Concert information
At the invitation of the Berliner Philharmoniker
Info
In addition to his career as a celebrated soloist, violinist Christian Tetzlaff performs all over the world with his own string quartet. This guest performance in the Chamber Music Hall opens with Beethoven's late, expressive String Quartet op. 131, the beginning of which Richard Wagner called “probably the most melancholy thing that has ever been expressed in sound”. In his “Choral Quartet”, Jörg Widmann expresses “sounds and phases of futility that come from nowhere and lead nowhere,” he says. The programme concludes with Johannes Brahms' Second Quartet, which steers a lush course between melancholy and joie de vivre.
Artists
Tetzlaff Quartett:
Christian Tetzlaff violin
Elisabeth Kufferath violin
Hanna Weinmeister viola
Tanja Tetzlaff cello
Programme
Ludwig van Beethoven
String Quartet in C sharp minor, op. 131
Interval
Jörg Widmann
Choral Quartet (String Quartet No. 2
Johannes Brahms
String Quartet in A minor, op. 51 No. 2
Chamber Music Hall
16 to 38 €
Introduction
19:30
Series T: Quartet
Biographies
Tetzlaff Quartett
From thirty years to a lifetime – that’s how long the members of the Tetzlaff Quartet have known each other. Siblings Christian and Elisabeth grew up with music in Hamburg. They had Bach cantatas for breakfast and symphonies by Brahms and Schubert with their Playmobil sessions. She opted for the cello, he for the violin, and both are much in demand as soloists on the world's most prestigious stages. More than thirty years ago, their passion for chamber music drove them to found a string quartet with Elisabeth Kufferath on the second violin and Hanna Weinmeister on the viola.
Do they ever get bored with their quartet format? Not at all: in addition to their musical skill set and deep friendship, the four are united by their spirit of discovery. To this day, the ensemble continues to add new works to its repertoire alongside the great highlights of classical literature and liberates forgotten pieces from their shadowy existence. And with success: The New York Times praised them for their “dramatic, energetic playing of unadulterated intensity” and praised their “extremely lyrical, detailed interpretation, combined with impeccable balance and unity," which, the writer observed, resulted in "an overwhelming performance.”
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