Venue Great Hall
Running time 90 minutes
Ticket packages available:
FULL DAY PASS: book all 7 concerts for £50
FLEXIBLE PASS: any 4 concerts for £35
DAY PASS: both concerts on one day £20
Individual lunchtime concerts: £10 | £8 Concessions
Individual early evening concerts: £15 | £13 Concessions
Students and accompanied children under 18 are free
Next date 16th September 5:30 pm
Book online below
About this event
Haydn: Quartet op 50 no 1 in Bb
Arvo Part: Fratres
Mozart: Piano Concerto no 19 in F K459
Haydn’s Op 50 No 1 quartet is one of 6 known as the “Prussian” quartets composed in 1787 and dedicated to King Frederick William II of Prussia who was an excellent amateur cellist. Haydn conceived of the idea of writing them in 1784, but put them on hold whilst he completed his Paris Symphonies. Having sent copies of the symphonies to King Frederick, Haydn had received back a letter of praise containing a golden ring, and so decided to dedicate the quartets to the king hoping no doubt to cultivate the relationship further. In form all six quartets are fast-slow-minuet-fast, and No. 1 sets the tone for what was for Haydn, an opportunity to be more serious and experimental than his earlier Op 33 set.
Estonian composer Arvo Pärt wrote Fratres (Brothers) in 1977. It is an early example of his tintinnabuli (bell) compositional style about which he later wrote: “Tintinnabulation is an area I sometimes wander into when I am searching for answers – in my life, my music, my work. In my dark hours, I have the certain feeling that everything outside this one thing has no meaning. The complex and many-faceted only confuses me, and I must search for unity. What is it, this one thing, and how do I find my way to it?” The style is essentially slow and meditative for two or more voice, with one voice playing the notes of a chord whilst the other is moving stepwise. Fratres is in fact three part music “without fixed instrumentation” and has been described as a “mesmerising set of variations on a six-bar theme combining frantic activity and sublime stillness that encapsulates Pärt’s observation that ‘the instant and eternity are struggling within us’.
It may seem counter-intuitive to be considering a Mozart Piano Concerto in a chamber music concert, but this one, written in 1784, fits very neatly into an arrangement for string quartet and piano by Ignaz Lachner. Athletic and graceful, like most of Mozart’s concertos it is in three movements – Allegro, Allegretto, Allegro Assai. It is sometimes known as the “second coronation concerto” on account of Mozart playing it at the coronation of Leopold II in Frankfurt in 1790.
The Callino Quartet, back in Dartington for their fourth annual Autumn chamber music festival, is widely considered to be one of the finest young ensembles to have emerged in Europe in recent years. They made their professional debut at the West Cork Chamber Music Festival in 1999 since when then they have impressed audiences and critics both at home and abroad with their fresh and insightful performances.
Based now in London, the Quartet has won several international prizes for their concerts and recordings. Their performances have been variously described in the press as “warm, expressive and risky” (Classics Online) and “tender, polished and dramatic” (Irish Times).
Tom Poster is one of the UK’s most outstanding young musicians whose skills and passions extend well beyond the conventional role of the concert pianist. He has been described as “a marvel, [who] can play anything in any style”(The Herald), “mercurially brilliant” (The Strad), and as having “a beautiful tone that you can sink into like a pile of cushions” (BBC Music).
Sasha Calin graduated with First Class Honours from the Royal Academy of Music and continued her studies in Leipzig with Christian Wetzel where she played with the Leipzig Gewandhaus orchestra. She went on to play regularly with Welsh National Opera and the London Symphony Orchestra and now plays first oboe with the Mozarteum Orchestra in Salzburg, Austria.
American-Dutch soprano Katharine Dain brings insatiable musical curiosity and expressive force to performances on both sides of the Atlantic. She sings music of many centuries and genres in both intimate and grand venues; recently she has become particularly known for assured, deeply-felt performances of contemporary scores and of the Germanic lyric repertoire from Mozart to Strauss.
Monday 16th September
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