Pianist Ruebin Chen will be collaborating with top musicians from different corners of the world for a most exciting concert to be held at Taipei Zhongshan Hall on May 29, 2011, in Taipei, Taiwan.
Date: May 29, 2011
Time: 19:30pm
Place: Taipei Zhongshan Hall, Taiwan
Programme:
1.Brahms, Johannes, Piano Quartet in G minor Op.25
2.Dvorak, Antonin, Piano Quartet in E flat major Op.87
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Ticket prices: TWD 500(student) , 800,1200,1800,2400,3000,3600,4800
Programming note:
Johannes Brahms completed his Piano Quartet No. 1 in G minor in 1861. Though this work received mixed reviews by friends and critics alike, it has remained alive in the concert world. Throughout the twentieth century, its popularity continued to grow as the listening public came to recognize Brahms as perhaps the quintessential master of Romantic chamber music. His first quartet for piano, violin, viola, and cello harkens back to the music of Schubert, one of Brahms' favorite composers, as well as forward with inventiveness that inspired composers in the next century, especially Schoenberg. While his contemporaries were writing music that was an obvious break with the past, particularly Wagner, Brahms wrote in the old forms, which hung together with a pleasing and deceptive looseness, as did the works of Schubert. Scratching the surface of Brahms' first piano quartet reveals that the themes and textures do not hang together loosely at all. Everything is built out of thematic material, which is without precedent in chamber music. It is the kernel of what Schoenberg described as "developing variation" and prepares the way for atonality, which coheres only when all the material is in reference to itself. The G minor quartet is pure clarity in a way that did not exist before Brahms. This quartet was also the first chamber work of Brahms' that he played in public. The first movement of the G minor quartet has the sweetness of heroic themes in repose, but it also simmers, at least in a good performance. In bad renditions of this work, the tension is ignored in favor of an empty niceness, which is certainly to be avoided. The second movement, an Intermezzo, is introspective and full of musical inquiry among the strings. Themes spread out searching for something, with a beautiful and mysterious effect. The Andante third movement has a dreamy grandness, which is normally an effect reserved for orchestral forces. The Hungarian, Rondo finale is pure fire, blasting through rousing themes with a concerted vigor. Many generations after the work's inception, it has withstood the public's initial reservations. It should also be pointed out that other influential musicians thought it was pure genius. One great violinist regarded it as proof that Brahms was Beethoven's musical heir. There were many such reactions. Schoenberg liked it enough to orchestrate it. He gave his reasons for doing so as follows: "1. I like the piece. 2. It is seldom played. 3. It is always played very badly; the better the pianist, the louder he plays and you hear nothing from the strings. I wanted to hear everything...." ~All Music Guide~
Dvorák's Piano Quartet in E flat major, Op. 87, had its premiere in November of 1890, just before the creative beginnings of the great "Dumky" trio, Op. 90. The quartet, however, while not devoid of folk influences, falls on the pan-European side of the duality that pervaded and animated Dvorák's work. Its outer movements are expansive, quite Brahmsian essays in sonata form, with characteristic touches in the instrumental writing such as the rapid exchange of tremolos between violin and viola at the end of the first movement. The second movement, marked Lento, is one of Dvorák's most purely lyrical, with a sequence of five themes, shifting in mood. The third movement, the most folkloristic of the four, consists of two contrasting dances; its central section deploys the piano in such a way that it sounds, perhaps, like a hammer dulcimer or other Eastern European folk instrument. The work is an unjustly neglected masterpiece of the chamber music repertoire, an unfailing crowd-pleaser but possessed of an originality that makes it worthy to stand beside the more complex corners of Brahms' chamber output. ~All Music Guide~
鋼琴大師陳瑞斌 東西方大師同台競技音樂會
2011年 5月29日 (日) 晚間19:30 臺北市中山堂 中正廳
主辦：綺想室內樂團02-3233 6304
喜歡鋼琴大師陳瑞斌及歐洲大師演奏的愛樂者們有福了, 由天使手指奧地利華裔鋼琴家陳瑞斌Rueibin Chen將與旅法小提琴家李季, 旅英華裔中提琴家陳之珩及來自俄羅斯羅斯特波維奇最後弟子大提琴家 Victor Chpiller,聯合組成的鋼琴四重奏團將為大家演出鋼琴四重奏最經典與挑戰性之曲目-布拉姆斯及德弗札克的作品 , 本次演出曲目鋼琴四重奏 g小調 作品 25 , 是布拉姆斯一生最具代表性的室內樂作品之一，並被譽為是布拉姆斯最佳傑作，其悲戚而幽暗的曲風令人喜愛，二十世紀現代樂派大師荀白克曾說第一樂章是自貝多芬第九以來最好的旋律，並特別將此曲改編為管絃樂版本。德弗札克絕美的旋律，單純柔美，有著予人回味無窮的雋永，扣人心弦的樂句, 蕩氣迴腸的旋律最具爆發力的演出將是繼2010年底陳瑞斌在南台灣最大型室內樂音樂節召集人之後再次在北台灣掀起另一波全場瘋狂起立之高潮音樂會, 由四位大師共同合作之精采燦爛演出,絕對會是一場您多年來絕不能錯過的大師音樂饗宴, 更詳細介紹詳見陳瑞斌部落格及Facebook粉絲頁
演出曲目 :
布拉姆斯 : 鋼琴四重奏 g小調 , 作品 25
J. Brahms: Piano Quartet in g minor, Op.25
德弗札克 : 鋼琴四重奏 降E大調 ,作品 87
A. Dvorak : Piano Quartet in E flat major Op. 87
鋼琴 : 陳瑞斌 Rueibin Chen
票價 : 500(學生票) , 800,1200,1800,2400,3000,3600,4800
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