![\"\"](\"https:\/\/www.kammerata.lu\/wp-content\/uploads\/2026\/07\/Schloss-Lieser-1.png\")
<\/p>\n<\/p>\n
Concert of the Moselmusikfestival<\/em><\/p>\n Often overshadowed by the string quartet, the string trio has nevertheless established itself over the centuries as a distinctive and highly expressive genre in its own right.<\/p>\n The first work on this programme, Johann Sebastian Bach\u2019s Goldberg Variations, was composed in 1741 for a two-manual harpsichord. Although Bach never wrote an original work for string trio, Dmitry Sitkovetsky\u2019s ingenious arrangement, created for the composer\u2019s 300th anniversary, offers a remarkably convincing reimagining of this masterpiece. His transcription highlights the extraordinary richness of Bach\u2019s counterpoint while revealing new colours and perspectives within the music.<\/p>\n In the 1790s, Ludwig van Beethoven turned his attention to the string trio, confidently referring to his works as \u201cGrand Trios\u201d. Today, they are widely regarded as direct predecessors to his celebrated string quartets. The String Trio in C minor, Op. 9 No. 3 places exceptional demands on its performers: all three instruments are treated as equal partners, engaging in an intense and highly virtuosic dialogue. Beethoven explores an impressive emotional range, moving from moments of striking immediacy to passages of profound dramatic power.<\/p>\n With his Serenade, Op. 10, composed in 1902, Ernst von Dohn\u00e1nyi bridges the traditions of Viennese Classicism and the emerging influence of Hungarian folk music, anticipating the musical language of Kod\u00e1ly and Bart\u00f3k. At the same time, the work reveals the composer\u2019s subtle sense of humour. Unexpectedly called into military service, Dohn\u00e1nyi responded with gentle irony. The march-like passages that frame the work can be heard as a playful parody of the Austro-Hungarian military bureaucracy of his day.<\/p>\n Across all three works, a vivid dialogue unfolds between the instruments\u2014a constant interplay of closeness and distance, agreement and contrast, virtuosity and lyrical expression.<\/p>\n <\/p>\n
![\"\"](\"https:\/\/www.kammerata.lu\/wp-content\/uploads\/2026\/07\/Moselmusikfestival.png\")
<\/p>\n","protected":false},"menu_order":14,"template":"","class_list":["post-2040","calendriers","type-calendriers","status-publish","hentry"],"acf":[],"yoast_head":"\n