Klassik Forum Chur: Julia Hagen

This programme spans an arc from the gallantly refined splendour of the early classical period to the radical tonal language of Beethoven's late work.
As if we were on a musical journey through time, we can follow how personal expression and the individual voice develop more and more clearly from early Haydn to late Beethoven. The overture to the opera L'amant anonyme by the dazzling
Mozart's contemporary Joseph Bologne kicks things off and sets the stage for cellist Julia Hagen for Joseph Haydn's Concerto in C major – a work that, with its brilliant inflection and alternations of solos and orchestral ritornelles, initially exudes a lot of late Baroque spirit, but finally culminates in virtuoso audacity in the finale. If these aren't the best conditions for Julia Hagen to bring out the "naturalness, warmth, vitality and courage to take risks" of her acting in the most beautiful way. Ludwig van Beethoven's last, in almost
complete deafness, op. 135 forms the conclusion: in the enlarged sound space of the string orchestra, it is able to unfold its intimate power even more forcefully.

Enselmble:
Zurich Chamber Orchestra

Head:
Pablo Hernán Benedí (violin and conductor)

Soloist:
Julia Hagen (violoncello)

Program:

Joseph Bologne (1745–1799) 11′
Overture, from: L'amant anonyme (1780)

Joseph Haydn (1732–1809) 25′
Concerto for Violoncello and Orchestra No. 1 in C major, Hob. VIIb:1 (1761)

Intermission 20′ ̈

Ludwig van Beethoven (1770–1827) 24′
String Quartet No. 16 in F major, op. Op. 135 (version for string orchestra) (1826)