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Dextra Musica er et datterselskap av Sparebankstiftelsen DNB. Selskapet eier noen av verdens beste strykeinstrumenter og låner dem ut til etablerte og talentfulle norske musikere. Målet er å utløse gode krefter i norsk musikkliv og øke interessen for klassisk musikk og folkemusikk. Alban Berg: 7 frühe Lieder: I. "Nacht" IV. "Traumgekrönt" III. "Nachtigal" A. Webern: 3 kleine Stücke op.11 A. Webern: 2 kleine Stücke II. Langsam Ema Grčman, cello Haike Dietrich, klaver The Duo of Ema Grčman and Haike Dietrich currently focuses on repertoire from the Fin de siècle – a European era between the end of the 19th century and the First World War. This was characterized by the common pessimistic notion that the previous cultural epoch would irreversibly end, but at the same time reflected a period of great expectations for the unknown future. While Johannes Brahms was still composing his last pieces in the 1890s, several new artistic movements emerged, in which composers left behind classical traditions and each created their own, new personal style, either by reforming traditional compositional techniques, or by developing entirely new forms of musical expression. For the first time in music history, this resulted in the co-existence of a huge diversity of different musical genres – ranging from Richard Strauss’ late German romanticism to Claude Debussy’s impressionism, Arnold Schoenberg’s atonality or expressionism in Igor Stravinsky’s compositions. Alban Berg, a student of Arnold Schoenberg, composed his “Seven Early songs” between 1905 and 1908. If an instrument – in our case the cello – replaces the singer, one of the biggest challenges is to create “songs without words” and transfer the atmosphere of the lyric component through the music alone. In turn, one is rewarded by the beauty of the pure musical content of these pieces, somewhat being on the border between late romanticism and early atonality influenced by Schoenberg. The first song “Nacht” is a romantic image of the nature at night and at the same time expresses emotions of fear and solitude that arise in the darkness. Also the two other chosen songs circle around nighttime: “Traumgekrönt” paints a surreal picture of a dream whereas “Nachtigall” is a sweeter, most romantic drawing of a nightingale’s song. Anton Webern more radically developed the method of twelve-tone compositions than his colleague Alban Berg. He was fascinated by maximizing musical expression in a minimal time, and also his “Three little pieces” op. 11 for cello and piano display the most contrasting characters in less than three minutes. After presenting the main musical motifs and short melodic sequences in the first piece, the second rushes through only a few seconds of wild restlessness, before culminating in maximal inner tension during the near-muteness of the last piece. After listening to Op. 11, it might be rather surprising to hear one of his two much earlier pieces for cello and piano – a highly romantic composition that has nothing in common with his later works. Webern was only fifteen years old when he wrote it and although he never meant to publish these pieces, a lucky rediscovery long after his death saved this little treasure that marked the beginning of a great composer’s career. Konsertene er gratis og strømmes på klassiskarantene.no og FB/dextramusica