开售时间：

2024年4月18日（周四）14:00
 

 

 

 购票特惠： 

*限时早鸟：购580 480 380票档可享8.8折优惠，年费会员享折上折。
*适用所有优惠券，可与任意折扣叠加，限微信购票使用。

 

 

 演出时长:  

*总时长约90分钟，含中场休息。
*一人一券，1.2米以下儿童谢绝进场。

 

 

 

 

 特别支持 

 

 

 

古典乐“顶流”乐团旗下组合

近四十年精湛水准一脉相承

魅力钢琴四重奏演绎动人经典！

 

 

柏林爱乐钢琴四重奏

 

所属于柏林爱乐乐团的柏林爱乐钢琴四重奏成立于1985 年，经过数十年的成功发展，如今被新一代的乐团成员接手。2015 年 9 月，乐团携其新成员在室内音乐厅首次亮相。他们与创始成员莱纳·梅内一起演奏了弗兰克·马丁的钢琴四重奏作品，以体现他们将四重奏艺术精神一脉相承的希望。如今，四重奏由柏林爱乐乐团的三位演奏家：小提琴家路易斯·埃斯诺拉、中提琴家马修·亨特和大提琴家克努特·韦伯以及著名钢琴家马库斯·格罗组成。

 

四位音乐家致力于钻研钢琴四重奏的演奏，尽管钢琴四重奏并没有弦乐四重奏那般受推崇。然而自维也纳古典主义时期以来，几乎所有伟大的作曲家都为这一迷人的组合谱写过作品。为这一体裁创作的作品数量之多，令人印象深刻。除了人们较为熟悉的古典主义、浪漫主义和现代主义四重奏作品外，柏林爱乐钢琴四重奏的曲目还包括一些鲜为人知的作品以及被后人再度发掘的作品。

 

在上一次的美国巡演中，音乐家们带来了美国电影作曲家丹尼·艾夫曼的新作品——为柏林爱乐钢琴四重奏而创作的一首五乐章作品；该作品由内布拉斯加州林肯市的里德表演艺术中心和柏林爱乐基金会委托创作。这首四重奏作品的录音已于2019年春季由索尼古典公司发行；于2020年2月在德国首演。

 

【演出曲目】 PROGRAMME

 

莫扎特W. A. Mozart

G小调第一钢琴四重奏，K. 478                             

Piano Quartet No. 1 in G Minor, K. 478                                  

I.快板Allegro

II.行板Andante

III.回旋曲Rondo

 

弗兰克·布里奇 Frank Bridge

幻想曲，为钢琴四重奏而作，H.94                       

Phantasy for Piano Quartet, H.94                                       

Ⅰ. 稍快的行板Andante con moto

Ⅱ. 活泼的快板Allegro vivace

Ⅲ. 稍快的行板Andante con moto

 

—— 中场休息Intermission ——

 

舒曼 R. Schumann

降E大调钢琴四重奏，Op. 47                                   

Piano Quartet in E flat Major, Op. 47                                  

Ⅰ. 非常绵延-快板，但不太快Sostenuto assai — Allegro ma non troppo

Ⅱ. 谐谑曲，很活泼Scherzo. Molto vivace

Ⅲ. 如歌的行板Andante cantabile

Ⅳ. 终曲：活泼的Finale. Vivace

 

* 本套曲目共约90分钟/ca. 90m duration

* 以当日演出曲目为准/ Program subject to change

 

 

Berlin Philharmonic Piano Quartet

 

The Berlin Philharmonic Piano Quartet was established in 1985 as a chamber music ensemble of the Berliner Philharmoniker. After 30 successful years, a new generation took over. The ensemble introduced itself with its new members for the first time in the Chamber Music Hall in September 2015. Together with founding member Rainer Mehne they performed Frank Martin’s Piano Quartet, thus demonstrating that they wanted to carry on the artistic spirit of the original ensemble. Today the Quartet consists of three members of the orchestra – violinist Luis Esnaola, violist Matthew Hunter and cellist Knut Weber – as well as the renowned pianist Markus Groh.

The four musicians devote themselves to the genre of the piano quartet, which is less prominent than the string quartet. This fascinating combination has inspired nearly every great composer since the time of Viennese Classicism. An impressive body of literature comprising a vast number of works has been composed for this genre. In addition to the more familiar quartets of Classicism, Romanticism and Modernism, the repertoire of the Berlin Philharmonic Piano Quartet also includes unknown compositions and rediscovered works.

During their last US tour, the musicians presented a new composition by the American film composer Danny Elfman, who wrote a five-movement work for the Berlin Philharmonic Piano Quartet which was commissioned by the Lied Center for Performing Arts in Lincoln, Nebraska, and the Berliner Philharmoniker Foundation. A recording of this quartet was released by Sony Classics in spring of 2019; the German premiere took place in February 2020.

 

小提琴 路易斯·埃斯诺拉

Luis Esnaola, violin

 

“当我初次与柏林爱乐同台演出时，我还是交响乐团学院的一名学生。那场音乐会上，乐团独有的音色还有乐手们的倾情投入瞬即感动了我。”

路易斯·埃斯诺拉来自西班牙马德里，从小成长在一个以音乐为重的家庭。童年时期，他就感受到小提琴所蕴含的巨大表现力，并因此对这一乐器格外着迷。他之后赴美国新英格兰音乐学院跟随唐纳德·威勒斯特恩学琴，2009年进入德国柏林汉斯·艾斯勒音乐学院深造，师从安特耶·维特哈斯，2012年顺利毕业，获音乐硕士学位。

还在求学期间，路易斯·埃斯诺拉就考取了德国柏林爱乐乐团设立的“交响乐团学院”，并成为克里斯托弗·霍拉克的弟子。据其自称，这段学院经历对他影响至深，因为他不仅从中领悟到交响乐声响的独特性，还意识到成为顶级音乐家应该具有的品质，即：全身心投入音乐中并为之付出不懈努力。多罗西·迪蕾、伊扎克·帕尔曼、莱纳·库斯莫尔、克里斯蒂安·特茨拉夫等人的大师课也给予他不少灵感。

路易斯·埃斯诺拉是众多比赛的获奖者，他在德国柏林爱乐乐团任职的同时，还兼任瑞士苏黎世市政厅管弦乐团第二小提琴声部首席，由此增长了乐团工作经验。2016年9月，他成为德国柏林爱乐乐团第一小提琴声部乐手。路易斯·埃斯诺拉也是一位活跃的室内音乐家和独奏家。闲暇之时，他会关注足球、看电影、并外出旅行。

 

 

“At my first concert with the Berliner Philharmoniker, which I experienced while I was a student of the Orchestra Academy, I was immediately moved by the unique sound of the orchestra and the absolute dedication of the musicians.”

A native of Madrid, Luis Esnaola grew up in a family where music always played an important role. From childhood, he was particularly fascinated by the violin because of its great expressive capabilities. As a result, he first studied the instrument at the the New England Conservatory under Donald Weilerstein, before continuing his training at the Academy of Music Hanns Eisler Berlin under Antje Weithaas in 2009, where he graduated with a masters in music in 2012.

While still studying, he was offered a place at the Berliner Philharmoniker’s Orchestra Academy where he became a student of Christophe Horak. His time at the Academy made a great impression on him, Esnaola says, discovering not only the special nature of the orchestra’s music making, but also the qualities that make a top musician: Absolute dedication and commitment to the music and a high level of motivation. He received further inspiration from master classes with, among others, Dorothy DeLay, Itzhak Perlman, Rainer Kussmaul and Christian Tetzlaff.

A winner of a range of competitions, he gained orchestral experience as section leader of the second violins in the Tonhalle-Orchestra Zurich in addition to his time with the Berliner Philharmoniker. In September 2016, he joined the first violin section of the Berliner Philharmoniker. Moreover, Luis Esnaola is also active as a chamber musician and soloist. In his spare time he is interested in football, going to the cinema and travelling.

 

马修·亨特，中提琴

Matthew Hunter, viola

 

“我的恩师朱利安·奥列夫斯基是个土生土长的柏林人，1934年他和家人被迫迁居海外。打从六岁起，我这个美国麻州的耳朵里便响着他那柏林味儿的声音。而当我第一次和柏林爱乐同台演出时，乐团奏出的头一个音符便令我感觉——我回家了——音乐本身还有那种音色都让我如同归家一般。人生绕了一圈，圆满回至原点。”

马修·亨特是在26岁“发现”中提琴的。此前，他一直在职业小提琴家的道路上奋进，并自创了一套特殊的小提琴训练法：若是能在尺寸稍大的中提琴上拉出贝多芬的《小提琴协奏曲》，那么——根据他的理论——这首曲子再回到小提琴上，对他自己而言将是“儿童级难度”。由于太痴迷于中提琴那种“黑巧克力”音色，马修·亨特转向了这门更深沉的乐器，并在此后不久赢得了吉依国际中提琴比赛。七岁开始音乐启蒙的马修·亨特，曾师从朱利安·奥列夫斯基、罗曼·托滕贝格（小提琴大师卡尔·弗莱什在柏林期间的助理）、迈克尔·特里和海梅·拉雷多。1985年，他成为美国辛辛纳提大学音乐学院川崎雅夫的助理。马修·亨特还曾在美国达特茅斯学院学习哲学并获学士学位，他还拥有音乐硕士学位和艺术家文凭。1991至1995年，他在加拿大渥太华国家艺术中心交响乐团担任中提琴声部副首席，之后加入德国柏林爱乐乐团。马修·亨特是一个音乐全才，他还会演奏吉他（例如会在马勒《第七交响曲》的演出中兼任吉他手），他也会编曲，此外，他还加入了柏林爱乐乐团旗下的几个室内乐团，其中包括柏林爱乐斯特拉迪瓦里独奏家乐团。

»My teacher Julian Olevsky was a native of Berlin who was forced to emigrate with his family in 1934. Since the age of six I’ve had his Berlin sound in my Massachusetts ears. When I heard the orchestra’s first note on my first day with the Berliner Philharmoniker, it was as though I had come home, both for the music and for the sound. A circle was closed.«

Matthew Hunter was 26 when he »discovered« the viola. He was pursuing the career of violinist and had devised a special training programme for that instrument: if he could play Beethoven’s Violin Concerto in tune on the larger viola, then – according to his theory – the piece would be »child’s play« for him on the violin. He became so infatuated with the viola’s »dark chocolate« tone that he made the switch over to the deeper instrument. Shortly after that he won the Gee International Viola Competition. Hunter, who began music lessons at the age of seven, cites as his formative teachers Julian Olevsky, Roman Totenberg (former assistant to Carl Flesch in Berlin), Michael Tree and Jaime Laredo. In 1985 he became Masao Kawasaki’s assistant at Cincinnati’s College-Conservatory of Music. He also earned his Bachelor’s Degree in Philosophy at Dartmouth College as well as a Master of Music and Artist’s Diploma. Matthew Hunter came to the Berliner Philharmoniker from Ottawa, where from 1991-95 he was associate principal viola of Canada’s National Arts Centre Orchestra. He is a versatile musician, who also plays the guitar (for example in performances of Mahler’s Seventh Symphony), makes arrangements and plays in several Philharmonic chamber ensembles, including the Berlin Philharmonic Stradivari Soloists.

 

克努特·韦伯，大提琴

Knut Weber, cello

 

“在这一乐团里，我觉得最重要、也许也是最令人满意之处，是让我意识到每一位成员都被认为是有能力对他/她自己的音乐负责的。而这种责任感，能迅速传递给每一位新加入的成员，由此造就出整个乐团的特色——这既是音乐上的特色，对其他共同事务的处理亦是如此。”

因为姐姐的一位朋友会拉大提琴，克努特·韦伯那时虽年仅五岁，却深深迷上了这一低音乐器，而且他即刻明白：“这一乐器非我莫属！”当时他早已在找寻合适的乐器——一门在任何情况下都不用站着演奏的乐器，而大提琴似乎最为理想。克努特·韦伯的启蒙老师是斯洛文尼亚大提琴家米洛斯·姆莱尼克。之后，他在德国科隆跟随阿尔班·贝尔格四重奏以及克劳斯·康希瑟学习，还赴柏林深造，师从沃尔夫冈·波伊彻，2002年他在柏林以优异的音乐会成绩完成学业。此外，他还深受海因里希·席夫、法兰斯·海莫森、大卫·葛林格斯、齐格弗里德·帕尔姆、以及美妙艺术三重奏的影响。

克努特·韦伯多次在比赛中获奖，他曾获古斯塔夫·马勒青年管弦乐团奖学金资助，并担任该乐团大提琴声部首席，之后他成为马勒室内乐团的创始成员之一。23岁那年，他加入德国柏林爱乐乐团。除参与交响乐团演出外，克努特·韦伯也以独奏家身份与各乐团合作，其中包括：维也纳-柏林室内乐团、美国达拉斯交响乐团、土耳其伊斯坦布尔国家交响乐团。室内乐演奏也是他侧重的方向，他曾和尼尔森·弗莱雷、内田光子、以及柏林爱乐乐团的众多独奏家（如：樫本大进、诺厄·本迪克斯-巴格利、艾曼纽尔·帕胡德、安德烈斯·奥滕萨默）搭档演出。克努特·韦伯分别加入了柏林爱乐十二把大提琴组合、斯特拉迪瓦里独奏家乐团、以及柏林爱乐钢琴四重奏，并随团定期在欧洲、亚洲、美国巡演。他还乐于指导青年交响乐团，并作为独奏与他们一同演出。

 

»My most important and perhaps most satisfying experience in this orchestra was the realization that each individual is expected to be able to take musical responsibility for him- or herself. This sense of responsibility is quickly transmitted to every new member and thus comes to characterize the orchestra as a whole, in musical as well as other matters of mutual concern.«

A friend of his older sister played the cello. Knut Weber, then exactly five years old, was especially taken with the low strings and knew at once: »That’s my instrument!« He’d already been searching for a suitable one and, in any event, wanted to learn an instrument where you didn’t have to stand while playing. The cello seemed absolutely ideal. He received his first musical training from the Slovenian cellist Milos Mlejnik. Later he studied in Cologne with the Alban Berg Quartet and Claus Kanngiesser as well as with Wolfgang Boettcher in Berlin, where in 2002 he passed his concert exam with distinction. Further significant encouragement came from Heinrich Schiff, Frans Helmerson, David Geringas, Siegfried Palm and the Beaux Arts Trio.

Knut Weber, winner of numerous competitions, was a scholarship holder and principal cellist of the Gustav Mahler Youth Orchestra and later a founding member of the Mahler Chamber Orchestra before joining the Berliner Philharmoniker at the age of 23. In addition to his orchestral activities, the cellist also performs as a soloist, including with the Kammerorchester Wien-Berlin, the Dallas Symphony Orchestra and the Istanbul State Symphony Orchestra. Chamber music is also a focal point of his musical activities. He has partnered Nelson Freire, Mitsuko Uchida and many of his orchestra’s soloists such as Daishin Kashimoto, Noah Bendix-Balgley, Emmanuel Pahud and Andreas Ottensammer. As a member of the 12 Cellists of the Berliner Philharmoniker, the Stradivari Soloists and the Philharmonic Piano Quartet Berlin, Knut Weber performs regularly in Europe, Asia and the USA. He also enjoys working with youth orchestras as a teacher and soloist.

 

马库斯·格罗，钢琴

Markus Groh, pianist

 

钢琴家马库斯·格罗于1995年赢得比利时伊丽莎白女王国际音乐比赛，之后随即获世界瞩目，他也是在此项赛事中夺魁的首位德国人。自那时起，他凭藉出色的“声音想象力”和惊人的演奏技巧傲立于世界最佳钢琴家之列。

其近期演出安排包括初次与哥斯达黎加国家交响乐团（由卡尔·圣·克莱尔执棒演绎勃拉姆斯《第一钢琴协奏曲》）、哥伦比亚国家交响乐团、以及美国太平洋交响乐团合作；此外，他还会再度与美国奥马哈交响乐团同台，并将再次在加州大学洛杉矶分校克拉克图书馆举办独奏会。2019/2020乐季，他还作为德国柏林爱乐钢琴四重奏成员第二次赴美国巡演。

马库斯·格罗曾与北美众多乐团合作，包括：美国巴尔的摩交响乐团、辛辛那提交响乐团、克里夫兰交响乐团、底特律交响乐团、休斯顿交响乐团、美国（华盛顿特区）国家交响乐团、纽约爱乐乐团、奥马哈交响乐团、费城交响乐团、圣路易斯交响乐团、旧金山交响乐团、西雅图交响乐团、加拿大温哥华交响乐团等。他还曾与世界各地的乐团同台献演，如：中国北京交响乐团、德国柏林交响乐团、英国伯恩茅斯交响乐团、荷兰海牙驻地乐团、芬兰赫尔辛基爱乐乐团、英国伦敦交响乐团、瑞典马尔默交响乐团、德国莱比锡MDR广播交响乐团和布商大厦管弦乐团、新日本爱乐乐团、皇家苏格兰国家交响乐团、俄罗斯圣彼得堡爱乐乐团、德国斯图加特广播交响乐团等。

马库斯·格罗也是一位有着迷人魅力的独奏家，他能从钢琴中造就出独特的音乐维度、织体与色彩，而这在现场演绎中可谓罕有。2013年，他首登美国肯尼迪表演艺术中心，参演了“哈耶斯钢琴系列”音乐会，其表现令人惊叹。他还在美国丹佛和堪萨斯城出演了“室内乐之友”系列音乐会，此外还参加了加拿大温哥华演奏协会出品的音乐会，并多次在纽约弗里克收藏馆演出。马库斯·格罗也积极投身室内乐，他会定期随日本东京弦乐四重奏巡演，并作为新成立的德国柏林爱乐钢琴四重奏成员巡演。

马库斯·格罗所诠释的李斯特作品广受好评。他曾在德国斯图加特师从孔拉德·里赫特教授，并在德国柏林以及奥地利萨尔茨堡跟随汉斯·雷格拉夫教授学习。近日，他被任命为德国柏林艺术大学钢琴系教授。

 

Pianist Markus Groh gained immediate world attention after winning the Queen Elisabeth International Competition in 1995, the first German to do so. Since then his remarkable “sound imagination” and astonishing technique, have confirmed his place among the finest pianists in the world.

Recent engagements include debuts with the National Symphony Orchestra of Costa Rica under Carl St. Clair, performing the Brahms Piano Concerto No. 1, the National Symphony Orchestra of Colombia, and the Pacific Symphony, as well as returns to the Omaha Symphony and the UCLA Clark Library in recital. The 19/20 season also will see the second U.S. tour of the Berlin Philharmonic Piano Quartet.

Markus Groh has also appeared with the symphony orchestras of Baltimore, Cincinnati, Cleveland, Detroit, Houston, National/Washington, D.C., the New York Philharmonic, Omaha, Philadelphia, Saint Louis, San Francisco, Seattle, and Vancouver, among others. Worldwide engagements include the Beijing Symphony, Berlin Symphony, Bournemouth Symphony, Residentie Orkest/The Hague, Helsinki Philharmonic, London Symphony, Malmö Symphony, MDR Orchestra/Leipzig Gewandhaus, New Japan Philharmonic, Royal Scottish National Orchestra, St. Petersburg Philharmonic, and the Stuttgart Radio Orchestra, to name a few.

A spellbinding recitalist, Mr. Groh draws from the piano shapes, textures, and colors that one seldom hears in live performance. In addition to his stunning debut on the Hayes Piano Series at the Kennedy Center in 2013, he has appeared at the Friends of Chamber Music series in Denver and Kansas City, the Vancouver Recital Society, and several times at The Frick Collection in New York. Chamber music activities include regular tours with the Tokyo String Quartet and the newly-founded Berlin Philharmonic Piano Quartet.

Widely acclaimed for his interpretations of Liszt, Markus Groh was a student of Professor Konrad Richter in Stuttgart and Professor Hans Leygraf in Berlin and Salzburg. He has recently been named Professor of Piano at the University of the Arts in Berlin.

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6、请勿将食品、有色饮料带入剧场，矿泉水允许带入剧场，请自行妥善保管。

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