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Programm 24.–27

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Programm 24.–27 ESSENTIALS 2012 Kammer musik festival Thun Programm 24.–27. Mai Wir haben uns bewusst dafür entschieden, Welcome to GAIA im Jahr 2012 den ursprünglichen Traum des Essentials 2012 – Herzlich Festivals wieder aufleben zu lassen und zu dem zurückzukehren, woraus es entstan- we look forward to being with you den ist – der Vision, grossartige Musik zu willkommen präsentieren, die von einer kleinen Gruppe and sharing every moment! herausragender Musiker an atemberauben- bei GAIA Essentials 2012 – den Orten für ein warmherziges Publikum dargeboten wird; ein Publikum, das neugie- In 2012, we have consciously decided to reco - wir freuen uns darauf, rig auf inspirierende Begegnungen ist. Alle, ver this Festival’s first dream and to revisit die bei GAIA mitwirken, lieben die Musik that of which it was born – a vision to offer Sie bei uns zu haben und und das, was sie uns zu enthüllen vermag. sublime music, performed by a small group Die Planung dieses Festivals beschwingt uns of outstanding musicians in breathtaking ve- jeden Augenblick jedes Jahr aufs Neue: ein Fest voller Kunst, nues to an open-hearted audience curious to Sinnenfreude, Austausch, Emotionen und experience more. We at GAIA love music and mit Ihnen zu teilen! Freundschaft. Diese Wechselbeziehung ist all that it can reveal. We are fulfilled each nur ein kleiner Teil unseres Spektrums ... year anew when we conceive this Festival: Die Welt ist schön – voller Magie und a celebration of art, senses, exchange, emo- Wunder, erfüllt durch ihre eigene Existenz tions, and friendship. This interrelationship und in sich vollkommen. Die Menschheit is just a small piece of our spectrum… baut auf diese Wahrheit, und je mehr wir ver- The world is a beautiful place – full of suchen, die Essenz des Lebens zu ergründen, magic and wonder, fulfilled by its own exis - desto stärker wächst in uns wieder das Ver - tence, complete within itself. Mankind builds langen nach Erfahrungen, die uns in Erstau- on this truth, and the more we strive to find nen versetzen können – der Wahrhaftigkeit the essence of life, the more we return to a eines Augenblicks, einem ungekünstelten desire for experiences in their most elusive Gedanken, der Natur in ihrer reinsten Form. state – the realness of a moment, an uncon - Wir hoffen, Sie geniessen Ihre Zeit bei trived idea, or nature in its purest form. uns und lassen sich von Ihrem GAIA-Erleb- We hope that you enjoy your time with us nis bewegen. Wenn Sie in unsere Mailingliste and are moved by your experience at GAIA. aufgenommen oder Teil der GAIA Commu- If you would like to join our mailing list or Inhalt nity werden möchten, besuchen Sie bitte become part of the GAIA Community, please 4 Zum Geleit unsere Internetseite www.gaia-festival.com. visit our website: www.gaia-festival.com. Mit Ihrer kontinuierlichen Unterstüt- With your continued support, we will be able 8 Konzerte zung werden wir beim GAIA Kammermusik- to make the GAIA Chamber Music Festival 30 Portraits Mitwirkende festival 2013 ein unvergessliches 5. Jubiläum 2013 an unforgettable 5 th anniversary feiern können! celebration! 46 Mitwirkende seit der Gründung von GAIA 2006 48 Uraufführungen und Schweizer Erstaufführungen Gwendolyn Masin, Christoph Ott, Gwendolyn Masin, Christoph Ott, beim GAIA Kammermusikfestival Thun Florian Schalit und das Team, Florian Schalit and the Team 50 Impressum das GAIA Leben einhaucht who breathe life into GAIA Nichts liebe ich mehr als Kammermusik. There is nothing I love more than Chamber Mein ganzes Leben lang hat mich diese Music. My whole life has been connected to Zum Geleit Musikform nicht losgelassen. Von meiner this medium. From my own participation as aktiven Teilnahme als dreizehnjähriger a violinist at the High School of Music and «Nichts liebe ich mehr als Kammermusik.» Violinist an der High School of Music and Art in NYC at thirteen years of age, to the Arts in New York bis zu den Engagements, more recent opportunities of coaching cham- die ich in jüngerer Zeit als Lehrer von Kam - ber groups. mermusikensembles hatte. In meinem Leben Throughout my life there is nothing I habe ich nichts mehr genossen, als mit guten have enjoyed more than getting together with Freunden einen Abend lang zu musizieren good friends for a night of sharing music, – egal, ob als Quartett, Trio oder Sextett – quartets, trios, sextets, it did not matter as Hauptsache, wir konnten zusammen spielen. long as we could play together. Kürzlich hörte ich von GAIA und seinem I recently heard of GAIA and the success Erfolg. In der Welt der Musik machen Neu - it was having. Word spreads quickly in the igkeiten schnell die Runde und ich erkannte music world and it was very clear to me that sofort, dass dieses Festival Aufmerksamkeit this was a Festival worthy of attention, young verdiente: junge Künstler, die auf hohem artists performing at a high level, interesting Niveau musizieren, interessante und aufre- and exciting programs, and as you the au - gende Programme und, wie Sie als Zuhörer dience know, a perfect setting. wissen, ein perfektes Ambiente. I feel very honored to have been asked to Dass mir die Schirmherrschaft angetra- be a Patron, and I encourage you to strongly gen wurde, hat mich sehr geehrt, und ich support this Festival. In these difficult times möchte Ihnen ans Herz legen, dieses Fes - throughout the world, it is so important to tival aktiv zu unterstützen. In diesen welt- have a place and time to share in the magic weit schwierigen Zeiten ist es sehr wichtig, of music and the connection it makes with einen Ort und eine Zeit zu finden, wo man each one of us, performer and listener. GAIA gemeinsam die Magie der Musik und die Art, is this place. Treasure it. wie sie jeden von uns, ob Darbietender oder Zuhörer, berührt, geniessen kann. GAIA ist dieser Ort. Bewahren Sie ihn. David Zinman David Zinman Chefdirigent des Tonhalle-Orchesters Zürich Chief conductor of Zurich’s Tonhalle und Schirmherr des GAIA Festivals Orchestra, and Patron of GAIA 4 5 KONZERTE KONZERT 1 Violine: Ludwig van Beethoven (1779 – 1827) Reconstructions Gwendolyn Masin Violinsonate Nr. 9 A-Dur op. 47 («Kreutzer-Sonate») Lena Neudauer Adagio sostenuto Tatiana Samouil Presto Jan Talich Andante con Variazioni I–IV Finale. Presto Viola: In einer Bearbeitung für Streichquintett Guy Ben-Ziony mit zwei Violoncelli von Ferdinand Ries Ilya Hoffman Ausführende: Natalia Tchitch Jan Talich, Tatiana Samouil, Guy Ben-Ziony, Louise Hopkins, Quirine Viersen Donnerstag, 24. Mai, 19 Uhr Violoncello: Dongkyun An Wolfgang Amadeus Mozart (1756 – 1791) Louise Hopkins Sinfonia concertante Es-Dur KV 364 (320d) Kirche Blumenstein Quirine Viersen Allegro maestoso Andante Presto In einer anonymen Bearbeitung für Streichsextett («Grande Sestetto Concertante») Ausführende: Lena Neudauer, Gwendolyn Masin, Natalia Tchitch, 1 Ilya Hoffman, Dongkyun An, Quirine Viersen Pause Johannes Brahms (1833 – 1897) Klavierquintett f-Moll op. 34 Allegro non troppo Andante un poco Adagio Scherzo. Allegro – Trio Finale. Poco sostenuto – Allegro non troppo In einer Rekonstruktion von Anssi Karttunen für Streichquintett mit zwei Violoncelli Ausführende: Jan Talich, Gwendolyn Masin, Guy Ben-Ziony, Quirine Viersen, Louise Hopkins 8 9 KONZERT 1 Angela Beuerle Reise – eine Anstellung, die ihm einen dauerhaf- an einem eben solchen Streichquintett mit zwei ten Abschied von dem ihm inzwischen verhass- Violoncelli. Clara Schumann, der Brahms die Par- Ein neuer Blick ten Salzburg bringen konnte – nicht eingestellt titur gezeigt hatte, schrieb am 3. September 1862: hatte, in Paris war zudem noch Mozarts Mutter «Ich weiss nicht recht, wie ich’s anfangen soll, Dir gestorben, die ihn diesmal begleitet hatte. Ob mit ruhigen Worten zu sagen, welche Wonne ich und inwieweit Mozarts Sehnsucht, Trauer und an Deinem Quintett habe! Ich habe es viele Male Frustration in diese Komposition miteingeflos- [am Klavier] gespielt, und mir ist das Herz ganz Re-con-struere – lateinisch für wieder-zusam- Erzählens. Janáček schrieb, inspiriert von Beetho- sen sind, wird eine musikalische Analyse nicht voll davon! Das wird ja immer schöner, herrli- men-schichten, wieder-zusammen-bauen: Unter ven und Tolstoi, ein Streichquartett dieses Titels. herausfinden können. Deutlich wird jedoch, wie cher!» Auch der mit Brahms befreundete Geiger diesem Motto stehen die Werke dieses Konzertes. Beinahe emblematisch steht Beethovens Sonate sein Aufenthalt in der Musikmetropole Paris und Joseph Joachim zeigte sich bei seiner ersten An- Alle drei sind «Rekonstruktionen» insofern, als dabei für die äussersten Formen von Liebe und besonders in Mannheim, wo er mit der Mann- sicht der Partitur begeistert, äusserte sich jedoch das musikalische Material der ursprünglichen Eifersucht, für eine auch durch Verstand und Er- heimer Hofkapelle einem der führendsten und wenig später, nachdem er das Werk mit anderen Kompositionen für andere Instrumente als die ur- ziehung nicht mehr zu bändigende Leidenschaft. fortschrittlichsten europäischen Orchester der Musikern geprobt hatte, bedenklich: «So wie das sprünglich vorgesehenen «wieder neu zusammen Dass diese Musik in ihrer Ausdrucksintensität bis Zeit begegnen konnte, seine Orchesterbehand- Werk jetzt ist, möchte ich es nicht öffentlich pro- gebaut» wurde. Unweigerlich verändert sich ein an die unmittelbaren Grenzen ihrer Gattung geht, lung differenziert und bereichert hatte. Auch die duzieren [...]». 1863 schrieb Brahms das Quintett Werk durch solch eine neue Zusammensetzung in wurde schon von Zeitgenossen wahrgenommen. musikalische Gattung der «Sinfonia concertan-
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