PROGRAMMES
Cover of the “Eroica” Symphony. Beethoven scratched out and erased the name “Bonaparte” (the original title of the work) when he learned in 1804 that Napoleon had proclaimed himself Emperor.
“The Fifth Voice” is a highly explicit title regarding the ensemble required for these two works. Mozart and Schubert each write a voice that transcends and transforms the classical balance and mechanics of a traditional string quartet (two violins, viola, and cello). In Mozart’s Clarinet Quintet, the clarinet adds a luminous, cantabile timbre; in Schubert’s String Quintet in C Major, the second cello grounds the ensemble with a profound, resonant warmth. These two masterpieces demonstrate how a single additional voice can open up an entirely new expressive universe.
W. A. Mozart
Clarinet Quintet in A Major, KV 581
Allegro / Larghetto / Menuetto / Finale – Allegro con Variazioni
F. Schubert
String Quintet in C Major, D 956
Allegro ma non troppo / Adagio / Scherzo (Presto) – Trio (Andante sostenuto) / Allegretto
One of the most remarkable features of the concert is that the audience has the opportunity to experience two monumental compositions originally written for full symphony orchestra — the Eroica Symphony and the Leonora Overture No. 3 — in an intimate, reduced format. Both arrangements transform these orchestral masterworks into chamber music versions, performed by just nine instruments. The ensemble brings together a non-traditional string quartet (violin, viola, cello, double bass) and a standard wind quintet (flute, oboe, clarinet, bassoon, and horn). Throughout the performance, the musicians must adapt to parts not originally written for their instruments, presenting unique technical and artistic challenges.
Ludwig van Beethoven
Overture “Leonore” No. 3 in C Major, Op. 72b
Arrangement by Jordi Cornudella Heras
Ludwig van Beethoven
Symphony No. 3 in E-flat Major, Op. 55, “Eroica”
Allegro con brio / Marcia funebre: Adagio assai / Scherzo: Allegro vivace / Finale: Allegro molto
Arrangement by André Cebrián Garea
Dvořák’s Serenade for Strings, composed directly for string orchestra, unfolds a brilliant polyphony and radiant lyricism that blend chamber clarity with the vibrant character of Czech folklore. Schubert’s Death and the Maiden presents a unique challenge as an arrangement expanded from its original quartet setting.
Performing a work conceived for four solo voices with a larger ensemble fundamentally alters our approach to rehearsal and performance. While the ensemble format offers structural breadth, it still demands the same acute precision and soloistic responsibility required of a single player.
We combine the intimacy of chamber music with the strength of a full string ensemble, bringing together Dvořák’s calm and Schubert’s passion to speak to the soul.
Antonín Dvořák
Serenade for Strings in E Major, Op. 22
Moderato / Tempo di valse / Scherzo: Vivace / Larghetto / Finale: Allegro vivace
F. Schubert
String Quartet No. 14 in D minor, D 810, “Death and the Maiden” (version for string ensemble)
Allegro / Andante con moto / Scherzo: Allegro molto – Trio / Presto – Prestissimo
New programmes are in the making for the future, expanding our repertoire for upcoming seasons.
Bespoke formats upon request: co-created artistic proposals designed specifically for venues and festivals.