The horn underwent a thorough makeover in the 19th century. For centuries, the horn only produced notes in the harmonic series, but the valve horn brought radical change in the 1830s. Suddenly all the chromatic notes were within reach, and new timbres and repertoire possibilities emerged. With his choice of the natural horn as the protagonist in his Horn Trio, opus 40, Brahms was deliberately bucking the trend: the restrained, almost melancholy sound was better suited to the intimate interaction between the three instruments that he had in mind. Carl Reinecke did write his Horn Trio and Nocturne for the valve horn. Here you will hear both types, so that you can experience the contrast for yourself. The violinist Midori Seiler, horn player Pierre-Antoine Tremblay and keyboard specialist Edoardo Torbianelli present a programme that connects three musicians from the Leipzig music scene: Reinecke, Brahms and Clara Schumann: a brilliant pianist, top-quality composer and a key figure in the chamber music scene of the Gründerzeit.
Program
J. Brahms: Horn Trio in E? major, opus 40 | C. Reinecke: Horn Trio in A minor, opus 188 | Nocturne for horn and piano, opus 112 | C. Schumann: Romances for violin and piano, opus 22
Performers
Midori Seiler, violin | Pierre-Antoine Tremblay, horn | Edoardo Torbianelli, piano