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InterHarmony Concert Series: Misha Quint, cello, and Bruno Canino, piano
New York City, New York
Saturday, 21 January 2017 - 8:00 PM
Beethoven: Cello Sonata No.3 in A Major, Op.69
Stravinsky: Suite Italienne for Cello and Piano
Schubert: Sonata in a minor for Arpeggione and Piano, D821
Tchaikovsky: Pezzo capriccioso, Op.62

CELLIST MISHA QUINT, PIANIST BRUNO CANINO PERFORM AT CARNEGIE HALL ON JAN 21 AT 8PM IN ONLY BEETHOVEN, SCHUBERT, STRAVINSKY, AND TCHAIKOVSKY: LIMITS WITHOUT LIMITATIONS AT INTERHARMONY CONCERT SERIES

AUTHOR: Noah WillumsenTAGS: Beethoven, Tchaikovsky, Bruno Canino, Misha Quint
Join Misha Quint (cellist) and Bruno Canino (pianist) for the latest installment of the InterHarmony® International Music Festival Concert Series at Weill Recital Hall. Their program offers no gimmicks or tricks, only the peaks of the repertoire for cello and piano, from Beethoven to Stravinsky. Tickets are $40, and can be purchased by calling CarnegieCharge at 212-247-7800, at the Carnegie Hall box office located at West 57th and Seventh Avenue, or online at www.carnegiehall.org.

About the Program

Quint’s concert series at the Weill Recital Hall has long important provided a bridge between the musical cultures and stars of America and Europe. In this recital, he offers "no frills, only chills and cello” – and an opportunity to hear legendary Italian pianist and Naxos recording artist Bruno Canino live in New York. After collaborations in Italy, the two internationally regarded performers now bring a program of monuments of the cello and piano literature to Quint’s home turf: Beethoven’s foundational Cello Sonata No. 3 in A Major, Op.69, Schubert’s heart-breaking Arpeggione, Stravinsky’s neo-classical masterpiece, the Suite Italienne, and Tchaikovsky’s final work for cello: Pezzo capriccioso, Op.62.

About the Music

The cello and piano’s shared history truly begins with Beethoven’s Cello Sonata No.3 in A Major, Op.69, the first sonata ever to feature a real balance between these two instruments. Dating from the ‘heroic’ period of the 5th Symphony, it announces its intentions with the solemn and fearless statement of the theme by the cello solo, before launching into an all-encompassing emotional dialogue that could only be Beethoven’s. The arpeggione itself (a sort of bowed guitar) had long died out when its sole masterpiece, Schubert’s Arpeggione Sonata in a minor was finally published in 1871. But where the instrument was ephemeral, cellists have ensured that the music lived on. Its six strings allowed Schubert to create an aria of unique poignancy that goes beyond the physical possibilities of the human voice, a chiaroscuro of longing and joy.
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Misha Quint
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