Concerts Season 2016-2017

  • 7.2.2017
  • 19:30
  • 91.Season
  • Zyklus A
Oekolampad Basel

Armida Quartett (Berlin)

Since its success at the ARD International Competition in 2012, at which the Armida Quartet took First Prize, the Audience Prize and six other special awards, the career of the young Berlin string quartet has developed sensationally.

Founded in Berlin in 2006, the quartet took its name from an opera by Haydn, the “father of the string quartet”. Still receiving the tutelage of Rainer Schmidt (Hagen Quartet) and Reinhard Goebel, the ensemble has also studied with members of the Artemis Quartet for several years.

The Armida Quartet won first prize at the Geneva Competition in 2011 and received several scholarships, including those of the Irene Steels-Wilsing Foundation and the Schierse Foundation in Berlin. The Armida Quartet is also taking part in the BBC New Generation Artists’ scheme between 2014 and 2016.

The Armida Quartet has been selected by the European Concert Hall Organisation (ECHO) to become its “Rising Stars” during the 2016/17 season. Therefore, the season is mainly dedicated to the “Rising Stars” concerts which will bring the Armida Quartett to all major music cities and venues in Europa: Concertgebouw Amsterdam, Baden-Baden, Barcelona, Birmingham, Budapest, Brussels, Philharmonie Cologne, Dortmund, Hamburg, Lisbon, London, Luxemburg, Cité de la Musique Paris, Stockholm and Konzerthaus Vienna. As the artists undertake their tours they also engage with and deliver a broad variety of Education, Learning and Participation work with diverse communities in cities and regions across the ECHO network.

Commentary available in German ▼
Dass auch Mozart das Leichtere, Freundliche beherrscht, zeigt das B-dur-Quartett. Und doch wird die Jagdmotivik im Kopfsatz nicht überbetont. Im Menuett verbinden sich die Ernsthaftigkeit der melodischen Linie im knapperen Hauptteil und tänzerische Heiterkeit imTrio. Zentrum des Werks ist mit seiner Intensität das Adagio, bevor das Finale an die heitere Grundstimmung des Kopfsatzes anknüpft. Auch dieser Satz ist eine Reverenz an Haydn. Mozart hatte den Satz zuerst imitatorisch kanonhaft beginnen wollen, um ihn dann von jeder spürbaren „schweisstreibenden Arbeit“ zu befreien. Vielleicht ist es das, was er mit der lunga e laboriosa fatica meinte: So lange feilen, bis das Schwere nicht mehr spürbar ist.