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Feb. 26, 2025 - 7:30pm

(doors open 6:45pm)

"musikMACHTpoesie"

Franziska Pietsch (violin)
Maki Hayashida (piano)
Walter Prettenhofer (recitation)

musikMACHTpoesie
 

musikMACHTpoesie is when language and music build a bridge to the soul.
What does it look like inside Beethoven, for example, when he thinks he is close to death and is overcome by despair. At the same time, however, he also finds the strength to break new compositional ground at this moment, to develop a new (heroic) style. The Violin Sonata op.30 No.2 bears witness to this.
Franziska Pietsch (violin), Maki Hayashida (piano) and actor Walter Prettenhofer enchant the audience with their harmonious interplay of music and language and convey a deep understanding of music as a poetic mouthpiece of the soul.


Franziska Pietsch

“This soloist, as you can quickly hear, has something to say,” was the verdict of Treffpunkt Klassik on SWR 2, and not without reason. Because a musician's playing reflects the experiences of a lifetime. And in Franziska Pietsch's case, this was extremely moving. At the age of twelve, she was already celebrated as a soloist in major violin concertos and recorded virtuoso works by Paganini and Sarasate. As concertmaster of various orchestras, she immersed herself in the world of great symphonies and operas before devoting herself intensively to chamber music for several years - above all in duos, piano trios and string trios. Today, the circle has long since closed and Franziska Pietsch impresses with recordings for which she has been awarded the German Record Critics' Quarterly Prize, among others.

Maki Hayashida studied with world-class professors such as Bernhard Ringeissen in Paris and Karl-Heinz Kämmerling in Hanover. In 1995, she made her debut as a soloist at the Alte Oper in Frankfurt with Beethoven's 5th Symphony. In addition to her varied and lively concert activities, she teaches as a lecturer at the Robert Schumann Hochschule in Düsseldorf and has had the rare privilege of receiving several awards from the Japanese Ministry of Culture. Maki Hayashida is also considered one of the most versatile and sought-after chamber musicians and lied accompanists in the business.

Walter Prettenhofer

After training as an actor at the “Mozarteum” in Salzburg and working for many years as an actor at the Volkstheater Vienna, Theater der Jugend Vienna, ORF Vienna and THEATERmeRZ Graz, he trained as a speech therapist in Vienna. He worked as a lecturer and speech teacher in Vienna and Graz. From 2012 - 2014 he studied “Rhetoric and Speech Science” at the University of Regensburg in the Master's program. Walter Prettenhofer has been teaching at the HfS “Ernst Busch” in Berlin since 2014. He continues to perform on stage in Germany and abroad with lectures, his own speech programs and staged readings.

Program

 

L.v.Beethoven: Sonata for violin and piano
                        op.30 No.2 in c-minor

Beethoven's 3 violin sonatas op. 30 from 1802 mark the beginning of his “second” creative phase (the “heroic phase”). Beethoven himself also spoke of a new style that he had now achieved. The four-movement C minor sonata forms the climax of this cycle.


Ernest Chausson: Poème op.25 for violin and piano

Poème, Op. 25, originally written for violin and orchestra by Ernest Chausson in 1896, is an integral part of the violinist's repertoire and is generally regarded as Chausson's best-known and most popular composition. Poème was written in response to a request from Eugène Ysaÿe for a violin concerto. Chausson did not feel up to the task of a concerto and wrote to Ysaÿe: “I hardly know where to begin with a concerto, which is a huge undertaking, the devil's own task. But I can cope with a shorter work. It will be in very free form, with several passages in which the violin plays alone.”

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Edward Elgar: Sonata for violin and piano
                       e-minor op.82

Sir Edward Elgar wrote the Violin Sonata op.82 in 1918 during a phase in which his work was primarily devoted to chamber music. His works were introspective and melancholy during this period of his last great creative surge before his death in 1934. This sonata has been rediscovered by many violinists in recent years, as evidenced by recordings by Yehudi Menuhin, Nigel Kennedy and Daniel Hope, among others.

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