Berlin Counterpoint offers Turning Point:

Richard Wagner’s Tristan Prelude marks the end of an era, Debussy’s Prélude à l’Après-midi d’un Faune the beginning of the era in which wind chamber music had its most important flowering season. Around these two composers, this program tells a story that begins long before the birth of Mozart and is still far from finished with Connesson. Our story. The story of the composer’s confrontation with this idiosyncratic wind instrument combination, which looks unequal, is unequal, and no composer has been able to handle without a struggle.

Mozart, Ludwig Thuille and Connesson saw this struggle with inequality as a positive and because of it, not despite it, created genius pieces which later became a breeding ground for the three epochs of our ensemble literature. Mozart’s Quintet became the direct inspiration for Beethoven’s Quintet Op. 16. Thuille’s Op. 6 is the climax of the German romanticism and was the model for Theodor Blumer and many others. And Connesson? His writing evokes so much energy and his use of the instruments is so fascinating that composers would have to follow him in droves. And they will follow.


Works on the Turning Point program include:

Richard Wagner Overture to “Tristan and Isolde”

W. A. Mozart, Quintet for Piano and Winds in E-flat major KV 452

Largo – Allegro moderato
Rondo – Allegretto

Guillaume Connesson, Techno Parade

Claude Debussy, Prélude à l’Après-midi d’un Faune

Ludwig Thuille, Sextet in B-flat major Op.6

Allegro moderato
Gavotte: Andante, quasi Allegretto
Finale: Vivace