Romberg Dagen


The three concerts present music from Romberg's time, featuring some of his beautiful chamber works alongside the compositions of musicians of his circle.

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cello Duos and trios

BERNHARD ROMBERG (1767-1841) - Sonata Op.43 No. 3 in G major, from Trois sonates faciles et progressives pour le violoncelle avec accompagnement d'une basse

I. Allegro comodo
II. Romanze. Andante cantabile
III. Allegretto

ANTON REICHA (1770-1836) - Trio pour trois violoncelles in E-flat major

I. Allegro
II. Andante
III. Minuetto - Trio
IV. Finale. Lento un poco andante; Allegro

JOHANN JUSTUS FRIEDRICH DOTZAUER (1783-1860)  - Six pieces pour trois violoncelles, Op.104 in G major

1. Andante
2. Adagio - Allegro
3. Scherzo. Allegro non troppo - Trio
4. Andante Maestoso
5. Pastorale
6. Larghetto

Music for Flute and Strings
... Because Romberg didn't only write for cello!

ANTON REICHA - 18 Variations and a Fantasia on Mozart's theme "Se vuol Ballare", Op.51 in G major for flute, violin and cello

BERNHARD ROMBERG - Adagio from Quintet Op.1, No.3 in G major for flute, violin, two violas and cello

FERDINAND RIES (1784-1838) - Quartet Op.145 No.1 in C major for flute, violin, viola and cello

I. Allegro con brio
II. Larghetto cantabile
III. Scherzo. Allegro vivace
IV. Finale. Allegro a l'espagnola

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Hausmusik for Fortepiano and cello

Used for this concert: Historical Fortepiano grand Angst ca. 1830, on loan from the Sweelinck Collection / Geelvinck Music Museums

BERNHARD ROMBERG - Variations for fortepiano and cello, Op.50 in C major

ROMBERG - Nouvelle Polonaise pour le Forte-piano in D minor

FERDINAND RIES -  Grande sonate pour le piano-forté, et violoncelle obligé, Op.20

I. Allegro con brio
II. Adagio
III. Polonaise, allegro moderato

- Intermission -

ROMBERG - Theme with Variations and Rondo for fortepiano and cello, Op.61 in G major

ROMBERG - Grande Sonate pour le Forte-piano avec accompagnement de Violoncello o violon, Op.5 No.3

I. Allegro
II. Andante
III. Polacca - Rondo

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Lecture 1, by Octavie Dostaler-Lalonde - Romberg's Violoncell Schule through the 19th century

Romberg published his Violoncell Schule in 1840, one year before his death. It had a significant influence on cellists of his time and of the following generations, and was published in French by the Conservatoire de Paris (1840), in English in London (1840) and the United States (1880), among others. Several re-editions of the method appeared throughout the 19th century, and were often altered to match the changes that occurred in technique and style during the romantic period. Looking at these differences, we can understand the various ways in which cello playing and musical taste were evolving, and trace Romberg's influence in different countries over the century.

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Lecture 2, by Kate Bennett Wadsworth - “Zum Unterricht genau bezeichnet”: Friedrich Grützmacher’s editions of Romberg’s music

The heavily annotated editions of the cellist, Friedrich Grützmacher (1832-1903), can tell us an enormous amount about 19th-century performing practices - in particular, about the so-called “classical” style of playing associated with the musical circles of Mendelssohn, Schumann, and Brahms. Grützmacher had a special enthusiasm for Romberg’s music, which he considered “almost invaluable” as teaching material, and his paedagogical editions of Romberg’s sonatas and concertos include an extra layer of technical advice that provides us with an unusually complete picture of his technique and style. This presentation explores various ways that these editions can be mined for information, not only on the nuances of Grützmacher’s cello playing, but also on the connection between mid-19th- century “classical” style and the older musical tradition it aims to preserve.

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Lecture 3, by Job ter Haar - Romberg, Ries and Russia

Near the end of the 18th century, Bonn was the meeting place for a number of important musical families: the names of Romberg, Ries, Reicha and Beethoven would dominate musical life for many decades all over Europe. Many of these great musicians would stay in touch with each other for the rest of their lives. The apprenticeship of Ferdinand Ries with Beethoven in Vienna is well documented; less known is the fact that Ries had already studied the cello with Bernhard Romberg in Bonn. Years later, in 1811, Ries and Romberg met again in St. Petersburg, this time as colleagues, and engaged in a concert tour together in Russia. This lecture-recital explores the influence of Romberg in the works for cello and piano by Ferdinand Ries from this period and features a complete performance of a piece these two artists possibly performed together in Russia: ‘Trois Airs Russes Variés” opus 72.



Masterclass with Jesper Christensen

The repertoire of this masterclass will focus on early and middle Romantic chamber works involving cello and fortepiano, as well as other instruments. Special attention will be paid to fundamental aspects of this repertoire, including playing in time, agogics, tempo modification, tempo rubato, and portamenti.

The young artists taking part in the masterclass are:

Saturday May 12th, Bernard Haitinkzaal

Amke te Wies, cello and Naruhiko Kawaguchi, fortepiano:
F. Chopin, Sonata for cello and piano in G minor op.65, III. Largo
L. van Beethoven, G major Variations on a theme by Handel from Judas Maccabeus for cello and fortepiano

Carlos Leal Cardin, cello, Carlos A.Nicolàs, cello:
B. Romberg (1767-1841), Cello Duos Op.9 No.1 in D major, III. Presto

Carlos Leal Cardin, cello and Laura Granero, fortepiano:
F. Chopin, Sonata for cello and piano in G minor Op.65, IV. Finale. Allegro

Sunday May 13th, Bernard Haitinkzaal

Jacopo Ristori, cello and Artem Belogurov, fortepiano:
Frédéric Chopin (1810-1849), Sonata for cello and piano in G minor op.65, I. Allegro Moderato, II. Scherzo

Evan Buttar, cello and Tullia Melandri, fortepiano:
Felix Mendelssohn (1809-1847), Sonata for fortepiano and cello No.2 in D major, Op.58, I. Allegro assai vivace III. Adagio

Anna Reisener, cello and Olga Pashchenko, fortepiano: 
Ludwig van Beethoven (1770-1827), Sonata Op.102 no.1 in C major for cello and fortepiano, I. Andante - Allegro Vivace

Used for the masterclass: Historical Fortepiano grand Angst ca. 1830, on loan from the Sweelinck Collection / Geelvinck Music Museums