Diary: to do on site
- Versailles Le temps des jeux >
- Getting out and exploring >
- Diary >
- Théâtre Montansier - Aimez-vous Brahms ?
Théâtre Montansier - Aimez-vous Brahms ?
Sunday 08 February 2026
17:00 to 18:10
Location : Théâtre Montansier
FICHE_INFO_SIMPLE_LIBELLE_DESTINATION
13 Rue des Réservoirs
78000
Versailles
GPS coordinates
Latitude : 48.808077
Longitude : 2.12423
Event Organizer
Théâtre Montansier
Location
Théâtre Montansier
13 Rue des Réservoirs
78000
Versailles
Presentation
It was undoubtedly to circumvent the challenge of the string quartet, over which a Brahms in 1860 loomed, that the composer twice gave the poor relation of chamber music, the string sextet, its letters of nobility.
It was undoubtedly to circumvent the challenge of the string quartet, over which the intimidating figure of Beethoven loomed for a 27-year-old Brahms in 1860, that the composer twice gave the poor relation of chamber music, the string sextet, its letters of nobility.
Composed in 1860 and 1864 respectively, Brahms's two sextets bear witness to the novelty of the Brahmsian discourse in the European musical landscape, notably through their polyphonic refinement. While the first, Op. 18, radiates freshness and spontaneity, in keeping with the Viennese classicism of Haydn and Beethoven, in a form of renewal of the concerto grosso, the composition of the second (Op. 36) is linked to the break-up with Agathe von Siebold (whose first name provides one of the themes of the first movement), the work testifying to the blossoming of the composer's style and sensitivity.
These seemingly discreet and charming pages open the “door” to late Romanticism.
With Emmanuelle Bertrand, cello, Aurélia Souvignet-Kowalski, viola and the Quatuor Parisii.
Program:
Brahms: the two String Sextets op. 18 and op. 36
Composed in 1860 and 1864 respectively, Brahms's two sextets bear witness to the novelty of the Brahmsian discourse in the European musical landscape, notably through their polyphonic refinement. While the first, Op. 18, radiates freshness and spontaneity, in keeping with the Viennese classicism of Haydn and Beethoven, in a form of renewal of the concerto grosso, the composition of the second (Op. 36) is linked to the break-up with Agathe von Siebold (whose first name provides one of the themes of the first movement), the work testifying to the blossoming of the composer's style and sensitivity.
These seemingly discreet and charming pages open the “door” to late Romanticism.
With Emmanuelle Bertrand, cello, Aurélia Souvignet-Kowalski, viola and the Quatuor Parisii.
Program:
Brahms: the two String Sextets op. 18 and op. 36
Pics
Pics
We also suggest...
