, which he arranged as a trio shortly thereafter. Even in this smaller instrumentation, the piece does not lose the symphonic character of the septet. In the trio version, the piano part largely takes over the string parts, thus becoming more complex. Viola and clarinet form the essential themes in the six-movement piece with which the chamber trio paid its respects to the jubilarian.

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