musicAeterna

17 April, 20:00
musicAeterna Orchestra Soloists. Franck, Ravel
The soloists of the musicAeterna orchestra will present two outstanding chamber compositions of the late Romanticism and Impressionism periods.

The sonata by Cesar Frank, originally written for violin and piano as a wedding gift to the Belgian virtuoso Eugène Ysaÿe, became one of the composer’s most performed works over the following century and a half. Maurice Ravel’s trio, begun on the eve of the World War I, and completed hastily right before he was sent to the army, concludes a significant period in the composer’s work. It was in the Trio that the composer’s connection with Basque folklore became tangible for the first time.

25 April, 21:00
musicAeterna Orchestra Soloists. Hodosh, Britten, Dohnanyi

In the chamber concert of the musicAeterna orchestra soloists three 20th century compositions written in, tentatively speaking, the “traditional” classical-academic style meet.Ernő Dohnányi’s early Serenade for string trio was deliberately built according to the classicist model: the composer took a sample of the Serenade for string trio by Ludwig van Beethoven. The Sonata for cello and piano by the 20th century British classic Benjamin Britten was his first work written for Mstislav Rostropovich. Next to the two pillars of the 20th century chamber repertoire, the “Sentimental Suite” by the Russian composer Vitaly Khodosh, who worked as a professor at the Rostov Conservatory for many years, will be performed.

30 April, 21:00
musicAeterna Orchestra Soloists. Tchaikovsky
The concert of the musicAeterna orchestra soloists is dedicated to two chamber works by Pyotr Ilyich Tchaikovsky. The first string quartet was written specifically for the author’s concert: the composer turned to the genre on the advice of Anton Rubinstein. The quartet gained immediate recognition. Leo Tolstoy, who was at odds with contemporary music, as witnessed by others who attended the concert, cried during the performance of the second part.

Nikolai Kashkin, who was visiting Tchaikovsky during the creation of the first edition of Souvenir de Florence, recalled: “When composing the sextet, at the start Pyotr Ilyich complained that it was very difficult for him to cope with this task; a few days later he reported that things were going better, and then half-jokingly said that it was difficult to write otherwise than for a sextet.”