The sieve of history is capricious. Sometimes it’s hard to understand why some events remain inscribed in the memory of compendiums, while others – which seem equally relevant to us – are relegated to the background. In the case of the musical repertoire of the classical tradition, the discrimination is often blatant, as if to crystallize an idea of the past. This is reason enough for us to explore “alternative heritage”. This program features two works for piano and winds that have remained relatively discreet. Perhaps that’s why they have so much to “tell” us. First, a trio by Conradin Kreutzer, a musician who knew Beethoven personally in Vienna, perhaps also Schubert. Then, a quartet by Franz Berwald, a slightly younger Swedish composer. Although of classical origin, these are two works representative of the first romantic generation; with generous melodies, technical challenges in the right measure, careful harmonies (more daring in Berwald’s case) and the dramatic exploration of the conversation between the instruments.
Kreutzer & Berwald
Metropolitan Soloists
C. Kreutzer Trio for Clarinet, Bassoon, and Piano, Op. 43
F. Berwald Quartet for Piano and Winds, Op. 1
Jorge Camacho clarinet
Rafaela Oliveira bassoon
Jérôme Arnouf horn
Savka Konjikusic piano
