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Concert "Virtuosos of Moscow: Beethoven, Strauss, Schoenberg"

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When
now
31.03.2026 · 19:00
Where
Moscow
Московский международный Дом музыки (ММДМ)
Intent
Event
About

The State Chamber Orchestra "Virtuosos of Moscow" conducted by Fyodor Beznozikov presents a program featuring three major works by Schoenberg, Beethoven, and Richard Strauss. The music at the turn of the century sounds tense and piercing, showing how the academic tradition changes language while preserving inner strength and depth of experience. This time, the program of the "Virtuosos of Moscow" orchestra focuses on works that have become turning points in the history of academic music. Three string compositions are united by the theme of internal transformation: from nocturnal meditation to tragic reflection on the fate of Europe and bold experimentation with form. "Verklärte Nacht" by Arnold Schoenberg is written based on a poem by Richard Dehmel and structured as a continuous chamber narrative. In the slow, dark fabric, flashes of hope arise, anxious pulsations are replaced by soft responses, and motifs resonate between voices. The composer has not yet abandoned late-Romantic harmony, so the tension arises from subtle shifts and elongated lines. The musicians lead the score flexibly and attentively, emphasizing the dialogue of timbres and silence. A special place in the concert is occupied by Beethoven's "Grosse Fuge." This composition for string ensemble is perceived as a challenge to both listeners and performers. Sharp contrasts, fragmented rhythm, powerful polyphony, and dense texture require utmost concentration. In this music, one can feel stubbornness, inner protest, and a desire to break free from the usual order, while the chamber orchestral composition allows for the hearing of many hidden lines and nuances. The finale of the program is Richard Strauss's "Metamorphosen" for string orchestra. The piece was created in the last months of World War II and sounds like a farewell to a shattered world. Extended phrases, slow development, and allusions to the music of the past create a sense of an internal monologue of a person reflecting on a lived century. There is no external cry here; instead, there is a long, tense breath.

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