• +61 409 655 024

Special concert one performance only

Virtuosi Tasmania's is proud to be able to present this ravishing concert by sensational rising cello star, Matthias Balzat, visiting from Dusseldorf, with Melbourne favourites Laurence Matheson, piano, and Wilma Smith, violin. The program includes Schubert's sublime "Arpeggione" Sonata and Schumann's deeply emotional Adagio and Allegro for cello and piano. Wilma then joins Matthias and Laurence for Arensky's beloved Piano Trio No. 1 in D minor Op. 32.

Thursday 6 February 6pm

Hobart Town Hall

50 Macquarie St, Hobart, Tasmania

Special price tickets $20 - no concessions

Available at the door, or online via EventBookings until 1 day prior (while the button is displayed).
Book now

Wilma and friends

This special one-off concert would not be possible without the considerable financial support of passionate supporters of chamber music in Tasmania. Thank you, from all of us at Virtuosi Tasmania. It features Wilma Smith, ex Concert Master of the Melbourne Symphony Orchestra and regular visitor as substitute principal violin for the TSO, cellist Matthais Balzat from Dusseldorf and pianist Laurence Matheson Melbourne.

Pictured (L-R): Matthais Balzat, Wilma Smith and Laurence Matheson.

Program Notes

’Arpeggione’ Sonata

I Allegro moderato II Adagio in E major III Allegretto in A major

The family of bowed string instruments included many variations which have not survived due to declining interest from the public, composers and musicians. Arpeggione is one such interesting variety. It is similar to Viola da Gamba but with a fretted fingerboard. It can be best described as a bowed large guitar. It was invented in 1823, and by the time Schubert’s sonata was published posthumously in 1871, the instrument had been forgotten by the public and disappeared into history as a failed experiment!

Among the few significant compositions written for Arpeggione, Franz Schubert’s Sonata in A minor composed in 1824 is the only work that remains active in the current living repertoire. However, these days, we only hear transcriptions of the work for cello and piano or viola and piano.

Adagio and Allegro for cello and piano

Schumann wrote this piece in February 1849. Curiously, the composer planned three editions of the work for publication. The original arrangement for piano and horn and, two further arrangements for cello or violin accompanied by piano. The horn version demanded the highest virtuosity and gained notoriety among some players as “unplayable”! To this day, the work is regarded as a showpiece by horn players.

The composer was impressed by the recent development of valved horn also known as “ventilhorn” and its ability to produce the full chromatic scale. Schumann wrote the work for vetilhorne and piano to showcase the abilities of the instrument. Schuman later referred to 1849 as “my most fruitful year”.

The premiere of the work was performed by Clara Schumann on the piano and E. Julius Schlitterlau. This was one of Clara’s favourites among her husband’s compositions.

Piano Trio No1 in D minor Op32

I Allegro II Scherzo III Elegia IV Finale

Anton Stepanovich Arensky (1861-1906), is a Russian composer and Professor of music. He studied music in St Petersburg with the great Russian composer Nicolai Rimsky-Korsakov and later worked as a lecturer at the Moscow Conservatory where he became a close friend of Tchaikovsky.

Arensky, a composer of Romantic classical music, was deeply influenced by Tchaikovsky. The death of a close friend and celebrated Russian cellist Karl Davydov had a profound impact on Arensky. He dedicated this trio to the memory of Davydov.

This work is also significant for a very different reason. The composer made an early recording of the work on wax cylinders. For this recording, he played the piano part and was accompanied by violinist Jan Hrimaly and cellist Anatoliy Brandukov. The recording is among the first of its kind using the leading-edge technology of the time.