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K1 Baborák Ensemble

08. 11. 2021
19:00 p.m.
Dům kultury města Ostravy
from 200 CZK

Wolfgang Amadeus Mozart
Quintet in E flat major, K. 407, for French horn, violin, two violas, and cello

Ludwig van Beethoven
Grosse Fuge Op. 133

Alexander Glazunov
Idylle, Op. 14, Serenade, Op.11 and Rêverie, Op.24 for horn and string quartet

Johannes Brahms
String Quintet No. 2 in G major, Op. 111

 

Baborák Ensemble:
Milan Al-Ashhab, Martina Bačová – violin
Karel Untermüller – viol
Hana Baboráková – violoncello
Radek Baborák – French horn

 

Mozart wrote his Quintet for French horn and strings for an Austrian horn player, Joseph Leutgeb. Except for being a brilliant musician, Leutgeb was a simple person and Mozart went all in on him with his sense of humour. Leutgeb, however, did not get offended by Mozart’s funny remark. The horn quintet sounds gentle and warm, and it is often compared to a tiny French horn concert.

“An absolutely contemporary piece of music that will be contemporary forever.” Wrote Igor Stravinsky about Beethoven’s Grosse Fuge. It is a single-movement composition for a string quartet that was originally supposed to be the final movement of Beethoven’s Quartet in B♭ major, Op. 130. The intended concept of a grandiose finale was changed in the end due to the insistence of the publisher. The finale of the Quartet in B♭ major received a new final movement and the Grosse Fuge was published separately.

Although Glazunov was a remarkable composer, he is overshadowed by his more famous colleagues and his work is neglected by many symphonic orchestras and chamber ensembles. As an excellent French horn player, Glazunov composed a number of great pieces that we included in this program.

Brahms’ String Quintet, Op. 111 is inspired by his travels across Italia. The composer’s contemporaries did not recognize the energetic openness of the piece and one of Brahms’ supporters, the dreaded Vienna music critic Eduard Hanslick, said about the composition: “It seems that Brahms keeps receding into himself and still he gains confidence in the energetic expression of simple feelings…!” The premier in Vienna in 1890 was a sensation.