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Schubert wrote his Quintet in C Major in September 1828, just weeks before he died. Scored for two violins, a viola and two cellos, it was his final instrumental work, and a fitting testament to his revolutionary greatness. Characterised by its spacious richness, the work opens in an unexpected fashion, presenting the harmonies of the piece rather than a polished melody. This provides the platform for an unprecedented expressionistic exploration of the sounds created by the ensemble. The result – one of Schubert’s greatest achievements – has been widely acclaimed as one of the finest chamber works of the nineteenth century.
Artists to Include
Priya Mitchell violin
Siljamari Heikinheimo violin
Tomoko Akasaka viola
Julian Arp cello
Claude Frochaux cello
FRANZ SCHUBERT String Quintet in C Major D 956
Length 1 hour
Julian Arp, born in 1981, studied at the Academy of Music ‘Hanns Eisler’ in Berlin with Boris Pergamenschikow. He continued his studies with David Geringas and Eberhard Feltz. As a soloist and chamber musician Julian Arp appears regularly at festivals, including the Schleswig-Holstein Music Festival, the Rheingau Music Festival, Beethovenfest Bonn, Beauvais, Montreux, SoNoRo Bucharest, Stellenbosch, Stift Festival, the Oxford Chamber Music Festival, and IMS Prussia Cove. The Duo Arp/Frantz has released three CDs. In the words of Fono Forum: ‘They make music into pure celebration. It all sounds and sings.’ Contemporary composers, including Odeh-Tamimi, Koch, Nemtsov and Dinescu have written pieces for Julian Arp. He is a co-founder of the festival Zeitkunst which has been a guest at the Centre Pompidou, Radialsystem Berlin, Israel, England and Rio de Janeiro. Julian regularly gives master classes in Germany and abroad, and teaches at the University for Arts in Graz, Austria.
Priya Mitchell grew up in Oxford. She started playing the violin at four. ‘Unable to concentrate on anything my parents despaired – the violin was the best remedy- it allowed me to focus and dream at the same time.’She went to the Yehudi Menuhin School for four years where her teacher was David Takeno. Afterwards she studied in Vienna and with Zachar Bron in Lübeck. Priya loves to play both as a soloist and chamber musician. Earlier this year she was invited to be artist-in-residence for a week at Kings Place in London, and has recently performed in Copenhagen, Istanbul, Mecklenburg-Vorpommern, Kuhmo and Seville. She started the Oxford Chamber Music Festival in 2000 because she wanted to bring musician friends to Oxford and relishes ‘musical matchmaking, how else was it possible to bring together musicians I was certain would fall in love musically? Oxford is the ideal setting to make this alchemy happen. Festivals make one feel stimulated on every level, inspired and enriched. Most of us here
couldn’t be without them- they are irresistible, dangerous and highly addictive!’ Priya plays a Ballestieri violin made in the 1760s, generously on loan to her by a private family trust.
Siljamari Heikinheimo is known as a violinist and recently also as an opera director. As a violinist she appears regularly as a chamber musician and as a soloist. She has been a member of the Finnish Radio Symphony Orchestra during years 2012-2016 and nowadays subtitutes frequently as a concertmaster and a section leader in Scandinavian orchestras like Tapiola Sinfonietta, Helsinki Philharmonic Orchestra, Danish Chamber Orchestra and Trondheim Symphony Orchestra. She appears regularly at several festivals like Kuhmo chamber music festival, Summer Sounds Porvoo, Hauho Festival and Crusell Festival. She has recorded numerous Finnish compositions for the the Finnish Broadcasting Company. Heikinheimo is the artistic director of Sounds Of Books -concertserie, which takes it's place in Helsinki.
The panoramic significance of two deeply personal acts of memory take centre stage. Richard Strauss inscribed the manuscript of Metamorphosen, completed at the end of World War II, with the words ‘In Memoriam’. Also incorporating a quotation from the funeral march from Beethoven’s ‘Eroica’, Metamorphosen is Strauss’s cri de coeur for the passing of a cultural epoch. Such nuanced intensity also characterises Schubert’s second and last song cycle, Winterreise (1828), which portrays the state of mind of an unrequited lover, wandering through a bleak winter landscape: the epitome of Romantic alienation.
Artists to include
Ian Bostridge tenor
Kristian Bezuidenhout piano
O/Modernt Chamber Orchestra
FRANZ SCHUBERT Winterreise Part I (‘Winter Journey’) D 911
FRANZ SCHUBERT Winterreise Part II (‘Winter Journey’) D 911
RICHARD STRAUSS Metamorphosen
Duration 3 hours
O/Modernt is always searching for new ways to encourage the next generation of young musicians. We are delighted to have established the O/Modernt New Generation, which we will be launching in Stockholm on the 12th November. The initiative includes a Stockholm-based youth orchestra which will provide opportunities for instrumentalists to perform in concert alongside members from the O/Modernt Chamber Orchestra as well as world-class soloists. There will also be a series of international masterclasses, open rehearsals for young people and exchanges, with a focus on the UK throughout 2018. More information will follow about opportunities for young people to be involved in these wonderful activities.
Ian Bostridge’s international recital career has taken him to the Salzburg, Edinburgh, Munich, Vienna, St Petersburg, Aldeburgh and Schwarzenberg Schubertiade Festivals and to the main stages of Carnegie Hall and the Teatro alla Scala, Milan. He has held artistic residencies at the Vienna Konzerthaus and Schwarzenberg Schubertiade (2003/04), a CarteBlanche series with Thomas Quasthoff at the Amsterdam Concertgebouw (2004/05), a Perspectives series at Carnegie Hall (2005/06), the Barbican, London (2008), the Luxembourg Philharmonie (2010/11), the Wigmore Hall (2011/12) and Hamburg Laeiszhalle (2012/13). In 2018 Ian began an auspicious Artistic Residency with the Seoul Philharmonic Orchestra, the first of its kind for the ensemble.
Kristian Bezuidenhout is one of today’s most notable and exciting keyboard artists, equally at home on the fortepiano, harpsichord, and modern piano. Born in South Africa in 1979, he began his studies in Australia, completed them at the Eastman School of Music, and now lives in London. After initial training as a pianist with Rebecca Penneys, he explored early keyboards, studying harpsichord with Arthur Haas, fortepiano with Malcolm Bilson, and continuo playing and performance practice with Paul O’Dette. Kristian first gained international recognition at the age of 21 after winning the prestigious first prize, and audience prize in the Bruges Fortepiano Competition.
Kristian is a regular guest with the world’s leading ensembles including the Freiburger Barockorchester, Les Arts Florissants, Orchestra of the Age of Enlightenment, Orchestre des Champs Elysées, Koninklijk Concertgebouworkest, Chicago Symphony Orchestra & the Leipzig Gewandhausorchester; and has guest-directed (from the keyboard) the English Concert, Orchestra of the Eighteenth Century, Tafelmusik, Collegium Vocale, Juilliard 415 and the Kammerakademie Potsdam, & Dunedin Consort (Bach St. Matthew Passion).