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Cultural Events

Concert | Metropolitan Orchestra Soloists

06 Apr 19:00
Aud. CGD

Friday, 6
th of April, at 19.00

ISEG, Caixa Geral de Depósitos Auditorium

F. Schubert String Quartet No. 12, D. 703, 

A. Borodin String Quartet No. 2

Ana Pereira
José Teixeira (violin), 
Joana Cipriano (viola), 
Ana Cláudia Serrão (chello)

Being more than a testimonial to extraordinary musical pieces, this programme invites us to forget time and the place for a moment, and to plunge "unfiltered" into the romantic universes of Franz Schubert and Alexander Borodin.

Among the 15 String Quartets composed by the Austrian musician, No. 12 heralds a period of creative maturity. The previous ones were typified by a family environment, where amateur could play with a level of conditioned technical demand. Without such limitations, the dramatic intensity and expressive detachment of the romantic style emerges. The mysterious frenetic pace of the first bars illustrates this well. Afterwards come mirthful melodies, which are somewhat naive in appearance, with abrupt mood swings. This is called a
Quartettsatz, which in German means, "in quartet tempo." In fact, we know why the composer left this piece half-finished, not completing the remaining three movements. Similar to the
Incomplete Symphony, this is the
Incomplete Quartet of Schubert, although nothing seems to be missing.

And it is due to the romanticism, that the String Quartet No. 2 of Borodin is added here. Together with the
Prince Igor opera, this is one of the best known works of this Russian scientist (who was a composer in his spare time!), who was a member of the celebrated ‘
Group of Five’. "
Complete" – that is to say, the piece with the four expected movements – was written in 1881 to celebrate the 20
th anniversary of the musician's marriage. It is thus speculated that there is a subliminal dramaturgy in this score. The cello, which was an instrument that Borodin knew well how to play, would be the figure of the composer himself. The first violin was to represent his love, even though Ekaterina played the piano. During the first and third movements, it is tempting to imagine a loving dialogue between the two instruments. Above all, the Nocturne movement suggests an accurate portrait of an idyllic encounter.

Free entrance.