At the latest since the 2014/15 season, Christian Tetzlaff’s Berlin audience has been aware that making music in small groups is a matter close to the charismatic violinist’s heart: when he was artist in residence, we were able at the time to experience him not only as soloist at Berliner Philharmoniker concerts but also as a sensitive chamber musician. A good two decades earlier, Tetzlaff already fulfilled a personal dream: together with his sister Tanja on cello, Hanna Weinmeister (viola), acting concertmaster of the Philharmonia Zürich (formerly Orchestra of the Zürich Opera House) since 1998, and Elisabeth Kufferath (2nd violin), he founded a string quartet of his own in 1994.
Praised by the press for “highly exciting, technically virtually perfect” interpretations and acclaimed as one of the “world’s most fascinating chamber ensembles” in our time, at this concert the Tetzlaff Quartet will present a programme that highlights the Viennese music history of three generations of composers. Mozart’s String Quartet in E flat major K. 428 is the third of an overall six string quartets dedicated to his “dear friend Joseph Haydn” that he had printed as Opus 10 in 1785 in his adopted home Vienna. Alban Berg’s two-movement String Quartet op. 3, composed in 1910, provides fascinating testimony of the musical upheavals taking place at the turn of the 20th century in the city on the Danube. Finally, Franz Schubert’s String Quartet in G major D 887, composed in 1826, forms a link between the First Viennese School and the classical modern period.