Pyotr Ilyich Tchaikovsky (1840-1893)
Trio with choir “Nature and Love” with lyrics by P. I. Tchaikovsky (1870).
Male trio “Evening” (“Solntse v rozovykh luchakh”) with lyrics by P. I. Tchaikovsky (1881).
From “Six Duets” for voices with piano, Op. 46 (1880):
No. 1 “Evening” with lyrics by I. Z. Surikov
No. 6 “Dawn” with lyrics by I. Z. Surikov
No. 3 “Tears” with lyrics by F. I. Tyutchev
Quartet “Night” with lyrics by N. N. /P. I. Tchaikovsky/ (1893).
Johannes Brahms (1833-1897)
Six Vocal Quartets with piano, Op. 112 on poems by Franz Kugler and Hugo Conrat
Alexander Dargomyzhsky (1813-1869)
The cycle “Petersburg Serenades” for choir a capella (1840s-1850s)
Robert Schumann (1810-1856)
Four songs for double choir a capella, Op. 141 posth. (1849)
Two concerts of the musicAeterna soloists and choir are to present the vocal diversity of the musicians with the programme embracing ensemble and choir music by German and Russian composers: Schumann and Dargomyzhsky, Brahms and Tchaikovsky.
Home music making — a pastime now almost forgotten, but incredibly popular in the 19th century. Therefore, at the time all major composers wrote works of different genres specifically to be performed in a circle of friends. Some of these compositions are marked by leniency to the technical skills of amateur musicians, while many others are quite demanding of their addressees, which is not surprising: enlightened music lovers were often not inferior to professional instrumentalists and vocalists.
Such high examples of music for home performance include Brahms’ vocal ensembles, Schumann’s choral songs, the ensemble and choral cycle “Petersburg Serenades” by Dargomyzhsky, Tchaikovsky’s trios and duets.
Chamber vocal music reveals the most intimate features of the style and creative impulses: Tchaikovsky wrote duets on his own poems, Dargomyzhsky kept updating his cycle over a decade akin to entries in a personal diary. And at the same time, in these little masterpieces, the vocabulary of the romantic musical language is defined, expanded and interpreted – the language which our musical thinking and perception are still based on.